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Deluxe over-sized art-book celebrating the art of a lost master of horror illustration!, Celebrating the incredible art of Jordi Badia Romero from supernatural girls comic Misty, this sumptuous hardcover art book collects stories from the 1980s that showcase this remarkable, and criminally-overlooked, artist who died in 1984. The book also includes work by his brother, Enrique Badia Romero - artist on Modesty Blaise and Axa.,
The talent behind Radiohead's iconic artwork reveals in his own words and for the first time the creative process that has driven his career and earned him a cult reputation. A restless and prolific figure, Stanley Donwood is widely regarded as one of the most important visual artists of his generation. His influential work for Radiohead spans many practices and ever-evolving aesthetics over a 23-year period, from music packaging to installations to print-making. Here, for the very first time, he reveals his personal notebooks, photographs, sketches and abandoned routes to iconic Radiohead artworks. Arranged chronologically, chapters are each dedicated to a major work - be it an album cover, promotional piece or a personal project - presented as a step-by-step working case study, from speculative ideas and sketches right through to Photoshop experiments and the finished piece. Accompanying narratives by Donwood explain the inspirations and stories behind his creative process and what it is like to work with the band, told with his typical razor-sharp humour and generosity of spirit. Featuring a treasury of archive material, this is the first deep dive into Donwood's creative practice and the artistic freedom afforded to him by working for a major music act. There Will Be No Quiet is essential reading, and viewing, for fans of the band and anyone interested in the explosive mix of artistic accident, musical ingenuity and creative originality.
First published in the middle of the nineteenth century, following years of research and field study, The Viviparous Quadrupeds of North America (its original title) became the outstanding illustrated work on American mammals of its time and is still considered by many to include the finest animal prints published in North America. The book included many frontier animals never depicted before and helped to increase appreciation of American nature around the world. This edition of Audubon's classic work has been directly reproduced from an original copy held by the Library of the Natural History Museum, London. All the mammals' current scientific names have been included in the reference section at the back of the book.
'A pithy biography written with energy and zest' Sunday Times
Paul Gauguin achieved a high public profile during his lifetime, and was one of the first artists of his generation to achieve international recognition. But his prominence has always had as much to do with the dramatic events of his life – his self-imposed exile on a remote South Sea island, his turbulent relationships with his peers – as with the appeal of his art.
Belinda Thomson gives a comprehensive and accessible account of the life and work of one of the most original artists of the late 19th century. Gauguin’s work – painting, sculpture, prints and ceramics – is discussed in the light of his public persona, his relations with his contemporaries, his exhibitions and their critical reception. Belinda Thomson reveals Gauguin’s private world, beliefs and aspirations through his extensive cache of journals, letters and other writings. Fully updated throughout, drawing on the insights of thirty years of scholarship since its first edition, Thomson’s text remains the best introduction of this controversial and often contradictory artist.
This sweeping overview of Rembrandt's extraordinary achievement as a draughtsman fills a gap in the otherwise enormous literature on the artist. Beautifully illustrated, mostly in colour, the more than 150 drawings - culled from a corpus of some 800 - are discussed in detail. The drawings span Rembrandt's entire productive life as an artist, from early self-portraits in the 1620s to late drawings from the 1660s of the victim of an execution, a state coach, and historical and mythological images. The scope of the book allows readers to delve into the very broad range of Rembrandt's oeuvre of drawings.
A singular thinker and an uncompromising seeker after artistic truth, Cezanne channelled a large part of his wide-ranging intellect and ferocious wit into his letters. This translation by Alex Danchev is based on a thorough re-examination of Cezanne's correspondence with family, friends and major figures from the literary and art worlds. Danchev's great achievement is to allow readers in English to hear Cezanne's voice for the first time in his own idiomatic, idiosyncratic style. And he sounds rather different from the Cezanne we thought we knew - richer, wittier, wiser, more philosophical, more irascible, above all more fully human. The letters offer fresh perspectives on his artistic vision, politics, friendships, psychology, philosophy, literary tastes and classical frame of reference. They provide an intimate insight into the preoccupations and personality of a legend.
Drawing was central to Cezanne's indefatigable search for solutions to the problems posed by the depiction of reality. Many of his watercolours are equal to his paintings, and he himself made no real distinction between painting and drawing. This book's six chapters are arranged thematically covering the whole range of Cezanne's oeuvre: works after the Old Masters such as Michelangelo and Rubens; his period as one of the Impressionists; his exploration of both portraiture and the human figure, including the magnificent bathers; his interaction with landscape, particularly in his native Provence and the dominating form of Mont Sainte-Victoire; and finally the magisterial still lifes. In the Introduction, as well as throughout the book, Lloyd sets the drawings and watercolours in the context of Cezanne's life and overall artistic development. The result is a greater understanding of the process that led to some of the most absorbing art ever produced.
