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Part of a series of exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed, then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. This example features 'By the Beach' by Tilly Willis. Tilly Willis was born into a family of artists, and grew up in Somerset. Her fascination with Africa was born in her twenties, when she visited Kenya. The magnificent, vast landscapes and African way of life have inspired her works ever since. She has exhibited nationwide and holds an exhibition in her studio every September.
Ink is the first in an exciting new practical-art series on popular mediums, including acrylic, oil, pencil and gouache. The books will cover painting techniques, creative ideas and applications, and the fun of mixing with other mediums. Many of the techniques and ideas will be demonstrated through the work of some of the world's greatest artists and illustrators. The first book explores ink's use in painting, illustration and lettering. With its contemporary aesthetic and accessible content, the series will appeal to artists of all abilities.
Winner of the 2012 Zia Award from New Mexico Press Women
In 1973 Georgia O'Keeffe employed C. S. Merrill to catalog her library for her estate. Merrill, a poet who was a graduate student at the University of New Mexico, was twenty-six years old and O'Keeffe was eighty-five, almost blind, but still painting. Over seven years, Merrill was called upon for secretarial assistance, cooking, and personal care for the artist. Merrill's journals reveal details of the daily life of a genius. The author describes how O'Keeffe stretched the canvas for her twenty-six-foot cloud painting and reports on O'Keeffe's favorite classical music and preferred performers. Merrill provided descriptions of nature when she and the artist went for walks; she read to O'Keeffe from her favorite books and helped keep her space in meticulous order.
Throughout the book there are sketches of O'Keeffe's studio and an account of once assisting O'Keeffe at the easel. Jockeying for position among the helpers O'Keeffe relied upon was part of daily life at Abiquiu, where territorial chows guarded the property. Visitors came from far and wide, among them Eliot Porter and even Allen Ginsberg accompanied by Peter Orlovsky. All this is revealed in Merrill's straightforward and deeply respectful notes. Reading her book is like spending a weekend with O'Keeffe in the incomparable light and clear air of Northern New Mexico mountains and desert.
During the seventeenth century, Dutch portraits were actively commissioned by corporate groups and by individuals from a range of economic and social classes. They became among the most important genres of painting. Not merely mimetic representations of their subjects, many of these works create a new dialogic relationship with the viewer. Ann Jensen Adams examines four portrait genres - individuals, the family, history portraits, and civic guards. She analyzes these works in relation to inherited visual traditions, contemporary art theory, changing cultural beliefs about the body, about sight, and the image itself, as well as to current events. Adams argues that as individuals became unmoored from traditional sources of identity, such as familial lineage, birthplace, and social class, portraits helped them to find security in a self-aware subjectivity and the new social structures that made possible the 'economic miracle' that has come to be known as the Dutch Golden Age.
How did maps of the distant reaches of the world communicate to the public in an era when exploration of those territories was still ongoing and knowledge about them remained incomplete? And why did Renaissance rulers frequently commission large-scale painted maps of those territories when they knew that they would soon be proven obsolete by newer, more accurate information? The Mapping of Power in Renaissance Italy addresses these questions by bridging the disciplines of art history and the histories of science, cartography, and geography to closely examine surviving Italian painted maps that were commissioned during a period better known for its printed maps and atlases. Challenging the belief that maps are strictly neutral or technical markers of geographic progress, this well-illustrated study investigates the symbolic and propagandistic dimensions of these painted maps as products of the competitive and ambitious European court culture that produced them.
Tiziano Vecellio (Pieve di Cadore 1488-90 - Venice 1576) is one of the artists who have left their mark in the history of painting, with an heritage that goes from Velazquez to Cezanne. The top painter in High Renaissance Venice, Titian goes from monumental works such as the "Frari altarpiece" (over 22 feet high) to the psychological dimension of portraiture and to elegiac or dyonisiac treatment of mythological themes. Titian was formed by Giorgione and Giovanni Bellini, went on to develop his own chromatic classicism until the "mannerist crisis", followed by the incorporation of a sculptural quality in his later art.Throughout his extremely productive and long life, marked by international fame and exceptional friendships (from Ariosto to Aretino), long trips and homage from powerful rulers (he was made count by the Emperor Charles V), Titian pursued the sense and matter of colour, up to the point where, an old man and almost blind, he painted with his fingers and regretted the inevitable end when he was finally starting to understand what painting truly is.
Take your first steps with pastels and learn how to produce modern, lively and colourful artwork with this exciting medium. Artist and teacher Rebecca de Mendonca offers the beginner a complete course in using pastels. Step-by-step exercises and longer projects help you to build essential skills and allow you to produce a range of pictures, including landscapes, still life, portraits and animals. Vital drawing skills are explained and demonstrated, along with an easy-to-follow guide to colour theory. A huge wealth of finished paintings provide ideas and inspiration for your own future pastel work.
