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Zbigniew Brzezinski was a political strategist who rose to prominence as an intellectual architect of US foreign policy during the Cold War. As National Security Advisor to President Jimmy Carter and a trusted advisor to US presidents from John F. Kennedy onwards, Brzezinski’s expertise helped shape global strategy at critical moments—most significantly as a key figure in the downfall of the Soviet Union.

An anthology of essays and reviews by the eminent art historian and writer, Edward Lucie-Smith. The articles cover a broad span, from the Italian Renaissance of Giotto and Antonello da Messina, Leonardo, and Michelangelo, progressing to Rubens, Velázquez, and Ingres, with essays on William Hogarth, John Constable, and John Everett Millais for British art. With the experience of his landmark publications on modern art, which remain in print, the author sweeps the listener on a fabulous journey of perception.

An intimate and masterful biography of Zbigniew Brzezinski—President Carter’s national security advisor and one of America’s leading geopolitical thinkers—from one of the finest columnists and political writers at work today.

This is the board of The Majestic Datsima, the proficient ship providing attraction as a luxury cruise in the sea, which is the dream of those who are finding entertainment, freedom, and happiness in life and yearning for brethren. To some extent, Hooliganism is the only chance for Mia and Jamal to make their son happy in paradise and forget about a cruel life in Atlanta for a time. But, in the deeper sea, this beautiful dish starts to change into a nightmare on the surface of 'a voyage of one's dreams'—the aphrodisiacal sea life.

After Lucille Ball’s death in 1989, dozens of private letters between Lucy and Desi Arnaz were discovered. Now, for the first time, daughter Lucie Arnaz shares the complete collection in this remarkable volume that reveals the romance of one of the most famous couples in history more intimately than anything that has ever been written about them. At turns the letters disclose longing, ambition, jealousy, humor, and, above all, a passionate love affair that has claimed the world’s interest for more than half a century.

Edward Luce's in-depth analysis of the decline of democracy, The Retreat of Western Liberalism, explores the myriad factors affecting the shift away from a political system many readers will have taken for granted in their lifetimes. This Sumoreads summary and analysis offers supplementary material to The Retreat of Western Liberalism to help you distill the key takeaways and review the book's content.

From the capture of Sidney Reilly, the "Ace of Spies", by Lenin's Bolsheviks in 1925, to the deportation from the USA of Anna Chapman, the "Redhead under the Bed", in 2010, Kremlin and Western spymasters have battled for supremacy for nearly a century. In Deception Edward Lucas uncovers the real story of Chapman and her colleagues in Britain and America, unveiling their clandestine missions and the spy-hunt that led to their downfall. It reveals unknown triumphs and disasters of Western intelligence in the Cold War,

In The Retreat of Western Liberalism, Luce makes a larger statement about the weakening of western hegemony and the crisis of democratic liberalism - of which Donald Trump and his European counterparts are not the cause, but a symptom. Luce argues that we are on a menacing trajectory brought about by ignorance of what it took to build the West, arrogance towards society's losers, and complacency about our system's durability - attitudes that have been emerging since the fall of the Berlin Wall, treated by the West as an absolute triumph over the East.

One of the commonest and most loosely used terms in any discussion of contemporary art is the word avant-garde. Indeed it often seems to be taken for granted that valid contemporary art and avant-garde art are synonymous.

The word avant-garde, so much used in connection with the various manifestations of contemporary art, is starting to have a strange, ironic ring to it. One might even claim that it is starting to signify what is behind the times, rather than in front of them. Like all such terms, it is in fact a metaphor, rather than a direct description. Borrowed from old-fashioned military terminology, it seeks to describe a situation where social norms are being perpetually challenged by artists. In the military sphere, where it originated, it is long out of use.

From the earliest times, human beings have found it difficult to represent their own bodies in a straightforward way. The rare painted images of humans in Paleolithic art are much less naturalistic than the images of animals created at the same epoch. At the dawn of art, representations of the nude body were simply vehicles for statement about the need for fertility if the human race was to survive successfully.

The Titian Show at the National Gallery here in London has just opened to the public again. It was available for just three days before the big lockdown. Now, it is with us once more, though on rather different terms from what was the case previously. You have to book a time. You have to be wearing a mask. You have to maintain distance between yourself and other visitors booked in for the same slot. Is it worth the hassle? Yes, of course it is. Titian is one of the greatest figures in the history of Western art.

An essay by Edward Lucie-Smith considers the Andy Warhol exhibition re-opening at Tate Modern on July 27. He puts forward a provocative view of the relevance of the art in an time of turbulent disruption. When the Warhol show returns to Tate Modern on July 27, almost the first thing you’ll meet if you go to see it will be a large painting, on two paired canvases, entitled Marilyn Diptych. It features repeated images the film star Marilyn Monroe.

A study of Aubrey Beardsley's work exhibited at Tate Britain until May 25, 2020. The author considers the darkly vigorous imagery of the short lived genius, his graphic work for the notorious Yellow Book, and sublimely erotic illustrations for Lysistrata by Aristophane and Salome by Oscar Wilde, which frank imagery even shocked the author.

How do we expect public art to function in a contemporary society? By public art, we mean art that to some extent at least ambushes us. We encounter it as we go about our everyday lives, not in some special art-dedicated space. In other words, certainly not in a museum. However, Aida Mahmudova notes, in her introduction to this public art project for Baku organized by Yarat! Contemporary Art Space, conditions for public art are now very different from the way in which art of this kind operated previously.

The creation of a masterpiece needs more than simply determination on the part of a single individual - though this, of course, is a myth that has continuously gained in strength since the time of Michelangelo. As Michelangelo himself well knew, masterpieces grow from a will to see them made on the part of patrons, who often play nearly as important a part in the process as the man who holds the brush or wields the chisel. The Sistine ceiling would never have come into existence had it not been for Pope Julius II.

Hammershoi is, in a certain sense, the Danish Vermeer, an artist whom he occasionally paraphrased. That is to say, a quietist painter obsessed by subtle effects of light, forgotten very soon after his death, but rediscovered and turned into a demi-god by a later generation.

Wifredo Lam is by far the most celebrated, and most people would say the greatest, artist produced by the Caribbean region in modern times. His relationship with where he came from is, however, extraordinarily complex - much more complex than most of his admirers suppose, largely because they usually have no direct experience of the region and little knowledge of its social history.

Britain’s Culture Minister, David Lammy, recently suggested that the history of slavery should be made a compulsory part of the nation’s school curriculum. Mick Hume, a columnist in The Times, promptly retorted, “Slavery and the Holocaust are now likely to be taught as little chunks of history, removed from any proper context. They become simplistic parables of good and evil, over which children are encouraged to emote and empathise...." How well founded was this criticism?

There are three things that we have to take into account when attempting to assess the impact of the contemporary sensibility in art on the culture of the various countries bordering the Mediterranean. First, the way in which each of these territories responds to the idea of the contemporary is bound up with its own cultural history. Every Mediterranean coastline possesses a hinterland, and this hinterland exercises an enormous influence on what is seen on the coast itself.