Foto's het nog altyd sterk emosies ontlok - spesiale herinnerings wat op kamera vasgele word, het hul eie besondere bekoring. Daardie bekoring kan egter slegs met ander gedeel word as die foto's uitgestal word. En daarvoor bestaan daar veel meer moontlikhede as om hulle bloot in 'n album te sit of in 'n raam op te hang. Hierdie boek bevat meer as 75 idees om jou foto's op aantreklike en interessante maniere te vertoon. Dit is die resultaat van baie proefskote en eksperimentering. Sommige van die projekte is funksioneel en dekoratief, en ander weer heerlik prettig. Almal het egter een ding in gemeen: die kreatiewe gebruik van foto's, en wat jy ook al byderhand het om dit mee te versier. Basisse sluit in skilderdoek, glas, porselein en keramiek, hout en harde bord, lap, kerse en vloerlyste. Daar is trouens bitter min oppervlakke wat nie op een of ander manier met foto's bedek kan word nie. Verskeie tegnieke word gebruik, waaronder verskillende oordragmetodes, decoupage, fotomontage en hars-deklae. Gebruik die idees om jou foto's in persoonlike geskenke te omskep deur alledaagse artikels daarmee te versier, of om treffende dekoritems vir jou huis te maak. Wanneer jy eers begin, sal jy dalk nie weer wil ophou nie! Die stap-vir-stap-illustrasies en aantreklike foto's van die voltooide projekte sal jou leer en inspireer. Gee dus jou skeppendheid vrye teuels en vul jou lewe met jou spesiale oomblikke.

Ars Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. It showcases the Jewish contribution to the visual arts and architecture from antiquity to the present from a variety of perspectives, including history, iconography, semiotics, psychology, sociology, and folklore. As such it is a valuable resource for art historians, collectors, curators, and all those interested in the visual arts. In this volume, Sarit Shalev-Eyni considers the Mahzor as a cosmological calendar, while Katrin Kogman-Appel looks at the work of Elisha ben Abraham, known as Cresques, in fourtheenth-century Mallorca. Evelyn M. Cohen discusses a surprising model for Charlotte Rothschild's Haggadah of 1842 and Ronit Sternberg examines sampler embroidery past and present as an expression of merging Jewish identity. Jechezkiel David Kirszenbaum's exploration of personal displacementis the subject of an article by Caroline Goldberg Igra, and the Great Synagogue on Tlomackie Street in Warsaw one by Eleanora Bergman. The Special Item by Sergey R. Kravtsov and Vladimir Levin is devoted to Perek Shirah on a wall of the Great Synagogue in Radyvyliv. The volume also includes book reviews and an appreciation of the life of Alfred Moldovan by William L. Gross. Contributors: Ziva Amishai-Maisels, Professor, History of Art Department, Hebrew University of Jerusalem, Eleonora Bergman, Emanuel Ringelbaum Jewish Historical Institute, Warsaw, Evelyn M. Cohen, Professor, Jewish Theological Seminary (JTS), New York, Caroline Goldberg Igra, Guest Curator, Beit Hatfusot, Tel Aviv, William L. Gross, Collector, Tel Aviv, Katrin Kogman-Appel, Professor, Ben-Gurion University of the Negev, Beersheva, Sergey R. Kravtsov, Center for Jewish Art, Hebrew University of Jerusalem, Vladimir Levin, Center for Jewish Art, Hebrew University of Jerusalem, Sarit Shalev-Eyni, History of Art Department, Hebrew University of Jerusalem, Larry Silver, History of Art Department, University of Pennsylvania, Ronit Steinberg, History and Theory Department, Bezalel Academy of Arts and design, Jerusalem Volumes of Ars Judaica are distributed by the Littman Library of Jewish Civilization throughout the world, except Israel. Orders and enquiries from Israeli customers should be directed to: Ars Judaica Department of Jewish Art Bar-Ilan University Ramat-Gan 52900 telephone 03 5318413 fax 03 6359241 email [email protected]

Not only does it contain full place settings, flowers, centrepieces and everything else for tables for 25 different occasions, it also offers more than 50 mouth-watering recipes and shows you how to make table elements such as napkin rings, name tags, boxes for favours, place mats and other decorative accessories. Practical information on basic planning, from compiling a mood board and finding unusual under plates to selecting music and finding the perfect guest favour, is complemented by extended captions providing the know-how to replicate the settings. A separate section contains full recipes as well as instructions and templates for DIY ideas not detailed in captions. Hints and tips on presentation techniques, scheduling tasks to ensure that you can be relaxed and enjoy your guests and ways to add a personal touch abound.