Spreading Canvas takes a close look at the tradition of marine painting that flourished in 18th-century Britain. Drawing primarily on the extensive collections of the Yale Center for British Art and the National Maritime Museum in Greenwich, London, this publication shows how the genre corresponded with Britain's growing imperial power and celebrated its increasing military presence on the seas, representing the subject matter in a way that was both documentary and sublime. Works by leading purveyors of the style, including Peter Monamy, Samuel Scott, Dominic Serres, and Nicholas Pocock, are featured alongside sketches, letters, and other ephemera that help frame the political and geographic significance of these inspiring views, while also establishing the painters' relationships to concurrent metropolitan art cultures. This survey, featuring a wealth of beautifully reproduced images, demonstrates marine painting's overarching relevance to British culture of the era.
The BP Portrait Award, now in its thirtieth year, is one of Britain’s most prestigious art prizes, and is the leading showcase for artists throughout the world specialising in portraiture.
In 201 7 more than 230 ,000 people visited the exhibition based on the competition open to all artists aged eighteen and over from around the world.
The catalogue features around forty-eight works from an international list of artists, which together display a diverse range of styles and painterly techniques. It also includes an essay, an illustrated interview with the previous year’s Travel Award winner and interviews with the prizewinners by Richard McClure, which give further insight into the artists behind the portraits.
Largely neglected for the four centuries after his death, the fifteenth century Italian artist Piero della Francesca is now seen to embody the fullest expression of the Renaissance perspective painter, raising him to an artistic stature comparable with that of Leonardo da Vinci and Michelangelo. But who was Piero, and how did he become the person and artist that he was? Until now, in spite of the great interest in his work, these questions have remained largely unanswered. Piero della Francesca: Artist and Man puts that situation right, integrating the story of Piero's artistic and mathematical achievements with the full chronicle of his life for the first time. Fortified by the discovery of over one hundred previously unknown documents, most unearthed by the author himself, James R. Banker at last brings this fascinating Renaissance enigma to life. The book presents us with Piero's friends, family, and collaborators, all set against the social background of the various cities and courts in which he lived - from the Tuscan commune of Sansepolcro in which he grew up, to Renaissance Florence, Ferrara, Ancona, Rimini, Rome, Arezzo, and Urbino, and eventually back to his home town for the final years of his life. As Banker shows, the cultural contexts in which Piero lived are crucial for understanding both the man and his paintings. From early masterpieces such as the Baptism of Christ through to later, Flemish-influenced works such as the Nativity, we gain a fascinating insight into how Piero's art developed over time, alongside his growing achievements in geometry in the later decades of his life. Along the way, the book addresses some persistent myths about this apparently most elusive of artists. As well as establishing a convincing case to clear up the long controversy over the year of Piero's birth, there are also answers to some big questions about the date of some of his major works, and a persuasive new interpretation of the much-debated Flagellation of Christ. This book is for all those who wish to know about the development of Piero as man, artist, and scholar, rather than simply to see him through a series of isolated great works. What emerges is a thoroughly intriguing Renaissance individual, firmly embedded in his social milieu, but forging an historic identity through his profound artistic and mathematical achievements.
This magnificent catalogue, in three volumes and with nearly 2,000 illustrations, will restore George Romney (1734-1802) to his long-overdue position - with his contemporaries Reynolds and Gainsborough - as a master of 18th-century British portrait painting. The product of impressive and thorough research undertaken over the course of 20 years, Alex Kidson asserts Romney's status as one of the greatest British painters, whose last catalogue raisonne was published over 100 years ago. In more than 1,800 entries, many supported by new photography, Kidson aims to solve longstanding issues of attribution, distinguishing genuine pictures by Romney from works whose traditional attribution to him can no longer be supported. The author's insights are guided by rich primary source material on Romney-including account books, ledgers, and sketchbooks-as well as secondary sources such as prints after lost works, newspaper reports and reviews, and writings by Romney's contemporaries.
The first monograph on this important but overlooked artist. Coincides with a major show of new work at Alan Cristea Gallery, London, 27 June to 31 July, 2019. Mick Moon RA was born in Edinburgh in 1937 and grew up in Blackpool. He studied at the Chelsea School of Art (1958-62) and later taught at the Slade School of Fine Art (1973-90). He was elected a Royal Academician in 1994 and his work now forms part of many public collections including those of the Scottish National Gallery, Tate and the Victoria and Albert Museum. Moon's paintings and prints combine a wide variety of media and techniques in complex and intriguing layers. More recently, photographic elements have formed part of his practice, along with textural materials such as wood and cloth which Moon combines with ink and paint. The art historian Mel Gooding provides an authoritative insight into Mick Moon's practice and a definitive overview of his career. He argues that Moon is one of the most important artists of his generation and asserts his place as one of the key figures of post-war British art.
