Andrew Graham Dixon – författare

The Times Art Book of the YearA Guardian Book of the YearThe paintings of Johannes Vermeer of Delft are some of the most beautiful, even sublime, in the history of art. Yet like the life of Vermeer himself, they are mysterious and have for centuries defied explanation. Following new leads, and drawing on a mass of historical evidence, some of it freshly uncovered in the archives of Delft and Rotterdam, Andrew Graham-Dixon paints a dramatically new picture of Vermeer, revealing many of the painter’s hitherto unknown friendships as well as his previously undetected allegiance to a radical movement driven underground by persecution.He also vividly evokes the world of the Dutch Republic as it was in its so-called Golden Age. This was a watery world of fortresses and flood plains, taverns rocked by argument and cities stunned by devastating attacks and explosions: all linked by a network of canals where a uniquely efficient public transport system, operated by horse-drawn passenger barge, enabled people, goods and ideas to glide effortlessly from one place to another. The author sets Vermeer firmly in the context of his time, revealing the patterns of patronage that make sense of his work, and also exposing the difficulties posed by his home life, which was dominated by his Jesuit mother-in law and disturbed by the psychotic behaviour of her only son.In the past Vermeer has been imagined as a remote and enigmatic figure, but he emerges from this new account as a man deeply engaged with his own society: well-travelled, a reader of books, a man personally connected to many of the most interesting people of his time, including merchants, philosophers, preachers, bankers and regents, as well as his childhood friend, a philanthropic baker named Hendrick van Buyten. Vermeer was also deeply affected by the struggles that shook his world, the Eighty Years War for Dutch independence and the yet more terrible Thirty Years War, which ravaged the neighbouring German lands and resulted in the deaths of millions. The author shows how he was moved to become a pacifist by such atrocities, and thereafter made many of his closest friends in the ranks of Europe’s first peace movement. A further revelation is that Vermeer’s closest collaborator and chief patron was a woman, as were many others in his immediate circle. These are all previously untold stories.The many piercingly direct descriptions of Vermeer’s pictures, which are the heart of the book, shed new light on the intentions of the artist. Nearly all of his best loved works, Graham-Dixon shows, were originally painted for a single significant location in Delft. In light of such discoveries every one of Vermeer’s major paintings, including The Girl with a Pearl Earring, A View of Delft and The Milkmaid, are reassessed and their meanings rethought. As a result the two great unresolved questions about Vermeer – why did he paint his pictures, and what do they mean? – are persuasively answered here for the first time.

The ultimate introduction to global art, presenting 30,000 years of creativity in one lavishly illustrated book.Discover all you need to know about art history in this definite guide. Art: The Definitive Visual Guide brings a gallery of more than 2,500 of the world's finest paintings and sculptures into your home. Spanning 30,000 years, from cave paintings to contemporary art, this stunning chronological exploration of every major artistic movement introduces the major milestones of each period, from the tomb paintings of Ancient Egypt, Qing Dynasty Chinese art, through to 20th century Cubism and African art today. Dedicated spreads explain how art works, for example introducing how artists use colour and composition. A visual timeline of key works gives an overview of the scope of each major movement, and each era and art movement is introduced with key information, placing art in the context of its time. Explore the pages of this awe-inspiring art history book to discover: - Over 2500 of the world's most influential paintings and sculptures.- Stunning artwork from more than 700 artists.- 'Closer Look' sections offer detailed analysis of key paintings.- Picture-packed gallery spreads explore how different artists have approached a range of themes.- Stunning DPS images presenting important works of art.- Genre/theme spreads broaden the coverage of art across the world.The 6 core chapters are structured chronologically, starting with prehistoric art and ancient civilizations, right the way up until modern day artwork, so there's something for everyone to explore, learn and love. From Romanticism in the 19th Century, to Realisim in the 20th Century, whether it's Pop Art or Expressionism, Minimalism and so much more - the beautiful full-color illustrations and striking imagery, make this art book the perfect gift for the art and history lover in your life, as well as an ideal coffee table book. Doubling up as a riveting reference book for anyone with an interest in art history who wants to gain a broader knowledge of the subject, as well as the perfect classroom companion in schools, libraries and more, Art: The Definitive Visual Guide is a must-have for your bookshelf. Created in collaboration with Bridgeman, the biggest art library in the world, Art: The Definitive Visual Guide is a must-have for your bookshelf.

'Action-packed, magisterial ... Caravaggio's life was every bit as bloody, sexy and attention-grabbing as the paintings themselves and Graham-Dixon is a man who knows the paintings better than almost any' The TimesMichelangelo Merisi da Caravaggio lived the darkest and most dangerous life of any of the great painters. The worlds of Milan, Rome and Naples through which Caravaggio moved and which Andrew Graham-Dixon describes brilliantly in this book, are those of cardinals and whores, prayer and violence. On the streets surrounding the churches and palaces, brawls and swordfights were regular occurrences. In the course of this desperate life Caravaggio created the most dramatic paintings of his age, using ordinary men and women - often prostitutes and the very poor - to model for his depictions of classic religious scenes. Andrew Graham-Dixon's exceptionally illuminating readings of Caravaggio'spictures, which are the heart of the book, show very clearly how he created their drama, immediacy and humanity, and how completely he departed from the conventions of his time.

