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A fascinating new history of art, this gloriously illustrated book reveals how materials, techniques, and ideas have evolved over the centuries, inspiring artists to create their most celebrated works. Covering a comprehensive array of topics, from the first pigments and frescos to linear perspective in Renaissance paintings, the influence of photography, Impressionism, and the birth of modern art, The Story of Painting follows each step in the evolution of painting over the last 25,000 years, from the first cave paintings to the abstract works of the last 100 years. Packed with lavish colour reproductions of paintings and photographs of artists at work and the materials they used, it also focuses on key paintings from each period to analyse the techniques and secrets of the great masters in detail. Immerse yourself in the pages of this beautiful book and find yourself dazzled by new colours; marvel at the magic of perspective; wonder at glowing depictions of fabric and flesh; understand cubism; and embrace abstraction. It will transform your understanding and enjoyment of paintings forever.
Discover the fascinating origins and meanings of over 2,000 signs and symbols from mythology and religion to astrology and ancient tribes in this comprehensive guide. For centuries, symbols have been imperative throughout the world, signifying ideas, relationships, and objects across different cultures. Find out why a flag at half mast is a symbol of mourning, why toads have got a bad name while frogs turn into princes, and why a heart pierced by an arrow is a classic symbol of love. Delve into the meaning of each symbol and investigate how they have been interpreted in myth, religion, folklore, and art over time, with authoritative text from experts in the field and striking line drawings and photography that emphasize the visual strength and beauty of signs. Divided into six thematic sections - the cosmos, the natural world, human life, myths and religions, society and culture, and symbol systems - this guide to the secret language of signs and symbols is a must-have for those who want to understand the world around them.
In June of 2010, William Kentridge asked Denis Hirson to join him in a public conversation at the opening of Cinq Thèmes, the artist’s retrospective exhibition at the Jeu du Paume in Paris. So fruitful was this event that the two decided to have further conversations, public and private, whenever the time and the occasion seemed right. Nine engagements followed, allowing them to explore at great length the many issues and themes arising from Kentridge’s work. These conversations, in which a writer and an artist grapple with the enormous complexities of making art, grow out of a friendship that stretches back to the 1980s and that is deeply entwined in the fortunes of the city where they both grew up and the country that is the wellspring of their work.
Born in Cambridge in 1951, Denis Hirson lived in South Africa until the age of twenty-two, studying social anthropology at the University of the Witwatersrand in Johannesburg. In 1975 he settled in France, where he has worked as an actor and lecturer at the École Polytechnique. He has written seven books, almost all of them at the frontier between prose and poetry and concerned with memories of South Africa in the time of apartheid. The most recent of these is the novel The Dancing and the Death on Lemon Street. He has also assembled and edited three anthologies of South African writing, including In the Heat of Shadows: South African poetry 1996–2013. Ma langue au chat, a book in French about the delight and torture experienced by an Anglophone when speaking and writing in French, is forthcoming from Les Éditions du Seuil in October 2017.
William Kentridge was born in Johannesburg, South Africa in 1955. He is a graphic artist, filmmaker and theatre artist renowned for his humanist and poetic perspective on apartheid, colonialism and totalitarianism, and on their lingering effects. Best known for his allegorical animations of charcoal drawings that he erases and appends frame by frame, Kentridge has explored disciplines ranging from sculpture to books, stereoscope to opera. His works are included in numerous international collections, including the Museum of Modern Art, New York; Tate Modern, London; the Metropolitan Museum of Art, New York; the San Francisco Museum of Modern Art; the Stedelijk Museum, Amsterdam and the Albertina Museum, Vienna. His acclaimed production of Wozzeck travels to the Metropolitan Opera, New York, for the 2019–20 season.
'A modern masterpiece' Guardian
Uncovering the mystery of her mother’s disappearance as a child: Laura Cumming, prize-winning author and art critic, takes a closer look at her family story.
In the autumn of 1929, a small child was kidnapped from a Lincolnshire beach. Five agonising days went by before she was found in a nearby village. The child remembered nothing of these events and nobody ever spoke of them at home. It was another fifty years before she even learned of the kidnap.
The girl became an artist and had a daughter, art writer Laura Cumming. Cumming grew up enthralled by her mother’s strange tales of life in a seaside hamlet of the 1930s, and of the secrets and lies perpetuated by a whole community. So many puzzles remained to be solved. Cumming began with a few criss-crossing lives in this fraction of English coast – the postman, the grocer, the elusive baker – but soon her search spread right out across the globe as she discovered just how many lives were affected by what happened that day on the beach – including her own.