This book is a reassessment of the role of Ingres studies in the writing of nineteenth--century art history. The title Fingering Ingres refers to a remark of Jean Cassou, the French art critic, political militant and founding director of the Musee National da Art Moderne, in which he wrote of Ingresa a caressinga his materials with the tip of his a finger--naila . The volume pays tribute to Ingresa historiographical enigma in bringing together a set of essays that scratch at and perhaps puncture the surface of his received framings. Ranging from the scrupulous study of Ingresa incapacity to allow himself a finished oeuvre, to the artificial construction of his conflict with Delacroix, to a radical re--thinking of his role in cultural modernity, the essays pick out the textures of a crucial mytheme of nineteenth--century French art. Combining scholarship from different generations of the contemporary critical, social and semiotic histories of art,Fingering Ingres offers a freshly virtuoso and deconstructive approach to the art--historical genre of the artista s monograph.
A brilliant colorist and masterful storyteller, Dutch mannerist Joachim Wtewael (1566-1638) wielded a remarkably skilled brush and the technical ability to show it off in intricate compositions. He took inspiration from a wide range of biblical and mythological sources to create imaginative, often quite erotic scenes. While such pictures were prized in Wtewael's time, more recently they were hidden away--behind other paintings, in leather folders on bookshelves, and in the reserves of great museums. This richly illustrated volume brings together more than fifty of Wtewael's finest paintings and drawings, from a small jewel-like picture on copper depicting Mars and Venus to large-scale mannerist showpieces such as The Martyrdom of Saint Sebastian and Perseus and Andromeda. A pillar of the Utrecht community, Wtewael was engaged in business, religion, and politics as well as art. He adopted the exotic mannerist style, full of artifice and inventive manipulation, and continued to be fascinated by the challenge of creating sophisticated variations well into his maturity, when other Dutch artists had turned to naturalism. This book explores Wtewael's amazingly refined and detailed paintings and drawings, shedding light on his reputation, his life, and the conflicted times--marked by iconoclasm and strife--in which he thrived. Exhibition schedule: *Centraal Museum Utrecht, February 21-May 25, 2015*National Gallery of Art, Washington, June 28-October 4, 2015* Sarah Campbell Blaffer Foundation at the Museum of Fine Arts, Houston, November 1, 2015-January 31, 2016
Vincent van Gogh's story is one of the most ironic in art history. Today, he is celebrated the world over as one of the most important painters of all time, recognized with sell-out shows, feted museums, and record prices of tens of millions of dollars at auction. Yet as he was painting the canvases that would subsequently become these sell-out modern masterpieces, van Gogh was battling not only the disinterest of his contemporary audiences but also devastating bouts of mental illness, with episodes of depression and paralyzing anxiety which would eventually claim his life in 1890, when he committed suicide shortly after his 37th birthday. This comprehensive study of Vincent van Gogh (1853-1890) pairs a detailed monograph on his life and art with a complete catalogue of his 871 paintings. About the series Bibliotheca Universalis - Compact cultural companions celebrating the eclectic TASCHEN universe!
"I am convinced that the true collector does not acquire objects of art for himself alone. His is no selfish drive or desire to have and hold a painting, a sculpture, or a fine example of antique furniture so that only he may see and enjoy it. Appreciating the beauty of the object, he is willing and even eager to have others share his pleasure." -J. Paul Getty, The Joys of Collecting, 1965 Rooted in a passion for the Italian Renaissance as well as Dutch and Flemish Baroque works, the original collection of J. Paul Getty (1892-1976) has been transformed over four decades to include seminal pieces by celebrated masters such as Masaccio, Titian, Parmigianino, Cranach, El Greco, Rubens, van Dyck, Rembrandt, Poussin, Canaletto, Fragonard, Turner, Manet, Degas, Renoir, Monet, van Gogh, Cezanne, and Ensor. Masterpiece Paintings in the J. Paul Getty Museum surveys more than one hundred of the most exquisite and significant paintings displayed in the museum's famed, daylight-suffused galleries. Vibrant full-colour illustrations and engaging descriptions of these masterworks reveal their fascinating histories and cultural, social, and religious meanings. Sure to enchant and edify all art lovers, this book is a spellbinding tour through the history of Western painting.
