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"Jasper Krabbe - 100 Selfportraits" includes an impressive number of self-portraits made in the period between the Summer of 2004 and the Summer of 2005. The portraits' formats have been determined by the measurements of an old bookkeeping book in which Krabbe made his self-portraits - one dating from the nineteen-fifties with squared and blank pages. Even the paint he uses for this project is from the same period. This corresponds with the idea that the self-portrait is a typical nineteenth-century activity. The book has been reproduced as a facsimile, which means that the reader has the feeling of looking at the original sketchbook of the artist. Krabbe wanted to explore what the self-portrait can still be in today's age. He wanted to gauge changing emotions, capture a moment and find the right tone. The selection in the book shows the diversity of solutions and styles he used. The self-portraits reveal there is no such thing as a fixed identity but maybe rather a 'core', a soul that is unchangeable. The text is in Dutch and English.
"There may be a great fire in our soul, but no one ever comes to warm himself at it, and the passers-by see only a little bit of smoke coming through the chimney, and pass on their way ... Must one tend that inward fire ... wait for the hour when someone will come and sit down near it - to stay there maybe? Let him who believes in God wait for the hour that will come sooner or later." - Vincent Van Gogh Vincent Van Gogh (1853-1890) is arguably the most beloved artist int he world. he was also an artist motivated by a deep spiritual vision - expressed first in his efforts to become a missionary and minister, and later, after his decisive break with organized religion, through his art. Through art he found anew way to express his solidarity and compassion for humanity, and to awaken people to the sacred depths of reality. As he wrote, "I should like to pain in men and women something of that quality of eternity which was symbolized formerly by a halo and which we try to convey by the very radiance of our coloring." It was this vision and the quality of his sacrifice that defined the spiritual dimension of his art. Though virtually nobody in his own lifetime understood his intentions or appreciated his work, Van Gogh poured out his convictions in letters to his brother Theo. Drawing largely on these letters along with her own reflections on the interplay between his life, his spiritual vision, and his art, Carol Berry draws a moving portrait of Van Gogh as a spiritual seeker and teacher for our time. Along with original translations of Van Gogh's letters the volume is illustrated by a number of his drawings.
"The wide variety of selections from Frederic Edwin Church's collection of his own paintings shows the master in all phases of his career, in sketches and finished paintings, depicting the breadth of his subjects and the high technical skills that established him as an eminent and influential artist in his own time. As works he held on to or reacquired and kept in his house during his lifetime, they embody the heart of his artistic vision and convey a deeply personal slant. As pictures he hung and lived with at Olana, they tell the larger story of that extraordinary place and are as illuminating when seen in context as on their own." from the IntroductionFrederic Edwin Church (1826 1900) traveled the world, captured its beauty in countless paintings, and brought it home to live at Olana, his castle on the Hudson. The name was inspired by a reference Church found to a fortress or a treasury-storehouse in ancient Persia. This extraordinary selection of Church's paintings from his collection at Olana puts the most cherished of his treasures on full display in a volume that includes eighty color plates.Church's paintings, among the most acclaimed examples of art of the Hudson River School, are found in museums and private collections around the globe. However, Church kept some of his art close by during his lifetime. The rich collection that remains at Olana includes about seven hundred pieces, including notebooks, drawings, and oils, both sketches and completed canvases. They cover the full range of Church's career chronologically and thematically. The highlights from his personal collection are found in the touring exhibition that accompanies this book. The introduction by John Wilmerding and a substantial essay by Kevin J. Avery place the work into the context of Church's life and travels and examine Church's influences and the public reception of his art. Throughout Treasures from Olana, they discuss how profoundly Church's hilltop home and the surrounding landscape inspired and informed his work. His paintings, in turn, illuminate Olana more than a century after his death. The Olana Partnership, Hudson, N.Y., and New York State's Office of Parks, Recreation, and Historic Preservation, Albany, N.Y., organized Treasures from Olana: Landscapes by Frederic Edwin Church."