This is the true story of a robin who lives in my garden among fences, hedges, shrubs, trees, stacks of pots and bricks and the vine on my balcony. Lickel Bird or LB, responded to human company and showed remarkable trust and attachment. During my daily contact with him I watched him perform many tasks. These observational snapshots have given me a window into his world and allowed me to share some of his busy life in all its ups and downs. He watched me in my garden long before he trusted me enough to see I was on the side of small birds and that I would be there for him in his hour of need and what he needed most in his life was food.

This fully colour illustrated work covers the most artistically progressive period for British table cutlery between 1870 and 1940, and maps its evolution through a series of artistic periods, including Art Deco and the Arts & Crafts revival, to the present day. For the humble spoon, the Arts & Craft period brought in new and exotic styles developed from the changing taste that sprang from the Great Exhibition of 1851. The artistic styles were largely based around natural form and many makers turned against the mass production of the industrial age. The golden age for Liberty & Company provided a platform for designers such as Archibald Knox, Oliver Baker, Bernard Cuzner and the Silver Studio with their bold, and often-colourful, designs for spoons. The rise of women who rivalled their male counterparts in design and craft, particularly in the fields of jewellery and small silverware, was particularly significant at this time.

Since his death in 1942, St Ives has become marinated in the spirit of the naive painter, Alfred Wallis. Naum Gabo, the Russian Constructivist, felt that Wallis's gift as an artist was that he never knew he was one. His unconventional approach and the innocence of his personal method of making art marked Alfred Wallis, even after his death, as a crucial figure in the modernist movement. The art scene in St Ives during World War II is depicted vividly in The Alfred Wallis Factor which illustrates the birth of modernism in the small fishing port in the far south-west of England. With dominant personalities like Sven Berlin, Ben Nicholson, Barbara Hepworth, Adrian Stokes, Bernard Leach, Terry Frost, Peter Lanyon, Wilhelmina Barns-Graham and Patrick Heron, it was inevitable that personal relationships would both form and fracture. Though causes would range from the banal to the bizarre, David Wilkinson never loses focus on the high stakes for which these characters were playing: the creation of their work, and reputations, of lasting significance. Their passion was strong and their ambition even stronger. The Alfred Wallis Factor tells the story of this extraordinary painter's long-lasting influence on - and beyond - modernism: David Wilkinson expounds the events around and following the artist's death, assessing the roles of friends and rivals in making Alfred Wallis a benchmark of modern British art. The Alfred Wallis Factor is a comprehensive examination of a troubled era, in which life met war and changed the destiny of the art world.

This stunning book showcases the bold and original work of Royal Designer Tony Meeuwissen. The artist also writes about his life at the drawing board and the inspiration and ideas behind his imagery. From the foreword by Peter Marren: Welcome to this gallery of the work of a most individual and lovable artist. Many will have seen Tony Meeuwissen's work without knowing the artist, for it has appeared in so many decorative forms from books to playing cards, from magazine and sheet music covers to postage stamps. His work was described by the designer Mike Dempsey as 'inventive, intensely detailed and full of wit and beauty'. Penguin Books art director David Pelham praised him as an artist with the eye of an illustrator and the mind of a designer, one able to solve visual problems with 'remarkable originality, skill and panache.' To my eye Tony's work is always affi rmative even in its darker moments. It is playful but not saccharine, clever but not conceited. It always wears a wry smile. Tony learned his craft in the market place of commercial art. He learned how to handle a wide range of media to develop graphic ideas while also discovering the beauty of typefaces. In the process he evolved his very distinctive artistic language, his own way of seeing the world: colourful, eye-catching, beautifully executed, his work is a product of his unique vision. He loves drawing animals, birds, insects and natural phenomena, but usually with a characteristic twist: shape-changing fantastical animals, a nuthatch hatching from a nut, a praying mantis in bishop's vestments saying grace over a butterfly. On the memorable Christmas stamps he designed for the Royal Mail in 1983, the Three Kings are represented by chimney pots and the continents of the world by melting snow slipping from an umbrella. His is a universe where nothing is quite what it seems, where proverbs morph into pictures and names turn out to have diff erent meanings. Words and rhymes increase this pleasurable sense of an alternate world with its own logic and rules. Tony Meeuwissen eschews computer-aided methods preferring his drawing board, his pencils and his paintbox. He has managed to inhabit the world of commercial art for more than half a century without ever becoming commercial himself. His work is always uncompromisingly his own: the product of a unique imagination coupled with the skills and standards of a perfectionist. Here for the fi rst time the full range of his work is presented. Like the door to the magical garden in Alice, turn the golden key and enter.