In 1505, Michelangelo began planning the magnificent tomb for Pope Julius II, which would dominate the next forty years of his career. Repeated failures to complete the monument were characterized by Condivi, Michelangelo's authorized biographer, as "the tragedy of the tomb." This definitive book thoroughly documents the art of the tomb and each stage of its complicated evolution. Edited by Christoph Luitpold Frommel, who also acted as the lead consultant on tge recent restoration campaign, this volume offers new post-restoration photography that reveal the beauty of the tomb overall, its individual statues, and its myriad details. This book traces Michelangelo's stylistic evolution; documents the dialogue between the artist and his great friend and exacting patron, Pope Julius II (who died long before the work was completed); unravels the complicated relationship between the master and his assistants, who executed large parts of the design; and sheds new light on the importance of Neo-Platonism in Michelangelo's thinking, which gave shape to the tomb's most famous statue, the Moses, and the work as a whole. A rich trove of documents in the original Latin and archaic Italian-many unpublished-relates the story firsthand through letters, contracts, and other records covering Michelangelo's travels, the purchase of the marble, the concerns that arose as work progressed, and numerous disagreements and negotiations. The book also includes catalogues of fifteen sculptures designed for the tomb and more than 80 related drawings, as well as an extensive and up-to-date bibliography.
This book draws parallels between literature and the arts, and between drama and painting, in terms of Time and Symbolism, as they appear in the play The Lady of the Castle by Leah Goldberg, and in a group of selected paintings by Marc Chagall, Salvador Dali, Rene Magritte, Paul Klee and Edward Munch. Discussion focuses on the connection between the written play-text and the paintings through their common visual qualities and in terms of their common thematic, structural and stylistic characteristics. In a world dominated by science and technology, which renders belief in any absolute problematic, two seminal events have left a permanent mark on the contemporary concept of time: Einsteins theory of relativity and Bergsons philosophy of duration (simultaneite and duree). In their wake, Time has become relative and fragmented -- a central theme in the play and in the selected works of art under discussion. Objective, scientific and chronological time is contrasted with inner, psychological time (duration), which differs from individual to individual and from culture to culture. Four categories of time are assessed: historical, physical-chronological, psychological and eternal. The primary meaning behind a symbol makes the basic assumption that a particular object or entity may represent another essence. In attempting to understand the temporal/symbolic linkages of the text and paintings, much importance is attributed to the relationship between representer and represented and between concrete and abstract. Through symbolic abstraction one is able to better comprehend the human and cosmic phenomena the symbol seeks to decipher. The book deals with a castle. This central symbol of the play and the paintings is multifaceted, representing what is manifest and what is hidden within the castle, revealing a magical encounter between the world of words and the world of colour.
The Glasgow Style is the name given to the work of a group of young designers and architects working in Glasgow from 1890-1914. At its centre were four young friends who had trained at Glasgow School of Art; two architects and two artists - Charles Rennie Mackintosh, Herbert MacNair, Margaret Macdonald and Frances Macdonald - who were simply known by their friends and contemporaries as 'The Four'. Their work was a personal vision in the new international style of the 1890s, Art Nouveau, and is perhaps best known for Mackintosh's architecture and furniture. But at the root of this new style was a graphic language which all four shared. Charles Rennie Mackintosh and the Art of The Four presents the most coherent story to date of this important group, concentrating on the entirety of their artistic imagery and output, far beyond the best known work of the 1890s, and charting the constantly changing relationships between the artists and their work.
Though portraits of old women mediate cultural preoccupations just as effectively as those of younger women, the scant published research on images of older women belies their significance within early modern Italy. This study examines the remarkable flowering, largely overlooked in portraiture scholarship to date, of portraits of old women in Northern Italy and especially Bologna during the second half of the sixteenth century, when, as a result of religious reform, the lives of women and the family came under increasing scrutiny. Old Women and Art in the Early Modern Italian Domestic Interior draws on a wide range of primary visual sources, including portraits, religious images, architectural views, prints and drawings, as well as extant palazzi and case, furnishings, and domestic objects created by the leading artists in Bologna, including Lavinia Fontana, Bartolomeo Passerotti, Denys Calvaert, and the Carracci. The study also draws on an array of historical sources - including sixteenth-century theories of portraiture, prescriptive writings on women and the family, philosophical and practical treatises on the home economy, sumptuary legislation, books of secrets, prescriptive writings on old age, and household inventories - to provide new historical perspectives on the domestic life of the propertied classes in Bologna during the period. Author Erin Campbell contends that these images of unidentified women are not only crucial to our understanding of the cultural operations of art within the early modern world, but also, by working from the margins to revise the center, provide an opportunity to present new conceptual frameworks and question our assumptions about old age, portraiture, and the domestic interior.
