My name is Marco Pierini, The Rum Historian. My field of research is the history of rum, and in particular its origins. The results of this research can be found in "Got Rum?" magazine, and in some websites about rum. Many articles are about Great Britain and the British Empire, owing to the early, massive diffusion of rum among British people. The very word Rum is generally held to be English, even though its origins are uncertain, and I freely admit that, after the long research carried out in order to write this book, my uncertainties have even increased. Anyway, while I was studying the history of British rum, I came to realize with astonishment that rum had had an enormous importance in Early America. More, the very birth of the new American Republic was dripping in rum. As a matter of fact, colonials drank a lot, and they drank mainly rum. Rum was not only a very popular commodity, but a lubricant of social life. In early America, taverns were the focus of political and social life and what most people drank in taverns was rum. Moreover, rum was present in all the rituals which mark life: births, weddings, all kinds of festivals and celebrations, funerals. I already knew that American colonists imported great quantities of rum from the West Indies, but I discovered that they became also great producers of it.In the Continental Colonies, rum was so important that, as money was always scarce, rum often replaced it as currency and the real indicator of the value of goods. Rum is also generally thought to have played a pivotal role in the infamous slave trade and in the subjugation and destruction of American Indians. Above all, sugar, molasses and rum are largely considered among the real reasons of the rebellion of the American colonists against their Homeland. Therefore it is not without a reason that it has often been written that rum is the real Spirit of 1776. All this kindled my interest in the role that rum played in the birth of the United States. At the same time, I had become aware that something extremely interesting was happening in the US around rum.First of all, for some years rum had been produced again in the US, after a long period of neglect. There were already hundreds of rum distilleries in the US. They were usually small craft enterprises, with a strong territorial bond, which often used locally grown sugar cane. New ones were starting, month after month. Each of them produced small quantities, but all together they already represented a considerable, and ever growing, proportion of rum consumption in the US. It was also evident that there was a substantial growth in the sales of quality rums, with higher prices, the so called Premium Sector, and I think the two things are connected.This in itself is of great interest to the rum enthusiast. But as a historian I am truly impressed also by the political demands of many of these small producers. To put it simply, and I apologize to them and to the readers for this oversimplification, American small producers of rum are coming up against the great multinationals and asking for lower taxation and greater freedom of enterprise. Their pressure is growing, and all these trends are increasing day by day.In short, prompted by the importance that rum had in the past, and the renewed importance it has in the present, I became convinced that the history of rum in early America, from the first settlers until the decline of rum and the surge of whiskey around 1830, deserved a book. So, I decided to write that book.

American Rum: A Short History of Rum in Early America

History

PIERINI, MARCO

Pierini, Claudio

Americas

CreateSpace Independent Publishing Platform

* The first Italian collection in the Director's Choice series* One of Italy's foremost art collectionsThe National Gallery of Umbria, one of Italy's leading art collections, is housed in the Palazzo dei Priori in Perugia. The museum was linked to the Academy of Fine Arts until 1863, when it became the Civic Painting Collection named after one of the city's greatest artistic sons, Pietro Vannucci, known as Perugino. In 1918 the collection was taken over by the state and eventually renamed the National Gallery of Umbria. Today the museum's collections feature a wealth of important medieval and Renaissance works by such artists as Arnolfo di Cambio, Benozzo Gozzoli and Piero della Francesca, including the latter's great altarpiece of St Anthony. Umbrian artists include Perugino and Pintoricchio and their pupils and followers. The museum also features thematic sections devoted to the works of goldsmiths and jewelers, to ivory and wooden inlays, to the traditional Perugia tablecloths and to the topography of the city of Perugia. There are also priceless paintings covering the period from the 17th to the 19th century by Orazio Gentileschi, Valentin de Boulogne, Pietro da Cortona, Sassoferrato, Francesco Trevisani, Sebastiano Conca, Pierre Subleyras, Corrado Giaquinto and Jean-Baptiste Wicar.

National Gallery of Umbria: Director's Choice

Arts & Photography

History & Criticism

Scala Books

FRANCESCA WOODMAN. RETROSPECTIVA.

KRAUSS, ROSALIND

CASTRO FLÓREZ, FERNANDO

BALL, MIEKE

E.P.R. Murcia Cultural, S.A.

Recent exhibitions and publications on Josef Albers (1888–1976) have established this influential artist as a true Renaissance man of modernism--a painter, furniture designer, glass artist, writer, pedagogue and even album cover designer. Published on the occasion of the first major retrospective of Josef Albers in more than 20 years, and drawing on a wealth of information from the Albers archive, this volume consolidates this broad perspective, covering the full scope of Albers’ achievement. The artist’s career on both sides of the Atlantic is documented here, from his Weimar Bauhaus beginnings to his tenure as a teacher at Black Mountain College, to his years at Yale University and his considerable influence as a painter and theorist. The catalogue reproduces nearly 200 works, including 12 works in glass produced between 1921 and 1932; nearly 30 photographs and photocollages, many of which are previously unpublished; a selection of woodcuts and gouaches, and several items of furniture; the seven record sleeves Albers designed for Command Records (with their classic gatefold sleeves, which Albers helped to conceive); the paintings for which he is so well known; and a selection of theoretical texts. Also included is a rare text by Wassily Kandinsky, previously printed in a 1934 exhibition bulletin for a show of Alber’s woodcuts at the Galleria del Milione in Milan. This volume gives the most comprehensive account of Albers’ career to date.

Josef Albers

Weber, Nicolas Fox

Individual Artists

Silvana Editoriale

Peter Hujar (1934-1987), Mark Morrisroe (1959-1989) and Jack Smith (1932-1989) all charted that uncertain territory between the subversion and the assimilation of difference, exploring how non-mainstream sexuality and gender has been experienced and perceived over the decades. Their works follow a complex parable, from the 60s right up to the end of the 80s, underlining the risks inherent in mixing art and life, as well as formal research and political struggles. At times sociological, at others highly personal, this volume compares and juxtaposes the oeuvres of these three pioneers of queer American visual art, taking the reader along an itinerary ranging from the banal to the elegiac, from the trashy to the refined, and from life to death, moving through both the various genders (male, female and transgender) and sexual orientations (heterosexuality, homosexuality and bisexuality), showing how these have been recounted through both underground and mainstream culture.

Changing Difference: Queer Politics and Shifting Identities: Peter Hujar, Mark Morrisroe, Jack Smith

Arning, Bill

Fusi, Lorenzo

Johnstone, Fiona

Photography & Video

Silvana Editorale

Lelli and Masotti: Music

SILVANA

Costruzione di Macchine (Italian Edition)

Engineering & Transportation

Nerli, Giovanni

Engineering

Societa Editrice Esculapio

Art in Siena

Scala Group

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