Alongside an overview of the painter’s life, Ross King considers the profound impact of Japanese art on Monet’s working practice, the historical events of the time, the artist’s fascination with painting bridges, and the personal tragedy that led to his ultimate desire to capture and immortalise on canvas a succession of ever-changing moments in his garden.

The Renaissance in Florence conjures images of beautiful frescoes and elegant buildings – the dazzling handiwork of the city’s artists and architects. But equally important were geniuses of another kind: Florence’s manuscript hunters, scribes, scholars and booksellers. At a time where all books were made by hand, these people helped imagine a new and enlightened world.

At the heart of this activity was a remarkable bookseller: Vespasiano da Bisticci. His books were works of art in their own right, copied by talented scribes and illuminated by the finest miniaturists. With a client list that included popes and royalty, Vespasiano became the ‘king of the world’s booksellers’. But by 1480 a new invention had appeared: the printed book, and Europe’s most prolific merchant of knowledge faced a formidable new challenge.

‘A spectacular life of the book trade’s Renaissance man’ JOHN CAREY, SUNDAY TIMES

By the outbreak of war in 1914, Monet, then in his mid-seventies, was one of the world’s most famous and successful painters, with a large house in the country, a fleet of automobiles and a colossal reputation. However, he had virtually given up painting following the death of his wife Alice in 1911 and the onset of blindness a year later. Nonetheless, it was during this period of sorrow, ill health and creative uncertainty that – as the guns roared on the Western Front – he began the most demanding and innovative paintings he had ever attempted.

Encouraged by close friends such as Georges Clemenceau, France’s dauntless prime minister, Monet would work on these magnificent paintings throughout the war years and then for the rest of his life. So obsessed with his monumental task that the village barber was summoned to clip his hair as he worked beside his pond, he covered hundreds of yards of canvas with shimmering layers of pigment. As his ambitions expanded with his paintings, he began planning what he intended to be his legacy to the world: the ‘Musée Claude Monet’ in the Orangerie in Paris.

Drawing on letters and memoirs and focusing on this remarkable period in the artist’s life, Mad Enchantment gives an intimate portrayal of Claude Monet in all his tumultuous complexity, and firmly places his water lily paintings among the greatest achievements in the history of art.

‘Abounding with excellent little stories’ Financial Times

This is the story of one of the most magnificent achievements of the Italian Renaissance, and the architect behind it.

Even in an age of soaring skyscrapers and cavernous sports stadiums, the cathedral of Santa Maria del Fiore in Florence still retains a rare power to astonish. Yet the elegance of the building belies the tremendous labour, technical ingenuity and bitter personal strife involved in its creation. For over a century after work on the cathedral began, the proposed dome was regarded as all but impossible to build. The greatest architectural puzzle of its age, when finally completed it was hailed as one of the great wonders of the world.

This book tells the extraordinary story of how the cupola was raised and of the dome’s architect, the brilliant and volatile Filippo Brunelleschi. Denounced as a madman at the start of his labours, he was celebrated at their end as a great genius. His life was one of ambition, ingenuity, rivalry and intrigue – a human drama set against the plagues, wars, political feuds and intellectual ferments of Renaissance Florence, the glorious era for which the dome remains the most compelling symbol.

VOTED NON-FICTION BOOK OF THE YEAR BY THE AMERICAN INDEPENDENT BOOKSELLERS

These were the years in which Napoleon III’s autocratic and pleasure-seeking Second Empire fell from its heights into the ignominy of the Franco-Prussian war and the ensuing Paris Commune of 1871. But it was also a period in which a group of artists, with Manet in the vanguard began to challenge the establishment by turning to the landscapes and ordinary people they saw around them. The struggle between Meissonier and Manet to get their paintings exhibited in pride of place at the Salon was not just about art, it was about how to see the world.

Nevertheless, for the next four years he and a hand-picked team of assistants laboured over the vast ceiling, making thousands of drawings and spending back-breaking hours on a scaffold fifty feet above the floor. The result was one of the greatest masterpieces of all time. This fascinating book tells the story of those four extraordinary years and paints a magnificent picture of day-to-day life on the Sistine scaffolding – and outside, in the upheaval of early sixteenth-century Rome.