In this comprehensive collection of essays, three generations of international scholars examine Mexican muralism in its broad artistic and historical contexts, from its iconic figures - Diego Rivera, Jose Clemente Orozco, and David Alfaro Siquieros - to their successors in Mexico, the United States, and across Latin America. These muralists conceived of their art as a political weapon in popular struggles over revolution and resistance, state modernization and civic participation, artistic freedom and cultural imperialism. The contributors to this volume show how these artists' murals transcended borders to engage major issues raised by the many different forms of modernity that emerged throughout the Americas during the twentieth century.
The Renaissance was a golden age in the long history of Venetian painting, and the art that came from Venice during that era includes some of the most visually exciting works in the whole of western art. This attractive book - a comprehensive account of painting in Venice from Bellini to Titian to Tintoretto - is an accessible introduction to the paintings of this period. Peter Humfrey surveys the development of a distinctly Venetian artistic tradition from the middle years of the fifteenth century to the end of the sixteenth century. He discusses the work of Jacopo and Giovanni Bellini, Giorgione, Titian, Veronese and Tintoretto as well as the paintings of those less well known - such as the three Vivarini, Cima, Carpaccio, Palma Vecchio, Lorenzo Lotto and Jacopo Bassano. Humfrey analyses these painters' works in terms of their pictorial style, technique, subject matter, patronage and function. He also sets the art against the background of the political, social and religious conditions of Renaissance Venice, as outlined in his Introduction. The book includes an appendix that provides brief biographies of thirty-six of the most important painters active in Renaissance Venice.
Set high on a ridge in historic parkland less than five miles from Trafalgar Square, Kenwood is London's favourite 'country house'. Remodelled by Robert Adam in the eighteenth century, in 1928 it became the home of the Iveagh Bequest, a superb collection of old master paintings that includes Rembrandt's most celebrated self-portrait, the only Vermeer in England outside the National Gallery and the Royal Collection, Gainsborough's Countess Howe, and classic works by Reynolds, Romney, Lawrence and Turner. The collection was formed between 1887 and 1891 by Edward Cecil Guiness, 1st Earl of Iveagh, chairman of the world's leading brewery, who gave it to the nation with the house and estate. This lovely book discusses each work, revealing the personalities behind the faces in the portraits, the social circumstances of each commission, and the way that art met the ambitions of artists, patrons, sitters and collectors. There are also two introductory essays that provide context for the house and discuss the ways in which Lord Iveagh was a pioneer collector. Beautifully produced, this catalogue of paintings is the essential book of Kenwood.
A fresh approach to nineteenth-century European painting; lusciously illustrated, it offers a comprehensive overview of the century's artistic innovation This extensive survey also includes biographies for each of the artists Nineteenth-Century European Painting: From Barbizon to Belle Epoque represents a comprehensive guide to the range of stylistically diverse genres of nineteenth-century European painting. Accessible and insightful, this exquisitely illustrated volume presents the historical context behind the century's essential artistic movements including Romantic Painting, The Pre-Raphaelite Brotherhood, Realist Painting, Academic Painting, and Impressionist Painting. Influenced by an overwhelming wave of political, military and social change, nineteenth-century Europe represented an era more diverse in painterly subjects and styles than any before it. Indeed, it was a period that saw many European painters moving away from the strictures of the academy system, choosing instead to use their training to develop new techniques and traditions. A collection of independent stories, this book also outlines the unique progression between the different movements, exciting and enlightening the reader about the most magnificent period of art the world has ever known. Contents: Foreword; Dr. Vern G. Swanson; Introduction; Author's Note; STYLES: The Barbizon School; Romantic Painting; Orientalist Painting; The Pre-Raphaelite Brotherhood; Realist Painting; Academic Painting; Impressionist Painting; The Newlyn School; Post-Impressionist Painting; SUBJECTS: Landscape Painting; Venetian View Painting; Maritime Painting; Sporting Painting; Animal Painting; Genre Painting; Cardinal Painting; Costume Painting; British Neoclassical Revival Painting; Belle Epoque Painting; Conclusion; Endnotes; Bibliography. Considered one of the world's foremost experts on 18th- and 19th-century European and American antiques, fine art and jewelry, Bill Rau has worked in his family-owned gallery, M.S Rau Antiques, for over 30 years. An avid collector and authority in his field, Bill has helped place several items in museums around the world. In addition to being a prominent member of many local business organizations, he was the youngest senior member ever accepted to the American Society of Appraisers. In addition to writing numerous articles published in a wide variety of national magazines and antique journals.
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