Art History Crimes

In the first major history of crime fiction in 50 years, The Life of Crime: Detecting the History of Mysteries and Their Creators traces the evolution of the genre from the 18th century to the present, offering brand-new perspective on the world’s most popular form of fiction.

Real rock stars do truly insane thing and invite truly insane things to happen to them: murder, drug trafficking, rape, cannibalism and the occult. We allow this behavior. We are complicit because a rock star behaving badly is what's expected. It's baked into the cake. Deep down, way down, past all of our self-righteous notions of justice and right and wrong, when it comes down to it, we want our rock stars to be bad. We know the music industry is full of demons, ones that drove Elvis Presley, Phil Spector, and Sid Vicious and that consumed the Norwegian black metal scene.

For twenty years, the Taliban was the number one enemy of Western forces in Afghanistan. But it was an enemy that they knew little about, and about whose founder and leader, Mullah Omar, they knew even less. Armed with only a fuzzy black-and-white photo of the man, investigative journalist Bette Dam decided to track down the reclusive Taliban chief a decade back.

Described as both “one of the most important novels ever written” and “the gospel of evil,” 120 Days of Sodom was written by the Marquis de Sade, a notorious eighteenth-century aristocrat who waged a campaign of mayhem and debauchery across France, evaded execution, and inspired the word “sadism,” which came to mean receiving pleasure from pain. Despite all his crimes, Sade considered this work to be his greatest transgression.

A friend in his cigar club asks Antoine Verlaque to visit Rene Rouquet, a retired postal worker who has found a rolled-up canvas in his apartment. As the apartment once belonged to Paul Cezanne, Rouquet is convinced he's discovered a treasure. But when Antoine arrives at the apartment, he finds Rene dead, the canvas missing, and a mysterious art history professor standing over the body. When the painting is finally recovered, the mystery only deepens.

From the acclaimed biographer - the fascinating, little-known story of a Victorian-era murder that rocked literary London, leading Charles Dickens, William Thackeray, and Queen Victoria herself to wonder: Can a novel kill?

For the truly well-rounded "intellectual," nothing fascinates so much as the subversive, the contrarian, the suppressed, and the bizarre. Richard Zacks has unloosed his admittedly strange mind and astonishing research abilities upon the entire spectrum of human knowledge, ferreting out endlessly fascinating facts, and stories guaranteed to make you laugh, gasp in wonder, and occasionally shudder at the depths of human depravity. The result of his labors is this quasi-encyclopedia that provides alternative takes on art, business, crime, science, medicine, sex (lots of that), and many other facets of human experience.

In the magical and historically rich city of Siena, Italy, old paintings are as common as cobblestones. But what if some of those paintings are forgeries? And what if your employers at Restauro Lorenzetti, a respected firm of art conservators, might be smuggling antiquities? After colleague and roommate Ernst Mann is found dead in the street below their apartment balcony, Flora Garibaldi suspects her bosses are crooks. The Italian police, after ruling Flora innocent of murder, persuade her to spy on her employers.

Glamorous international art-dealer Elizabeth Teerlinc knows a thing or two about fakes. After all, she is one herself. Her real identity, Judith Rashleigh, is buried under a layer of lies. Not to mention the corpses of the men foolish enough to get in her way. But now, caught in the murderous crossfire between a Russian Mafia boss and a corrupt Italian police detective, Judith is forced to create an even more daring work of art - a fake masterpiece she must take to the world-famous auction house where she used to be a lowly assistant and sell for $150 million.

It was an explosion that reverberated across the country—and into the very heart of early-twentieth-century America. On the morning of October 1, 1910, the walls of the Los Angeles Times Building buckled as a thunderous detonation sent men, machinery, and mortar rocketing into the night air. When at last the wreckage had been sifted and the hospital triage units consulted, twenty-one people were declared dead and dozens more injured. But as it turned out, this was just a prelude to the devastation that was to come.

