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Jo Jayson's extraordinary paintings and channelings of Sacred Feminine archetypes, prophetesses, and women of strength herald the way to a unique path toward Self-Love. Thirteen Divine feminine energies compelled her to paint their images and share their powerful messages of love and healing. View these beacons of Light through prayers, lessons, and wisdom as each offers you a way to reconnect with your true Divine self. Guided by Spirit, Jo helps us to understand that our souls are our "cups full of Source." Learn to love yourself unconditionally, become empowered, access courage, forgive, embody the Sacred Feminine, and weave the web of your life. Now is the time to identify and use your own magical wisdom and the intentions of your heart, guided by the Sacred Feminine within you.
A revelatory exploration of Winslow Homer's engagement with photography, shedding new light on his celebrated paintings and works on paper One of the greatest American painters of the 19th century, Winslow Homer (1836-1910) also maintained a deep engagement with photography throughout his career. Focusing on the important, yet often-overlooked, role that photography played in Homer's art, this volume exposes Homer's own experiments with the camera (he first bought one in 1882). It also explores how the medium of photography and the larger visual economy influenced his work as a painter, watercolorist, and printmaker at a moment when new print technologies inundated the public with images. Frank Goodyear and Dana Byrd demonstrate that photography offered Homer new ways of seeing and representing the world, from his early commercial engravings sourced from contemporary photographs to the complex relationship between his late-career paintings of life in the Bahamas, Florida, and Cuba and the emergent trend of tourist photography. The authors argue that Homer's understanding of the camera's ability to create an image that is simultaneously accurate and capable of deception was vitally important to his artistic practice in all media. Richly illustrated and full of exciting new discoveries, Winslow Homer and the Camera is a long-overdue examination of the ways in which photography shaped the vision of one of America's most original painters.
In Acrylic 1, Ken Goldman offers the perfect introduction to the exciting world of acrylic painting! Inside, you will find an array of beautiful paintings that will inspire you to explore the medium further. Ken covers a range of popular painting subjects as he introduces a number of basic art concepts and techniques, all clearly explained and illustrated. You will learn how to create excitement with contrasts of color and neutral tones, as well as how to depict movement. Then you'll be ready for Acrylic 2, where you will find step-by-step demonstrations to help you further your painting skills.
The question of which 17th-century paintings in Rembrandt's style were actually painted by Rembrandt himself had already become an issue during his lifetime. It is an issue that is still hotly disputed among art historians today. The problem arose because Rembrandt had numerous pupils who learned the art of painting by imitating their master or by assisting him with his work as a portrait painter. He also left pieces unfinished, to be completed by others. The question is how to determine which works were from Rembrandt's own hand. Can we, for example, define the criteria of quality that would allow us to distinguish the master's work from that of his followers? Do we yet have methods of investigation that would deliver objective evidence of authenticity? To what extent do research techniques used in the physical sciences help? Or are we, after all, still dependent on the subjective, expert eye of the connoisseur? The present book provides answers to these questions. Prof. Ernst van de Wetering, the author of our forthcoming book which deals with these questions, has been closely involved in all aspects of this research since 1968, the year the renowned Rembrandt Research Project (RRP) was founded. In particular, he played an important role in developing new criteria for authentication. Van de Wetering was also witness to the way the often overly zealous tendency to doubt the authenticity of Rembrandt's paintings got out of hand. In this book he re-attributes to the master a substantial number of unjustly rejected Rembrandts. He also was closely involved in the (re)discovery of a considerable number of lost or completely unknown works by Rembrandt. The verdicts of earlier specialists - including the majority of members of the original RRP (up to 1989) - were based on connoisseurship: the self-confidence in one's ability to recognise a specific artist's style and 'hand'. Over the years, Van de Wetering has carried out seminal research into 17th-century studio practice and ideas about art current in Rembrandt's time. In this book he demonstrates the fallibility of traditional connoisseurship, especially in the case of Rembrandt, who was par excellence a searching artist. The methodological implications of this critical view are discussed in an introductory chapter which relates the history of the developments in this turbulent field of research. Van de Wetering's account of his own involvement in it makes this book a lively and sometimes unexpectedly personal account. The catalogue section presents a chronologically ordered survey of Rembrandt's entire painted oeuvre of 336 paintings, richly illustrated and annotated. For all the paintings re-attributed in this book, extensive commentaries have been included that provide a multi-facetted new insight into Rembrandt's world and the world of art-historical research. Rembrandt's Paintings Revisited is a reprint of the concluding sixth volume of A Corpus of Rembrandt Paintings (Volumes I-V; 1982, 1986, 1989, 2005, 2010). It can also be read as a revisionary critique of the first three Volumes published by the old RRP team up till 1989 and of Gerson's influential survey of Rembrandt's painted oeuvre of 1968/69. At the same time, the book is designed as an independent overview that can be used on the basis that anyone seeking more detailed information will be referred to the five previous (digital versions of the) Volumes and the detailed catalogues published in the meantime by the various museums with collections of Rembrandt paintings. This work of art history and art research should belong in the library of every serious art historical institute, university or museum.