On Chapel Sands is a book of mystery and memoir. Two narratives run through it: the mother’s childhood tale; and Cumming’s own pursuit of the truth. Humble objects light up the story: a pie dish, a carved box, an old Vick’s jar. Letters, tickets, recipe books, even the particular slant of a copperplate hand give vital clues. And pictures of all kinds, from paintings to photographs, open up like doors to the truth. Above all, Cumming discovers how to look more closely at the family album – with its curious gaps and missing persons – finding crucial answers, captured in plain sight at the click of a shutter.
'A moving, many-sided human story of great depth and tenderness, and a revelation of how art enriches life' Sunday Times
An authoritative history of art history from its medieval origins to its modern predicaments In this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original and accessible account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. The book shows that the pioneering chroniclers of the Italian Renaissance "Lorenzo Ghiberti and Giorgio Vasari "measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however "Jacob Burckhardt, Aby Warburg, Heinrich Wo ^lfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich "struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline. Combining erudition with clarity, this book makes a landmark contribution to the understanding of art history.
Philippe Daverio is one of Italy's most important contemporary art historians, whose discerning comments about art are voraciously consumed by the public through his writing as editor of the famed magazine Art e Dossier and his platform on a leading Italian television program Passepartout. Now, in his first full-length work of narrative nonfiction, Daverio uses the conceit of creating his own perfect museum gallery and in the process reexamines major artistic masterpieces of Western art. Daverio turns his critical eye on the place of Western art in contemporary twenty-first-century culture and how we relate to art generally. According to Daverio, we relate to the history of art based on views that crystallized in the nineteenth century, and so we look to the past to understand the present, though the present is what truly matters to everyone. Daverio means to challenge this perspective, and guided by his curiosity and personal taste, he examines key masterworks to rediscover the true meaning and power they had before they became commoditized and cliched.
What makes a colour work? What do colours mean to artists or cultures? Why does grey make a colour stand out? What colour are the oceans? Why is the yellow of lemons something to treasure? Award-winning illustrator Marion Deuchars takes us on a journey through colour, showing how its language is at the centre of how we think and feel about the world. Colour is everywhere. Through this book, we can see it afresh.
Doing Research in Design presents new ways of thinking about the relationship between design and research by positioning design as a social as well as a material practice. This approach emphasises the social consequences of design decisions as well as the importance of the efficient functioning of a design. Doing Research in Design argues that design promotes social change and that, in order to understand that change, designers must turn to social science research methods. The book outlines the relationships between thinking and doing in design - and makes explicit links between design, research, philosophy and sociology - and then examines four central social research methodologies in practice. The aim of Doing Research in Design is to provide anyone involved in the field of design with the knowledge and understanding of the best methods to plan and conduct their research.
'I have never read such a stimulating short guide to art. It should be issued as a set text in every school' Lynn Barber, Sunday Times Now Grayson Perry is a fully paid-up member of the art establishment, he wants to show that any of us can appreciate art (after all, there is a reason he's called this book Playing to the Gallery and not 'Sucking up to an Academic Elite'). Based on his hugely popular BBC Radio 4 Reith Lectures and full of pictures, this funny, personal journey through the art world answers the basic questions that might occur to us in an art gallery but seem too embarrassing to ask.
All loved, and were loved by, their artists, and inspired them with an intensity of emotion akin to Eros.
In a brilliant, wry, and provocative book, National Book Award finalist Francine Prose explores the complex relationship between the artist and his muse. In so doing, she illuminates with great sensitivity and intelligence the elusive emotional wellsprings of the creative process.
Even when there is no direct contact, artists and writers develop many comparable techniques for coping with problems specific to their time. In "Modernist Patterns," Murray Roston explores the relationships between modernist artists and writers and their responses to the immediate challenges of their time, to the implications of Freudian psychology, molecular theory, relativist theory, and the general weakening of religious faith.
By placing the literary works of such writers as T.S. Eliot, Virginia Woolf, James Joyce, and Ernest Hemingway within the context of the changes that occurred in the visual arts, "Modernist Patterns" expands our understanding of literature and identifies the cultural shifts that generated stylistic innovations within the visual arts.
