The Art of Chip Carving teaches crafters of all levels how to create 15 decorative rosette patterns. Chip carving is that art of forming intricate geometric patterns by carefully cutting away small triangles of wood to slowly create the full project. Tatiana Baldina's incredibly detailed instructions, with photographs accompanying every step, will allow even a complete beginner through the process of recreating her patterns, while more experienced carvers will relish the opportunity to try out new designs. The projects can be used to decorate all manner of objects, from boxes to plates and wall panels to furniture. The book also contains a comprehensive introduction to the art, including choosing the appropriate tools and materials and instructions for all the different cutting techniques you'll need.

"Revelatory and sublime...Her work remains conceptually open enough for viewers to draw their own conclusions, insert their own meaning and feel transported to other glorious worlds." -The New York Times One of the most inventive artists of the twentieth century, Hilma af Klint was a pioneer of abstraction. Her first forays into her imaginative non-objective painting long preceded the work of Kandinsky and Mondrian and radically mined the fields of science and religion. Deeply interested in spiritualism and philosophy, af Klint developed an iconography that explores esoteric concepts in metaphysics, as demonstrated in Tree of Knowledge. This rarely seen series of watercolors renders orbital, enigmatic forms, visual allegories of unification and separateness, darkness and light, beginning and end, life and death, and spirit and matter. Published on the occasion of the exhibition Hilma af Klint: Tree of Knowledge at David Zwirner New York in 2021 and David Zwirner London in 2022, this catalogue features a text by the art historian Susan Aberth examining af Klint's spiritual and anthroposophical influences. With a conversation between the curator Helen Molesworth and the US Poet Laureate Joy Harjo discussing connections between Tree of Knowledge and native theories about plant knowledge, the publication broadens the scope of philosophical interpretations of af Klint's timeless work. Also included is a newly commissioned essay by the celebrated af Klint scholar Julia Voss, a contribution by the artist Suzan Frecon, and a text by art historian Max Rosenberg that further develops the conversation around why af Klint's work was not recognized in its time.

Experience the soothing power of adult coloring with these intricate animal tangles created by New York Times bestselling illustrator and master of the abstract Zen style Angela Porter! Zentangle is a fun and relaxing art form that has emerged in the last decade. Its free-form style, abstract images, and repetitive patterns all unite to create elaborate and soothing illustrations. This method has been said to increase mindfulness and aid in relaxation while simultaneously expressing creativity an ideal remedy for stress. Animals and nature are believed to have similar antistress properties. Combining this idea with the Zen style, bestselling illustrator Angela Porter takes you on a relaxing journey through the wilderness in this breathtaking collection that will help you de-stress and decompress. Featured are forty-nine beautiful designs for you to color and decorate each weaving together intricate swirling patterns and other geometric shapes to form some of your favorite members of the animal kingdom. As an added bonus, the pages are perforated and printed on one side, making it simple for you to remove and display your finished masterpieces. Instead of wasting your time with generic designs, color on the wild side with Angela Porter's Zen Doodle Animal Tangles. Whether you love cats, dogs, fish, birds, or even bears, this coloring book has them all. It's great for animal lovers and colorists alike!

The first extended study of Frank Auerbach's remarkable portrait drawings reveals their complexity and ambition as works of graphic art This book offers an original approach to one of Britain's leading artists: Frank Auerbach (b. 1931). It looks in detail at his portrait drawings, which Auerbach has been making since the 1950s, and which he has always considered important, freestanding works of art. By turns eerie, shocking, enigmatic, and hauntingly tender, they demand fresh interpretation and investigation. Reproducing more than 130 examples of these portraits, some for the first time, and featuring new essays by curators, scholars, and critics, this book provides an unprecedented opportunity to explore and reassess these striking and sometimes unsettling works of graphic art. Frank Auerbach: Drawings of People includes texts by both the editors and the artist himself, and new essays by Kate Aspinall, James Finch, Alex Massouras, David Mellor, and Barnaby Wright. Distributed for the Paul Mellon Centre for Studies in British Art

In this book Edward Lucie-Smith considers the achievement of John Singer Sargent in response to a new exhibition at the National Portrait Gallery in London. This exhibition features Sargent's more private works - images of friends, rather than portraits painted on commission. In many ways Sargent is an ambiguous figure. The child of wealthy expatriate American parents, he was brought up in Europe, at first made his career in France, then settled in Britain. Totally cosmopolitan, he kept his American nationality, painted many American sitters, but never lived for any extended period of time in the United States, either as a child or as an adult. During his time in France he consorted with a number of artists who, at a certain point in their careers, were thought of as cutting edge. Monet is a prime example. However, his more intimate artist friends, such as Helleu, whom he painted a number of times, were not radicals, and always second-or-third rankers. Sexually he is a mystery. Biographers have tended to classify him according to their own sexual preferences, rather like the biographers of Caravaggio. For some he was a closeted gay man, for others he was definitely a lover of women. He never married and there is no proof of any liaisons, either heterosexual or homosexual. Paintings of subjects from his own social circle, made for his own pleasure rather than on commission, suggest that while he liked handsome young men, he was also fascinated by women of dominant temperament. His own mother was apparently a woman of this type. Easily social with friends, he nevertheless fiercely guarded his essential privacy. There is a parallel here with his somewhat older contemporary Lord Leighton, another hugely successful bachelor artist. Both men were strikingly masculine in appearance. In terms of his later reputation, Sargent was long regarded as a paradigmatic example of an artist who was immensely skilful but in no way truly experimental - someone who fitted perfectly into the wealthy society of his time. The reconsideration of Sargent that is now taking place has parallels with the reconsideration of Gustav Klimt, which got its start a little earlier. Neither one of them can really be described as 'avant-garde' in any meaningful sense of that much-abused term, but we have now started to see them as being extremely significant as makers of images that somehow sum up their epoch without sacrifice of aesthetic quality. Their paintings still resonate with the contemporary audience today.