"Masterful Color" will redefine the way you think about colored pencils. By employing classic techniques such as tonal under painting, chiaroscuro and color layering, you will achieve a depth and intensity of color that rivals the celebrated paintings of the Old Masters.
A fascinating look at how Mapplethorpe and Munch, although separated by many years, shared certain affinities in their lives and artwork This revelatory catalogue delves into the many affinities shared between two widely renowned and discussed artists, Robert Mapplethorpe (1946-1989) and Edvard Munch (1863-1944), whose intensely studied work has, until now, never been considered in relation to one another. Mapplethorpe + Munch brings to light how these two monumental figures curiously relate on an existential level, in how they deal with questions concerning sexuality, and in their way of utilizing self-portraiture as a means to explore issues of personal identity. Featuring essays that examine the thematic impulses behind the accompanying exhibition, this publication establishes a previously unexplored association between two equally contentious art figures, while working to impart alternative perspectives and new insight into their respective outputs. Although distinct in their legacies, Mapplethorpe and Munch remain remarkably intertwined.
In 1939, Scottish artist and sculptor J.D. Fergusson was commissioned to write a fully illustrated book on modern Scottish painting. The Second World War made this difficult and the first edition of Modern Scottish Painting was published in 1943 without illustrations. This new edition - edited, introduced and annotated by Alexander Moffat and Alan Riach - finally brings Fergusson's project to fruition, illustrating the argument with colour reproductions of Fergusson's own work. Moffat and Riach frame Fergusson's important art manifesto for the 21st-century reader, illuminating his views on modern art as he explores questions of technique, education, form and what it means for a painting to be truly modern. Fergusson relates these aspects of modern painting to Scottishness, showing what they mean for Scottish identity, nationalism, independence and the legacy that puritanical Calvinism has left on Scottish art - a particular concern for Fergusson given his recurring subject matter of the female nude.
Popular perceptions of Vincent van Gogh (1853-1890) frequently envision the painter working before nature in an intense frenzy, yet the artist's method was often controlled and deliberate. "Van Gogh Repetitions" is the first book to focus on the artist's "repetitions," a term he used to describe his process of producing more than one version of a composition. Van Gogh ultimately developed a conceptual framework that distinguished his "repetitions" from "copies," "etudes," "tableaux," and "decorations," balancing modernist aspirations toward originality with the creation of copies of his existing compositions. The artist's practice of producing repetitions was far more extensive and vital to his creative process than is commonly recognized.
In this groundbreaking and beautifully illustrated book, a series of essays considers the many unresolved issues and controversies surrounding the repetitions, including their origins, development, and meaning in van Gogh's art. Technical and analytical examinations provide new insights into the artist's working methods and approach to the creative process.
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 Charles Coleman: Apple Blossoms.
"I always thought I would get into painting, but I got waylaid by rock 'n' roll. Finally, I thought, 'Now's the time.' As soon as I could be alone and paint without any interruptions, I just couldn't stop." – Chrissie Hynde
"These paintings wake me up, show me life, make me want to get up and do something." – Brian Eno
"The fact that Chrissie is a great musician doesn’t undermine her painting; it underpins it…" – Tim Marlow
In 2015, Chrissie Hynde, the singer, songwriter and leader of The Pretenders, produced an oil painting of a ceramic vase. It proved to be the starting point for Chrissie Hynde’s first body of work, nearly 200 canvases in all. These paintings are now shared for the very first time in Adding The Blue.