Concise and beautifully illustrated, this guide provides invaluable
instruction on the art of pencil drawing. It covers the basics of
holding the pencil, applying different strokes, shading,
perspective, and the rendering of different textures, as well as
the finer points of pictorial composition and drawing from
In this quincentennial year of Holbein's birth, this is the first
comprehensive annotated bibliography of texts relating to this
important Northern European Renaissance artist, with an
accompanying historiographic essay on various aspects of Holbein's
This book examines the extraordinary metamorphosis that has occurred in the presentation of the human face during the twentieth century. A series of essays charts the portraits that are Milestones' to that change, while the discussion which follows -- Changing Perceptions' -- endeavours to identify its nature, its causes, and to show how the manner in which the artists reveal this transformation when painting their sitters.
The British painter Mali Morris's career stretches over forty years. Her experiments with colour, layering, and pictorial space have made her one of the most intriguing abstract artists working in Britain today. She draws inspiration from the art of the past - from the paintings of Manet and Velazquez, and the chromatic intensities of Matisse, Indian miniatures and the Sienese masters - as well as acknowledging influence from such twentieth-century artists as Helen Frankenthaler, Hans Hofmann and Milton Avery. The contemporary vitality of her work comes from its inventiveness, always moving her painting forwards. She says her work falls into 'families' - individual paintings that reach out for one another - and that she uses colour as an 'entity' in itself, a way of constructing luminosity, rather than a description of something outside the work. In extracts from her own writings included here, she compares painting with the work of poetry, with its similar aim of compression, finding form for feeling through language. This book is the first to present the full range of Morris's stunning paintings, alongside an insightful essay by Sam Cornish that evaluates the influence and importance of her work, an illustrated chronology, and a preface by the art historian Mel Gooding.
Christianity is another country, says John Drury, and we need to familiarize ourselves with it in order to understand the universal meaning of its art. In this beautifully written book, Drury, an Anglican priest and theologian, looks at religious paintings through the ages and presents them to us in a fresh way-as works filled with passion, stories, and meaning. They become the poetry of such eternal human concerns as birth, death, sacrifice, love, and moral goodness and failure. Drury points out the religious meanings in paintings that range from works by Piero della Francesca to those by Velazquez. In each case he views the whole picture-its composition, color, drawing, figures, and even architecture-and shows how it creates a religious image that addresses the spectator as a spiritual human being. Drury also provides a historical context for the works, comparing our perception with the perceptions of, for example, the medieval monarch or the Renaissance merchant who first commissioned the work. He examines how these pictures are able to speak to audiences across time and space, and in the process he allows us to respond to them at a more imaginative, empathetic level.
British flower painting has its own unique, if relatively recent, history, but it can only be judged in the light of the wider history of the subject and by comparison with other, particularly European, countries. The first chapter of "A History and Dictionary of British Flower Painters", therefore, sets the scene with a brief introduction to floral art world wide before the next four chapters concentrate on British flower painting in the seventeenth, eighteenth, nineteenth and twentieth centuries. Over ninety colour plates illustrate these five chapters. The Dictionary gives the biographical details of more than 970 British flower painters from 1650-1950 including their specialities, awards, exhibitions an bibliographical details. The work of many is illustrated in black and white.
Penelope Fitzgerald, the Booker Prize-winning author of `Offshore' and `The Blue Flower', turns her attention to the remarkable life of the Pre-Raphaelite artist Edward Burne-Jones. `I mean by a picture a beautiful, romantic dream of something that never was, never will be, in a light better than any light that ever shone - in a land no one can define or remember, only desire' Edward Burne-Jones Edward Burne-Jones (1833-1898) was the prototypical pre-Raphaelite but with a truly individual sensibility. Penelope Fitzgerald's delightful biography charts his life from humble beginnings in Birmingham as the son of an unsuccessful framer, through a transformative period at Oxford, where he met his close friend and collaborator William Morris, and on to the apprenticeship with Dante Gabriel Rossetti that would shape his artistic vision. His work harks back to an Arthurian England - an Arcadia that offered solace against the onset of the Industrial Revolution, and on a deeply personal level provided respite from his ever-present melancholia. This is an illuminating portrait of a fascinating figure - artistic genius, doting father, troubled husband - written with all Penelope Fitzgerald's characteristic sympathy and insight.