The bold, distinctive style of Paula Rego's paintings has acquired for her not only an ever-increasing critical reputation but also an unusually large and enthusiastic following. Her be-ribboned little-girl heroines and fairy-tale characters seem firmly rooted in childhood, yet the innocence of this art is darkened by the underlying themes of power, domination and rebellion, sexuality and gender, that run through her work. Here Rego has turned to the nursery rhyme as a source for her imagery. It is a genre that perfectly complements her art; full of double meanings, rhymes are written from a child's perspective but are open to adult interpretation. Twenty-six well-known nursery rhymes are accompanied by a series of etchings which she has executed spontaneously as a child might, drawing directly on the plate without preparatory planning. Following the traditions of earlier artists such as Beatrix Potter, she treats the fantastic realistically, dressing animals in human costume and using dream-like dislocations of scale. These are wonderfully comic and rich illustrations with a hint of the sinister, that turn classic nursery rhymes into colourful stories about folly and delusion, cruelty, convention and sex.
Look & See offers a very personal insight into the idiosyncratic influences and inspirations behind the creativity of Anthony Burrill, designer and letterpress guru. Selecting from his private collection of printed matter, lovingly gathered and curated throughout his career, this is a celebration of the pieces of paper that surround our everyday lives, offering a whimsical and, at times, almost philosophical perspective on how we view printed artefacts. Each piece is accompanied by an observation by Burrill that reveals his sensitive knowledge and understanding about design and its place it the real world. Beautifully crafted into a whole much greater than the sum of its delightful parts, this is a publication that will entrance and be treasured in equal measure.
On the occasion of the 450th anniversary of the death of Pieter Bruegel the Elder (c.1525/30-1569) the Kunsthistorisches Museum Vienna is mounting the first-ever large monograph exhibition of the leading Netherlandish painter of the 16th century. Only around forty paintings by Bruegel have survived, which is why museums and private collectors are right to count Bruegel's paintings among their most precious and fragile holdings. Bruegel's popularity continues to be informed by his often socio-critical but always varied, entertaining and powerful compositions. They invite the spectator both to begin an artistic discourse with the work and to reflect on the complexity of its content. This spectacular catalogue invites readers to immerse themselves in the world of the Netherlandish master. The results of recent research on materials and techniques allow us to focus on Bruegel's creative process: his perfect handling and execution, his virtuoso use of colour and his draughtsmanship - these are some of the many mysteries of this great artist. Bruegel's inventions and stories create artworks with a timeless power.
A Kenyan upbringing is the ticket to this voyage into a remarkably real created world entered via carved, integrating frames. Twice TVs pick of the show at the Royal Academies and with crowds and fan mail at a third RA Summer Exhibition, James remains a virtual unknown in his own country. A production rate averaging just one painting a year may account for this, but in an Art World where price is all, his output is sufficient to net him a viable living selling internationally. Also introducing the remarkable paintings of his artist son Alexander James. Together their art is akin to a vigorous breath of fresh air in a stuffy room.
The bestselling 30-Second... series takes a revolutionary approach to learning about those subjects you feel you should really understand. Each title selects a popular topic and dissects it into the 50 most significant ideas at its heart. Every idea, no matter how complex, is explained in 300 words and one picture, all digestible in 30 seconds. 30-Second Leonardo da Vinci uses this unique approach to grapple with the truly diverse thoughts of the ultimate Renaissance Man. Artist, anatomist, sculptor, inventor, architect, cartographer, mathematician, musician, botanist, geologist the word polymath does not quite do Leonardo justice. The painter of the Mona Lisa and conceptualizer of the helicopter seems like a Renaissance superhero. Here, the world's leading Leonardo scholars present an instant and expert guide to the breadth and brilliance of his greatest innovations.
The third volume of a catalogue raisonne of Luc Tuymans's paintings, surveying nearly two hundred works, charts the artist's investigation into painting's relationship to history and technology. Tuymans is widely credited with having contributed to the revival of painting in the 1990s. His sparsely colored, figurative works speak in a quiet, restrained, and at times unsettling voice and are typically painted from preexisting imagery that includes photographs and video stills. The works in this volume, made between 2007 to 2018, show Tuymans at his most virtuosic, subtly but provocatively addressing a range of topics including religion, corporatization, and cultural memory, in addition to modernism and the history of painting. The Internet, in particular, is central to these works as well as the screen-leading to a new style of contemporary image. The works are mediatized to the nth degree, despite the artist's continuous use of the traditional medium of painting. There is a certain kind of light that comes out of a screen, which can be found in Tuymans's recent paintings. This volume includes an editor's note by Eva Meyer-Hermann and an illustrated chronology with archival images and installation views of the featured works. It also presents brilliant color reproductions of each painting from this period. This publication is a testament to Tuymans's persistent assertion of the relevance and importance of painting-a conviction that he maintains even in today's digital world, when his work continues to be a touchstone for artists and scholars.