Beginning with still life studies and culminating in vibrant abstract compositions, Adding The Blue is a beautiful book of paintings that reveals Chrissie Hynde as an artist as passionate about her painting as her music.
With forewords by visionary musician and artist, Brian Eno, and The Royal Academy’s Artistic Director, Tim Marlow, Adding The Blue is captioned throughout with Chrissie Hynde’s thoughts, anecdotes and reflections.
Published in hardback the front cover features the work,'Tuesday Self-Portrait'
Arthur L. Guptill's classic Rendering in Pen and Ink has long been regarded as the most comprehensive book ever published on the subject of ink drawing. This is a book designed to delight and instruct anyone who draws with pen and ink, from the professional artist to the amateur and hobbyist. It is of particular interest to architects, interior designers, landscape architects, industrial designers, illustrators, and renderers. Contents include a review of materials and tools of rendering; handling the pen and building tones; value studies; kinds of outline and their uses; drawing objects in light and shade; handling groups of objects; basic principles of composition; using photographs, study of the work of well-known artists; on-the-spot sketching; representing trees and other landscape features; drawing architectural details; methods of architectural rendering; examination of outstanding examples of architectural rendering; solving perspective and other rendering problems; handling interiors and their accessories; and finally, special methods of working with pen including its use in combination with other media. The book is profusely illustrated with over 300 drawings that include the work of famous illustrators and renderers of architectural subjects such as Rockwell Kent, Charles Dana Gibson, James Montgomery Flagg, Willy Pogany, Reginald Birch, Harry Clarke, Edward Penfield, Joseph Clement Coll, F.L. Griggs, Samuel V. Chamberlain, Louis C. Rosenberg, John Floyd Yewell, Chester B. Price, Robert Lockwood, Ernest C. Peixotto, Harry C. Wilkinson, Bertram Grosvenor Goodhue, and Birch Burdette Long. Best of all, Arthur Guptill enriches the text with drawings of his own.
When Paul Gauguin (1848-1903) painted Vision After the Sermon in the summer of 1888 he was a mature artist who had travelled, exhibited and worked in a variety of media. Today the painting is considered a masterpiece, helping to assure Gauguin's fame the world over. Few paintings have given rise to more art historical analysis and critique, more speculation, admiration or recrimination. Accompanying the innovative painting-in-focus exhibition, 'Gauguin's Vision', this book illuminates one of the most intriguing and famous images in the history of western art. This re-examination of the painting, Vision After the Sermon: Jacob Wrestling with the Angel brings together works by Gauguin, his mentors such as Paul C,zanne and Edgar Degas, and younger contemporaries including Emile Bernard, Paul S,rusier, Maurice Denis and Henri van de Velde. It explores the biographical, pictorial and cultural circumstances that enabled Gauguin to make such a radical statement in paint in 1888. This beautifully illu
San Francisco based artist Ian Johnson has been busy since his 2008 monograph Beauty is a Rare Thing. Six solo shows and a group exhibition later, his work has evolved while remaining jarringly cool and full of life. This new book from Paper Museum Press presents new paintings and drawings by Johnson in his signature style: portraits of jazz musicians from the '40s, '50s, and '60s produced using gouache, acrylic, or pen on paper or wood panel. Johnson combines abstract backgrounds with figurative representations to create jaw-dropping pieces that succeed at evoking the music of each artist. Creative geometric compositions of space and color unfold to express the tone of each musician's output. Ian Johnson's work has been featured in Juxtapoz and Jazz Colours and he has created illustrations for The New York Times, San Francisco Chronicle, Wax Poetics, and The New Yorker.