Universally recognized as a brilliant and gifted 18th-century artist, Johan Zoffany (1733-1810) was regarded by Horace Walpole as one of the three greatest painters in England, along with his friends Reynolds and Gainsborough. Yet he has remained without a detailed study of his life and works, owing to the fascinating and complex vicissitudes of his career, now established from widely scattered sources. From being a late-baroque painter at a German princely court to working under the royal patronage of George III and Queen Charlotte, from his serious interest in Indian life and landscape, developed while living near Calcutta, to his attacks on the bloody progress of the French Revolution, Zoffany created pictures that document with incomparable liveliness the worlds and people among whom he moved.
Read this book and the world's most famous image will never look the same again. For the world's greatest cultural icon still has secrets to reveal - not the silly secrets that the 'Leonardo loonies' continue to advance, but previously unknown facts about the lives of Leonardo, his father, Lisa Gherardini, the subject of the portrait, and her husband Francesco del Giocondo. From this factual beginning we see how the painting metamorphosed into a 'universal picture' that became the prime vehicle for Leonardo's prodigious knowledge of the human and natural worlds. We learn about the new money of the ambitious merchant who married into the old gentry of Lisa's family. We discover Lisa's life as a wife and mother, her association with sexual scandals, and her later life in a convent. We meet, for the first time, previously undiscovered members of Leonardo's immediate family and discover new information about his early life. The tiny hill town of Vinci is placed before us, with its widespread poverty. We find out about the career and possessions of his father, a notable lawyer in Florence. The meaning of the portrait that resulted from these human circumstances is vividly illuminated though Renaissance love poetry and verses specifically dedicated to Leonardo. We come to understand how Leonardo's sciences of optics, psychology, anatomy and geology are embraced in his poetic science of art. Recent scientific examinations of the painting disclose how it evolved to assume its present appearance in Leonardo's experimental hands. Above all, we cut through the suppositions and the myths to show that the portrait is a product of real people in a real place at a real time. This is the book that brings back a sense of reality into the creation of the portrait of Lisa del Giocondo. And the actual Mona Lisa, it turns out, is even more astonishing and transcendent than the Mona Lisa of legend.
J. B. (Jack) Taylor (1917--1970) was an important figure in the history of Banff and western Canada's artistic community. Inspired by the locale, Taylor spent his career striving to depict the idea of the mountain, moving over time from traditional representations of nature to an intuitive perception of the essential elements of landscape-rock, water, and sky. Always, he sought to capture his ideas through the development of a new visual language. He applied this new vernacular to a range of studies encompassing portraiture through to other landscapes. Filled with images of his work and photographs of his life as an artist and teacher in western Canada, this book is the first to focus completely on J.B. Taylor, his importance to the western Canadian and Banff artistic communities, and his role in the transition from traditional, eastern, North American and European landscape ideals and technique to a more abstract representation and the formation of a new aesthetic of the wilderness based on the mountains of the West.
The whys and hows of the various aspects of landscape painting: angles and consequent values, aerial and linear perspective, painting of trees, emotional properties of line and mass in composition, light, unity of tone, plus information on canvas, palette, brushes and other materials and techniques. 34 reproductions of paintings by John Carlson. 58 explanatory diagrams. Index.
Bob Ross-whose happy paintings, memorable hairstyle, and quirky catchphrases make us grin from ear to ear-is still as popular as ever, maintaining a core base of fans through a show that has never gone off the air since 1983 and that's embraced by a generation of gamers and millennials, with tributes appearing everywhere from Twitch to Netflix, Buzzfeed, and YouTube.
This mini kit captures Ross's matchless appeal. It includes the first-ever officially licensed Bob Ross bobblehead figure, and it plays 10 different wise and witty sayings from the art master. The kit also comes with a mini easel book featuring Ross's landscape works, which can be displayed alongside the bobblehead figure.