Paul Cezanne (1839 - 1906) painted almost 200 portra its, including twenty - six of himself and twenty - nine of his wife . This book presents twenty - four `highlights' from a major international exhibition that explores the portraiture of this remarkable artist, whom both Matisse and Picasso called `the father of us all'. In bringing together a broad selection of Cezanne's portraits, the book reveal s arguably the most personal , and therefore most human, aspect of his art, and one that has hitherto received surprisingly little attention. They range from the artist 's earliest surviving self - portrait , dating from the 1860s, through portraits of his uncle Dominique, his wife Hortense, his son Paul and a range of friends and associates, to his final portrait of Vallier, the gardener at his hou se near Aix - en - Provence, made shortly before the artist's death in 1906. The art historian Mary Tompkins Lewis , author of Cezanne : Art and Ideas (200 0 ) and Cezanne's Early Imagery ( 1989 ) , contributes an illuminating introductory essay on the artist and his portraiture for a genera l readership. Also included is an illustrated chronology of Cezanne's life and work .
One year ago, `We're here because we're here' left a lasting impression on millions of people in the UK. A new book about the event is being released that records that remarkable day and details how it was produced by Turner Prize-winning artist Jeremy Deller, the National Theatre's Director, Rufus Norris and 14-18 NOW - the UK's arts programme for the First World War centenary. It was an event that reached 30 million people and humanised the great loss of life at the Battle of the Somme. `We're here because we're here' saw some 1500 voluntary participants dressed in First World War uniform appear unexpectedly in locations across the UK. The project broke new ground in terms of its scale, breadth, reach and the number of partners and participants involved. The book includes over 100 colour photographs which show the soldiers in a number of everyday scenarios, and some more extraordinary - including waiting in train stations, engaging with drivers at a Salisbury roundabout and walking up Mount Snowdon. Many of the images show the public's interaction with the soldiers and their subsequent reactions to the event which left many people overwhelmed. The book includes sketches and notes from Jeremy Deller's notebook and a map of locations. The book also features an interview between Jeremy Deller and Jon Snow of Channel 4 News and more details about how the event was created and implemented on such a huge scale. `We're here because we're here' was one of the largest arts participation projects ever staged in the UK, with hundreds of additional volunteers working behind the scenes. Jeremy Deller's new book acts as a superb record of this remarkable event.
Hierdie publikasie gee ’n volledige beeld van die kunstenaar Frans David Oerder (1867–1944) se oeuvre – sy Anglo-Boereoorlogtekeninge, landskappe, genrestukke, portrette, blomstudies en stillewes, interieurs, dierestudies en grafiese werk. Geen moeite is ontsien om hierdie boek so volledig en betroubaar moontlik te maak nie. Argivale bronne in die Kunsargief van die Universiteit van Pretoria, die Argief van die Johannesburg Kunsmuseum en die Nasionale Argief van Suid-Afrika in Pretoria het grootliks bygedra tot die toevoeging van inligting oor hierdie kunstenaar wat nie voorheen bekend was nie. Dieplakboek van Gerda Oerder en ’n lang lesing met detailinligting oor Oerder se vroee lewe deur mev. Lorimer in die Kunsargief van die Universiteit van Pretoria het bygedra tot ’n nuwe vertolking van die lewe en werk van hierdie belangrike Suid-Afrikaanse kunstenaar. Tydens die Anglo-Boereoorlog was Oerder die enigste amptelike kunstenaar aan Boerekant, maar tot dusver is nog geen volledige geskiedenis van sy deelname aan die oorlog geskryf nie. In hierdie boek word Oerder se Anglo-Boereoorlogtekeninge nou vir die eerste keer so volledig moontlik afgedruk en beskryf.
Hokusai: the blue, foam-crested wave rearing above Mount Fuji; the celebrated volcano idealized and reinventedby the artist in every nuance of view, season and painting; extraordinary bridges, the waterfalls of Japan, the contortions, costumes, gestures – the very breath of men, women, peasants, townsmen, warriors, artisans, leaping horses, birds, insects, fish, almost live on the ground on which they are painted – the countless imaginative drawings or the lively sketches done on the spot for the Manga, Hokusai’s record of shapes and forms drawn from life or imagined over time. With a body of work comprising more than 30,000 drawings and paintings, Hokusai (1760–1849) was the most prolific, varied and indisputably the most creative artist of old Japan. A universal genius in everything that constituted drawing and painting in his time, he practised all genres of ukiyo-e, those ‘images of the floating world’, as his contemporaries liked to describe their pleasures and their daily life.
This book traces the career of this child from a working-class district of old Tokyo, then known as Edo, evoking the special atmosphere of this great city and of Japanese life, when Japan – closed to foreigners – developed in a vacuum a powerfully original culture. Hokusai became one of the great masters of the woodcut, this ‘brush gone wild’, as he called himself, being rediscovered by the Impressionists and aesthetes at the end of the 19th century. He remains one of the greatest and – thanks to his personality – one of the most attractive figures of world art.
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