In a secret meeting in 1981, a master thief named Louis Royce gave career gangster Ralph Rossetti the tip of a lifetime. As a kid, Royce had visited the Isabella Stewart Gardner Museum and made a habit of sneaking in at night to find a good place to sleep. He knew the Museum's security was lax, and he gave this information to a boss of the Boston criminal underworld. It took years before the Museum was hit. But when it finally happened, it quickly became one of the most infamous art heists in history.

Cinema emerged alongside the rules that ushered in boxing’s modern age and the “squared circle” proved the ideal stage for cinematic display. The public had its first taste of the new medium in 1894 through a heavyweight bout, recognized today as the world’s first feature film. Smash Hit: Race, Crime, and Culture in Boxing Films uses twenty films as the basis of a hard-nosed exploration as to how the genre held a bloody mirror to twentieth century America’s most prominent social anxieties, elucidating two conjoined mediums that serve as bellwether to an ever-shifting cultural zeitgeist.

Jack the Ripper was probably the first serial killer to appear in a large metropolis at a time when the general populace was literate and the press was a force for social change. The press was also partly responsible for creating many myths surrounding the Ripper. Robin Odell's Ripperology is the first study to present a sequential history of literary investigations of Jack the Ripper's crimes and to address the seven principal phases of Ripper speculations....

Unlock the enigmatic world where beauty meets betrayal, where passion for art conceals a sinister underbelly. In this captivating exposé, J.K. Artson unveils the hidden stories that have plagued the art world for centuries. Prepare to be enthralled as you embark on a journey through the shadows of art, crime, and corruption. Discover the rise of illicit acts that threaten our cultural heritage, leaving a trail of stolen masterpieces and shattered legacies in their wake.

Gallery owner Ally Blake risks everything to exhibit at an art fair in Bogotá in the 1990s. She needs wealthy collectors to boost her gallery's sales and save her family from bankruptcy. When her art crates are tampered with and she discovers an ex-boyfriend and colleague from her State Department days in Santiago has involved her in a money laundering scheme, she devises a strategy to thwart the fraud, protect her children, and secure her family's future—but pulling it off will require her to make the art deal of a lifetime.

From the earliest days of silent films and the swinging era of the Roaring Twenties, through the Golden Age of the studio system and the patriotic call of WWII, to the Red Scare paranoia of the McCarthy years, the history of the Schenck brothers is the story of Hollywood itself—and the enduring power of the American Dream. Moguls is a must-listen for film fans, history buffs, and anyone who loves the movies.

Thanks to one reporter's skill, we can fix the exact moment on November 22, 1963 when the world stopped and held its breath: At 12:34 p.m. Central Time, UPI White House reporter Merriman Smith broke the news that shots had been fired at President Kennedy's motorcade. Most people think Walter Cronkite was the first to tell America about the assassination. But when Cronkite broke the news on TV, he read from one of Smith's dispatches.

All his life, journalist Walter Shapiro assumed that the outlandish stories about his great-uncle Freeman were exaggerated family lore; some cockamamie Jewish revenge fantasies dreamt up to entertain the kids and venerate their larger-than-life relative. Only when he started researching Freeman Bernstein's life did he realize that his family was actually holding back.

One hundred and thirty years ago Eadweard Muybridge invented stop-motion photography, anticipating and making possible motion pictures. He was the first to capture time and play it back for an audience, giving birth to visual media and screen entertainments of all kinds. Yet the artist and inventor Muybridge was also a murderer who killed coolly and meticulously, and his trial is one of the early instances of a media sensation.

When 28-year-old San Francisco Daily Morning Call reporter Mark Twain met Tom Sawyer at a local bathhouse in 1863, he was seeking a subject for his first novel. As Twain steamed, played cards, and drank beer with Sawyer (a volunteer firefighter, customs inspector, and local hero responsible for having saved 90 lives at sea), he had second thoughts about Shirley Tempest, his proposed book about a local girl firefighter, and began to envision a novel of wider scope.