Colours are increasingly important in our daily life, but how did colour vision evolve? How have colours been made, used and talked about in different cultures and tasks? How do various species of animals see colours? Which physical stimuli allow us to see colours and by which physiological mechanisms are they perceived? How and why do people differ in their colour perceptions? In answering these questions and others, this book offers an unusually broad account of the complex phenomenon of colour and colour vision. The book's broad and accessible approach gives it wide appeal and it will serve as a useful coursebook for upper-level undergraduate students studying psychology, particularly cognitive neuroscience and visual perception courses, as well as for students studying colour vision as part of biology, medicine, art and architecture courses.
What is ugly? One of the leading cultural commentators of our time, Stephen Bayley, takes us on a journey of discovery by skilfully weaving centuries of art and design history into a discourse on the nature of beauty and its polar opposite, ugly. Is ugliness only skin-deep, or can something that is beautifully engineered - a B-52 bomber or a Colt.45 - also be ugly, if its function is to kill or to maim? What was "Degenerate Art" and why was it deemed such? Why are mountains seen as sublime expressions of nature, when only two hundred years ago they were regarded as loathsome things to be avoided at all costs? Just what is the relation between tattoos and crime, and why on earth is there a contest for "The Ugliest Dog in the World"? And lastly, if there was no ugly in the world, would there be any beauty?
An illustrated examination of Glenn Ligon's iconic Untitled (I Am a Man) (1988)-a quotation, an appropriated text turned into an artifact. The iconic work Untitled (I Am a Man) (1988) by the important contemporary American artist Glenn Ligon is a quotation, an appropriated text turned into an artifact. The National Gallery of Art in Washington presents the work as a "representation-a signifier-of the actual signs carried by 1,300 striking African American sanitation workers in Memphis, made famous by Ernest Withers' 1968 photographs." In this illustrated study of the work, Gregg Bordowitz takes the National Gallery's presentation as his starting point, considering the museum's juxtaposition of Untitled (I Am a Man) and the ca. 1935 sculpture, Schoolteacher, by William Edmondson, and the relation of the two terms, "markers" and "signs." After closely examining the canvas itself, its textures, brushwork, and structure, Bordowitz presents a theoretical framework that draws on the work of American philosopher Charles Sanders Peirce and his theory of Firstness, Secondness, and Thirdness. He makes a case for Thirdness as a function, operation, or law of meaning-making, not limited by the gender, age, ethnicity, race, class, or personal history of the viewer. Bordowitz goes on to examine Ligon's work in terms of the representation of self, race, and gender, focusing on three series: Profile Series (1990-91), Narratives, and Runaways (both 1993). He cites such historical figures as Sojourner Truth and her famous 1851 speech, "Ain't I a Woman?" as well as influences ranging from Bo Diddley's 1955 song, "I'm a Man" to the cultural theories of Stuart Hall.
What is cultural about vision--or visual about culture? In this ambitious book, Whitney Davis provides new answers to these difficult and important questions by presenting an original framework for understanding visual culture. Grounded in the theoretical traditions of art history, A General Theory of Visual Culture argues that, in a fully consolidated visual culture, artifacts and pictures have been made to be seen in a certain way; what Davis calls "visuality" is the visual perspective from which certain culturally constituted aspects of artifacts and pictures are visible to informed viewers. In this book, Davis provides a systematic analysis of visuality and describes how it comes into being as a historical form of vision. Expansive in scope, A General Theory of Visual Culture draws on art history, aesthetics, the psychology of perception, the philosophy of reference, and vision science, as well as visual-cultural studies in history, sociology, and anthropology. It provides penetrating new definitions of form, style, and iconography, and draws important and sometimes surprising conclusions (for example, that vision does not always attain to visual culture, and that visual culture is not always wholly visible). The book uses examples from a variety of cultural traditions, from prehistory to the twentieth century, to support a theory designed to apply to all human traditions of making artifacts and pictures--that is, to visual culture as a worldwide phenomenon.