In this study, Eleanor Winsor Leach offers a new interpretation of Roman painting as found in domestic spaces of the elite classes of ancient Rome and Campania. Because the Roman house fulfilled an important function as the seat of its owner's political power, its mural decoration provides critical evidence for the interrelationship between public and private life. The painted images, Leach contends, reflect the codes of communication embedded in upper class life, such as the performative theatricality that was expected of those leading public lives, the self-conscious assimilation of Hellenistic culture among aristocrats and the ambivalent attitudes towards luxury as a coveted sign of power and a symptom of ethical degeneracy. Relying on contemporary literary sources, this book also integrates historical and semantic approaches to an investigation of the visual language through which painting communicates with its viewers. It also offers a fresh perspective on the demography of Pompeii and the relationship between the colony and Rome as reflected in its wall painting.
Discover the British coastlines through an artist's eye with this beautiful calendar. Including artworks by John Constable, Henry Bishop and Joseph Mallord William Turner, this calendar explores the beauty of the British coast. Produced in partnership with Tate, London. Informative text accompanies each work and the datepad features previous and next month's views.
** Selected as a Book of the Year in The Times, Sunday Times and Observer ** 'Compulsively readable - the pages seem to turn themselves' John Carey, Sunday Times 'Brings one of the very greatest [artists] vividly to life' Literary Review Thomas Gainsborough lived as if electricity shot through his sinews and crackled at his finger ends. He was a gentle and empathetic family man, but had a volatility that could lead him to slash his paintings, and a loose libidinous way of speaking, writing and behaving that shocked many deeply. He would be dynamite in polite society today. In this exhilarating new biography - the first in decades - James Hamilton reveals Gainsborough in his many contexts: the easy-going Suffolk lad, transported to the heights of fashion by a natural talent; the rake-on-the-make in London, learning his art in the shadow of Hogarth; falling on his feet when he married a duke's daughter with a handsome private income; the top society-portrait painter in Bath and London who earned huge sums by bringing the right people into his studio; the charming and amusing friend of George III and Queen Charlotte who nevertheless kept clear of the aristocratic embrace. There has been much art history written about this chameleon of art, but with fresh insights into original sources, Gainsborough: A Portrait transforms our understanding of this fascinating man, and enlightens the century that bore him.
Thomas Hart Benton was a thoroughly American artist. His regionally focused paintings and murals depicted everyday American life as well as the country's history. This volume focuses on one of the most American of Benton's associations: Hollywood. Not only did Benton create commissioned murals and portraits of film stars and movies, but he also developed a style that was highly theatrical and narrative. This volume is the first to collect all the works conceived by Benton for the film industry. It includes related ephemera, photographs and documents of Benton at work, along with a series of thought-provoking essays that explore a diverse array of topics - from Benton's engagement with American identity from the 1920s to the 1960s to parallels between Benton's use of Old Master methods and film production techniques. Fans of Thomas Hart Benton will find surprising insights into his career, while those fascinated by Hollywood history will discover how one of America's most revered artists shaped and was in turn influenced by the film industry. Published in association with the Peabody Essex Museum, Salem, MA.
"I painted my world, my life, all the things I loved, all the things I dreamed of, all the things I could not say in words. I painted my beloved Russia, my hometown Vitebsk, the Jewish neighborhood where I grew up, the way I saw everything as a child."
During prayers he would daydream; in school he was distracted; and at home he worried about what profession he should choose. But when the young Marc Chagall realized he had artistic talent, he translated his unusual way of looking at the world into color and shape.
Chagall grew up, became a painter, and traveled the world, but he never forgot about his hometown of Vitebsk, Belarus, the place that shaped his character and inspired his art.
This book, loosely based on Chagall's autobiography, gives readers a glimpse into the early life of one of the twentieth century's most significant painters. Landmann's charming three-dimensional mixed-media illustrations celebrate the colorful, the whimsical, and the extraordinary aspects of Chagall's life and work.
El Greco, Vel zquez, Rembrandt
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