'Action-packed, magisterial ... Caravaggio's life was every bit as bloody, sexy and attention-grabbing as the paintings themselves and Graham-Dixon is a man who knows the paintings better than almost any' The TimesMichelangelo Merisi da Caravaggio lived the darkest and most dangerous life of any of the great painters. The worlds of Milan, Rome and Naples through which Caravaggio moved and which Andrew Graham-Dixon describes brilliantly in this book, are those of cardinals and whores, prayer and violence. On the streets surrounding the churches and palaces, brawls and swordfights were regular occurrences. In the course of this desperate life Caravaggio created the most dramatic paintings of his age, using ordinary men and women - often prostitutes and the very poor - to model for his depictions of classic religious scenes. Andrew Graham-Dixon's exceptionally illuminating readings of Caravaggio'spictures, which are the heart of the book, show very clearly how he created their drama, immediacy and humanity, and how completely he departed from the conventions of his time.

The Times Art Book of the YearA Guardian Book of the YearThe paintings of Johannes Vermeer of Delft are some of the most beautiful, even sublime, in the history of art. Yet like the life of Vermeer himself, they are mysterious and have for centuries defied explanation. Following new leads, and drawing on a mass of historical evidence, some of it freshly uncovered in the archives of Delft and Rotterdam, Andrew Graham-Dixon paints a dramatically new picture of Vermeer, revealing many of the painter’s hitherto unknown friendships as well as his previously undetected allegiance to a radical movement driven underground by persecution.He also vividly evokes the world of the Dutch Republic as it was in its so-called Golden Age. This was a watery world of fortresses and flood plains, taverns rocked by argument and cities stunned by devastating attacks and explosions: all linked by a network of canals where a uniquely efficient public transport system, operated by horse-drawn passenger barge, enabled people, goods and ideas to glide effortlessly from one place to another. The author sets Vermeer firmly in the context of his time, revealing the patterns of patronage that make sense of his work, and also exposing the difficulties posed by his home life, which was dominated by his Jesuit mother-in law and disturbed by the psychotic behaviour of her only son.In the past Vermeer has been imagined as a remote and enigmatic figure, but he emerges from this new account as a man deeply engaged with his own society: well-travelled, a reader of books, a man personally connected to many of the most interesting people of his time, including merchants, philosophers, preachers, bankers and regents, as well as his childhood friend, a philanthropic baker named Hendrick van Buyten. Vermeer was also deeply affected by the struggles that shook his world, the Eighty Years War for Dutch independence and the yet more terrible Thirty Years War, which ravaged the neighbouring German lands and resulted in the deaths of millions. The author shows how he was moved to become a pacifist by such atrocities, and thereafter made many of his closest friends in the ranks of Europe’s first peace movement. A further revelation is that Vermeer’s closest collaborator and chief patron was a woman, as were many others in his immediate circle. These are all previously untold stories.The many piercingly direct descriptions of Vermeer’s pictures, which are the heart of the book, shed new light on the intentions of the artist. Nearly all of his best loved works, Graham-Dixon shows, were originally painted for a single significant location in Delft. In light of such discoveries every one of Vermeer’s major paintings, including The Girl with a Pearl Earring, A View of Delft and The Milkmaid, are reassessed and their meanings rethought. As a result the two great unresolved questions about Vermeer – why did he paint his pictures, and what do they mean? – are persuasively answered here for the first time.

The Times Art Book of the YearA Guardian Book of the YearThe paintings of Johannes Vermeer of Delft are some of the most beautiful, even sublime, in the history of art. Yet like the life of Vermeer himself, they are mysterious and have for centuries defied explanation. Following new leads, and drawing on a mass of historical evidence, some of it freshly uncovered in the archives of Delft and Rotterdam, Andrew Graham-Dixon paints a dramatically new picture of Vermeer, revealing many of the painter’s hitherto unknown friendships as well as his previously undetected allegiance to a radical movement driven underground by persecution.He also vividly evokes the world of the Dutch Republic as it was in its so-called Golden Age. This was a watery world of fortresses and flood plains, taverns rocked by argument and cities stunned by devastating attacks and explosions: all linked by a network of canals where a uniquely efficient public transport system, operated by horse-drawn passenger barge, enabled people, goods and ideas to glide effortlessly from one place to another. The author sets Vermeer firmly in the context of his time, revealing the patterns of patronage that make sense of his work, and also exposing the difficulties posed by his home life, which was dominated by his Jesuit mother-in law and disturbed by the psychotic behaviour of her only son.In the past Vermeer has been imagined as a remote and enigmatic figure, but he emerges from this new account as a man deeply engaged with his own society: well-travelled, a reader of books, a man personally connected to many of the most interesting people of his time, including merchants, philosophers, preachers, bankers and regents, as well as his childhood friend, a philanthropic baker named Hendrick van Buyten. Vermeer was also deeply affected by the struggles that shook his world, the Eighty Years War for Dutch independence and the yet more terrible Thirty Years War, which ravaged the neighbouring German lands and resulted in the deaths of millions. The author shows how he was moved to become a pacifist by such atrocities, and thereafter made many of his closest friends in the ranks of Europe’s first peace movement. A further revelation is that Vermeer’s closest collaborator and chief patron was a woman, as were many others in his immediate circle. These are all previously untold stories.The many piercingly direct descriptions of Vermeer’s pictures, which are the heart of the book, shed new light on the intentions of the artist. Nearly all of his best loved works, Graham-Dixon shows, were originally painted for a single significant location in Delft. In light of such discoveries every one of Vermeer’s major paintings, including The Girl with a Pearl Earring, A View of Delft and The Milkmaid, are reassessed and their meanings rethought. As a result the two great unresolved questions about Vermeer – why did he paint his pictures, and what do they mean? – are persuasively answered here for the first time.