This generously illustrated book presents highlights from the National Gallery's display of Italian Renaissance painting, one of the richest collections of its kind in the world. "Duccio to Leonardo "focuses on Italian masterpieces made between 1250 and 1500, including highlights such as Duccio's "Annunciation," Botticelli's "Venus and Mars," and Leonardo's "Virgin and Child with Saint Anne and Saint John the Baptist." It begins with a short introduction on the formation of the collection, before discussing each of the chosen works.
Featuring the superlative work of 12 Royal Academicians, including such fantastic talents as David Nash, this art calendar displays bright and beautifully executed pieces that are to be enjoyed by all. The datepad features previous and next month's views.
The acclaimed French painter Gustave Moreau (1826-1898) strove to
renew history painting by creating epic art in a nonacademic
manner. In this thought-provoking book, Peter Cooke explains how
Moreau essentially created pictorial Symbolism through his novel
approach to the genre of history painting. In the process, the
author closely examines the artist through some of his major
paintings, his ideology and aesthetic, and, for the first time, in
relation to other artists of his time and of the previous
generations. The narrative follows Moreau's career from his
Neoclassical and academic training through his conversion to
Romanticism, his studies in Italy, his experiences as an exhibitor
at the Paris Salon, and his subsequent years as a professor at the
Ecole des Beaux-Arts and as the founder of his own museum. By
drawing on unpublished manuscripts from the Musee Gustave Moreau in
Paris, Cooke presents fresh insights into how Moreau's art reflects
his spiritualist, Catholic ideology, as well as his controversial
effect on the art world of his time.
When they were first exhibited in the late 1960s, Frank Bowling's immense "map paintings" were widely celebrated for their vibrant color and subtle modulation of the painted surface. These works, like many in Bowling's oeuvre, draw on the principle of mapping to create a kind of mental geography, woven throughout with personal and historic imagery. This collection of paintings from throughout Bowling's career features exquisite reproductions that illuminate his experiments with material and the paintings' wide range of pictorial possibilities. Accompanied by an extensive curatorial survey, art historical contributions, prose poem, biographical visual essay, as well as the collected writings and correspondence of the artist, this book offers an in depth exploration of Bowling's career and aspects of his journey from his home in Guyana to London and New York. It also highlights references to the natural world and his use of classical and literary symbolism. This book creates a true mappa mundi-an evolving map of Bowling's inner and physical worlds.
Originally published in 1938 when Kenneth Clark was director of the National Gallery, London, this book presents Clark's favorite details from paintings in the museum's collection. Newly updated and handsomely illustrated, this landmark book juxtaposes pairs of details rarely viewed together--such as cupids from Velazquez's "Rokeby Venus" and Correggio's "The School of Love"--to illuminate fascinating analogies and contrasts between paintings and artists. Clark's erudite but accessible responses to these works are broad in scope and approach, and range from a few lines to an entire history of the still life. Featuring all new color reproductions, "One Hundred Details" serves as an introduction to art history and offers a unique and intimate look at these paintings through the discerning eye of a world-renowned art historian and director.
Attractive selection of illustrations, reprinted from rare late-19th-century German collection of designs for surface decoration, textiles, other uses. Includes 124 stylized representations of lush blossoms, tropical fruits and graceful foliage. Inspirational, copyright-free, low-cost sourcebook for artists and craftworkers.
A comprehensive survey examining the vibrant and sumptuous art of illumination during a period of profound intellectual and cultural transformation Hand-painted illumination enlivened the burgeoning culture of the book in the Italian Renaissance, spanning the momentous shift from manuscript production to print. This major survey, by a leading authority on medieval and renaissance book illumination, gives the first comprehensive account in English of an immensely creative and relatively little-studied art form. Jonathan J. G. Alexander describes key illuminated manuscripts and printed books from the period and explores the social and material worlds in which they were produced. Renaissance humanism encouraged wealthy members of the laity to join the clergy as readers and book collectors. Illuminators responded to patrons' developing interest in classical motifs, and celebrated artists such as Mantegna and Perugino occasionally worked as illuminators. Italian illuminated books found patronage across Europe, their dispersion hastened by the French invasion of Italy at the end of the 15th century. Richly illustrated, The Painted Book in Renaissance Italy is essential reading for all scholars and students of Renaissance art.
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