'Fascinating . . . I really love this . . . Three times in the last decade I've committed to doing The Artist's Way's program, and each time I've learned something important and surprising about myself and my work . . . Without The Artist's Way, there would have been no Eat, Pray, Love.' - Elizabeth Gilbert The Artist's Way by Julia Cameron provides a twelve-week course that guides you through the process of recovering your creative self. It aims to dispel the 'I'm not talented enough' conditioning that holds many people back and helps you to unleash your own inner artist. Its step-by-step approach enables you to transform your life, overcome any artistic blocks you may suffer from, including limiting beliefs, fear, sabotage, jealousy and guilt, and replace them with self confidence and productivity. The Artist's Way will demystify the creative process by making it a part of your daily life. From Alicia Keys to Elizabeth Gilbert, Patricia Cornwell to Pete Townshend and Russell Brand, The Artist's Way has helped thousands of people around the world to discover their inner artist. Whatever your artistic leanings, this book will give you the tools you need to enable you to fulfil your dreams.
A beautifully written study of three pioneering artists, entwining their work and our understanding of creativity Bringing the creative process of three contemporary artists into conversation, Architectures of the Unforeseen stages an encounter between philosophy and art and design. Its gorgeous prose invites the reader to think along with Brian Massumi as he thoroughly embodies the work of these artists, walking the line that separates theory from art and providing equally nurturing sustenance for practicing artists and working philosophers.Based on Massumi\u2019s lengthy-and in two cases decades-long-relationships with digital architect Greg Lynn, interactive media artist Rafael-Lozano Hemmer, and mixed-media installation creator Simryn Gill, Architectures of the Unforeseen delves into their processes of creating art. The book\u2019s primary interest is in what motivates each artist\u2019s practice-the generative knots that inspire creativity-and in how their pieces work to give off their unique effects. More than a series of profiles or critical pieces, Massumi\u2019s essays are creative, developing new philosophical concepts and offering rigorous sentiments about art and creativity.Asking fundamental questions about nature, culture, and the emergence of the new, Architectures of the Unforeseen is important original research on artists that are pioneers in their field. Equally valuable to the everyday reader and those engaged in scholarly work, it is destined to become an important book not only for the fields of digital architecture, interactive media, and installation art, but also more basically for our knowledge of art and creativity.
Composed in a series of scenes, Aisthesis - Ranciere's definitive statement on the aesthetic - takes its reader from Dresden in 1764 to New York in 1941. Along the way, we view the Belvedere Torso with Winckelmann, accompany Hegel to the museum and Mallarme to the Folies-Bergere, attend a lecture by Emerson, visit exhibitions in Paris and New York, factories in Berlin, and film sets in Moscow and Hollywood. Ranciere uses these sites and events - some famous, others forgotten - to ask what becomes art and what comes of it. He shows how a regime of artistic perception and interpretation was constituted and transformed by erasing the specificities of the different arts, as well as the borders that separated them from ordinary experience. This incisive study provides a history of artistic modernity far removed from the conventional postures of modernism.
Josef Albers's Interaction of Color is a masterwork in art education. Conceived as a handbook and teaching aid for artists, instructors, and students, this influential book presents Albers's singular explanation of complex color theory principles. Originally published by Yale University Press in 1963 as a limited silkscreen edition with 150 color plates, Interaction of Color first appeared in paperback in 1971, featuring ten color studies chosen by Albers, and has remained in print ever since. With over a quarter of a million copies sold in its various editions since 1963, Interaction of Color remains an essential resource on color, as pioneering today as when Albers first created it. Fifty years after Interaction's initial publication, this new edition presents a significantly expanded selection of close to sixty color studies alongside Albers's original text, demonstrating such principles as color relativity, intensity, and temperature; vibrating and vanishing boundaries; and the illusion of transparency and reversed grounds. A celebration of the longevity and unique authority of Albers's contribution, this landmark edition will find new audiences in studios and classrooms around the world.
"Active Withdrawals" is an anthology of essays addressing the institutionalisation of artistic practices and the act of withdrawals seeking out of places of contemplation and retreat that are often adopted in Eastern art. The book critiques the growing desire for museums and galleries to become recognised as places of artistic institutions and exposes concerns surrounding the institutionalisation of artist s work, covering artistic practices across Scandinavia, Eastern Europe, China and South East Asia. Drawing from a seminar that took place in July 2013, the book challenges the institutional structure that has become prominent within the art world and often drives and defines its output. Including writings from some of the worlds most prominent curators, including Biljana Ciric, Maria Lind and Lina Dzuverovic, a large focus of this anthology explores issues beyond a Western context and avoids a geographical grouping to the writers concerns. Instead, the publication is structured in such a way that the voice of each writer resonates throughout, combining to create a thoughtful and significant commentary on a largely neglected topic."
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