You cannot stand underneath the masterwork that is the Sistine Chapel without considering the genius and painstaking work that went into its creation. Michelangelo Buonarroti never wanted to paint the Sistine Chapel, though. Appointed by the temperamental Julius II, Michelangelo believed the suspiciously large-scale project to be a plot for failure conspired by his rivals and the "Warrior Pope." After all, Michelangelo was not a painter—he was a sculptor. The noble artist reluctantly took on the daunting task that would damage his neck, back, and eyes (if you have ever strained to admire the real thing, you know). Andrew Graham-Dixon tells the story behind the famous painted ceiling over which the great artist painfully toiled for four long years. Linking Michelangelo''s personal life to his work on the Sistine Chapel, Graham-Dixon describes Michelangelo''s unique depiction of the Book of Genesis, tackles ambiguities in the work, and details the painstaking work that went into Michelangelo''s magnificent creation. Complete with rich, full-color illustrations and Graham-Dixon''s articulate narrative, Michelangelo and the Sistine Chapel is an indispensable and significant piece of art criticism. It humanizes this heavenly masterpiece in a way that every art enthusiast, student, and professional can understand and appreciate.

Brought to you by Penguin. The paintings of Johannes Vermeer of Delft are some of the most beautiful, even sublime, in the history of art. Yet like the life of Vermeer himself, they are mysterious and have for centuries defied explanation. Following new leads, and drawing on a mass of historical evidence, some of it freshly uncovered in the archives of Delft and Rotterdam, Andrew Graham-Dixon paints a dramatically new picture of Vermeer, revealing many of the painter's hitherto unknown friendships as well as his previously undetected allegiance to a radical movement driven underground by persecution.He also vividly evokes the world of the Dutch Republic as it was in its so-called Golden Age. This was a watery world of fortresses and flood plains, taverns rocked by argument and cities stunned by devastating attacks and explosions: all linked by a network of canals where a uniquely efficient public transport system, operated by horse-drawn passenger barge, enabled people, goods and ideas to glide effortlessly from one place to another. The author sets Vermeer firmly in the context of his time, revealing the patterns of patronage that make sense of his work, and also exposing the difficulties posed by his home life, which was dominated by his Jesuit mother-in law and disturbed by the psychotic behaviour of her only son.In the past Vermeer has been imagined as a remote and enigmatic figure, but he emerges from this new account as a man deeply engaged with his own society: well-travelled, a reader of books, a man personally connected to many of the most interesting people of his time, including merchants, philosophers, preachers, bankers and regents, as well as his childhood friend, a philanthropic baker named Hendrick van Buyten. Vermeer was also deeply affected by the struggles that shook his world, the Eighty Years War for Dutch independence and the yet more terrible Thirty Years War, which ravaged the neighbouring German lands and resulted in the deaths of millions. The author shows how he was moved to become a pacifist by such atrocities, and thereafter made many of his closest friends in the ranks of Europe's first peace movement. A further revelation is that Vermeer's closest collaborator and chief patron was a woman, as were many others in his immediate circle. These are all previously untold stories.The many piercingly direct descriptions of Vermeer's pictures, which are the heart of the book, shed new light on the intentions of the artist. Nearly all of his best loved works, Graham-Dixon shows, were originally painted for a single significant location in Delft. In light of such discoveries every one of Vermeer's major paintings, including The Girl with a Pearl Earring, A View of Delft and The Milkmaid, are reassessed and their meanings rethought. As a result the two great unresolved questions about Vermeer - why did he paint his pictures, and what do they mean? - are persuasively answered here for the first time.(c) Andrew Graham Dixon 2025 (P) Penguin Audio 2025

Att lära sig hantera en kris är centralt i människans tillvaro. Krig, revolutioner och pandemier är återkommande företeelser i mänsklighetens historia. I denna antologi undersöker tjugofem världsledande forskare hur olika samhällen reagerar i sådana situationer. De belyser människans unika förmåga till anpassning och omorientering. En kris medför problem men också möjligheter.

Wars, revolutions and pandemics are recurring phenomena in human history. In this anthology twenty-five world-leading scholars describe and analyse how different societies handle these situations, and highlight humanity s unprecedented capacity for adaption and reorientation. A crisis entails problems, but also opportunities. The anthology is published in a richly illustrated clothbound edition.