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The Louvre Abu Dhabi's exciting exhibition programme explores the enduring dialogue between Eastern and Western artistic expression. Abstraction and Calligraphy brings together a rich array of works, from 10th-century ceramics from Samarkand to paintings and drawings by Kandinsky, Matisse, Miro, Twombly and other modern masters. The ways in which these artists respond to Eastern calligraphic traditions enriches our understanding of the dynamic between modern art in the West and long-established forms from Asia and the Near East.
With Wristwatch Annual, collectors have at hand a wealth of information on the latest offerings from today's most important watch producers, from Swiss mainstays like Rolex and Patek Philippe to the maverick independent brands springing up across Europe and the U.S. The book is arranged alphabetically by producer, and the movement, functions, case, band, price, and variations of each pictured watch are fully described. This year's edition, like its predecessors, will feature a variety of additional articles on independent watchmaking, key personalities in the watch world, and the technical aspects of horology. An illustrated glossary and a primer on watch care help acclimate the reader to the world of fine timepieces.
Enter a world of magic and wonder with Kaleidoscope Etch Art Creations:
Butterfly Garden! Create a magnificent poster, a beautiful photo-frame
and more using the etch-art panels and stylus! This kit offers an
exciting way to explore creativity and make awesome works of art.
Sold in packs of 6. Gorgeous, foiled, handmade greeting cards, blank inside and shrink-wrapped with a gold envelope. Themed with our art calendars, foiled notebooks and illustrated art books. Our greeting cards are printed on FSC paper and wrapped in biodegradable cellobag, and are themed with our art calendars, foiled notebooks and illustrated art books. Born in Kent, Annie Soudain spent her early childhood years in Truro, Cornwall, where her interest in plants and nature began. Now settled by the sea in Sussex, much of her work continues to be inspired by the beautiful landscapes surrounding her. This colourful linoprint was created using the reduction method, which involves progressively cutting, inking up, and printing from the same block.
Unique, elaborate and expertly designed, Extreme Dot-to-Dot - Day of the Dead is for grown-up kids of all ages who want to relax, unwind and create something from nothing! Taking inspiration from Mexican Day of the Dead imagery, this collection of nearly 50 specially commissioned artworks invites you to engage with your inner artist, pick up a pen and create dazzling art masterpieces, one dot at a time. Complex designs will keep you occupied for hours, challenging your mind and soothing your creative soul. Day of the Dead street festival scene * Alfenique sugar skulls (calavera de azucar) * Alters (ofrendas) * Mexican wild marigolds (cempasuchil) * Skull and skeleton masks and carved figures (calacas) * Mexican folk art (papel picado) * Skeletons * Bride and groom skeleton * Drum, guitar * Cemetery: statues, graves, crosses, coffins, candles * Pictures of the Blessed Virgin Mary.
Character Design Quarterly (CDQ) is a lively, creative magazine bringing inspiration, expert insights, and leading techniques from professional illustrators, artists, and character art enthusiasts worldwide. Each issue provides detailed tutorials on creating diverse characters, enabling you to explore the processes and decision making that go into creating amazing characters. Learn new ways to develop your own ideas, and discover from the artists what it is like to work for prolific animation studios such as Disney, Warner Bros., and DreamWorks. The face of issue 17 is Devin Elle Kurtz, who crafted an enchanting narrative design especially for this issue's cover. Alongside a breakdown of how the cover was created, readers can discover more about the artist and her creative story to date. Issue 17 also features an informative interview with the team at Taiko Studios.
This volume is the fifth volume of A Corpus of Rembrandt Paintings, a project devoted to all Rembrandt's paintings. This is the work of 'The Rembrandt Research Project', consisting of a group of scholars led since 1993 by Professor Ernst van de Wetering. The project began in 1968 with the aim of separating Rembrandt's own paintings from the vast number of Rembrandtesque paintings made by his many apprentices and followers. Having opted for a chronological approach to the cataloguing of Rembrandt's paintings (from 1625 till 1642) in the first three volumes, it was decided in 1993 to adopt a thematic approach for further volumes. This was largely to facilitate the recognition of different hands. The new approach yielded much more information not only about Rembrandt's working methods but also about the function and meaning of his works. This expanded field of view meant that etchings and drawings with similar themes also needed to be included. In 2005 Volume IV appeared, devoted to Rembrandt's self-portraits, in painting, etching and drawing. Volume V consists of a catalogue and analysis of the so-called small-scale history and genre paintings. That theme was chosen because this type of complex work shows a variety of full-length protagonists acting in different narrative settings. For this reason, in the 17th century, painting, etching or drawing biblical and mythological scenes was looked upon as an artist's greatest challenge. The choice of this theme proved to be highly fruitful in several ways. Small-scale history pieces reveal Rembrandt's artistic ambitions most clearly. They also offer the authors a much more accurate view of the daily routine in Rembrandt's studio; his apprentices mostly copied this type of work or used it as a starting point for their own. As a result it was easier to distinguish the works by the master himself from those of his pupils. All aspects of the skills necessary to create a pictorial illusion play a part in the creation of small-figured history paintings. These aspects were referred to as 'the basis of the noble art of painting' in Rembrandt's days. Two seventeenth century painter/theoreticians discussed these principles systematically in two books which up till now have only sporadically been consulted in the context of 17th century studio practice. Karel van Mander wrote his Grond der edel vry schilder-const [Basis of the Art of Painting] in 1604 and Samuel van Hoogstraten produced his Inleyding tot de hooge schoole der schilderkonst [Academy of Painting] in 1678. Van Hoogstraten was a pupil of Rembrandt between 1642 and '48. Comparing the two books and considering them in relation to Rembrandt's oeuvre, gradually reveals his original views on painting and how these had developed during his career. Thus, the authors of this new Volume of A Corpus have gained an unexpected and profound insight into Rembrandt's ideas and approach to his art. The 'basic aspects' of painting included the following topics: function and methods of drawing; human proportions; various positions, poses and gestures of figures; ways of arranging a scene's protagonists in a composition; facial expressions of a variety of emotions; light, shadows and reflected light; landscape and animals; draperies and articles of clothing; methods of painting, and various characteristics and uses of colours. The way these 'basic aspects' were selected and dealt with presumed that the more practical side to the art of painting would be learned by the apprentice in the daily routine of his master's studio. With the development of art history in the nineteenth century the 'basic aspects' of the art of painting listed above acquired the vague label of 'style'. However, the seventeenth century categorization of the 'basic aspects' provides a much more acute means of probing the views and criteria for judging a painting by Rembrandt and his contemporaries than the concept of 'style'. Volume V in the series A Corpus of Rembrandt Paintings breaks new ground from the point of view of art history, not only in its approach to Rembrandt as an artist, but more particularly to his thinking about painting. Moreover, a detailed comparison of Rembrandt's works and those by his apprentices who based their works on his, led to a profound and detailed understanding of Rembrandt's views on pictorial quality. In art historical literature quality usually does not feature prominently since it is regarded as being too subjective. This comparative approach, together with the analysis of seventeenth century categories of thought about painting, have given the research on Rembrandt a new impetus, at the same time allowing us to see more clearly through seventeenth century eyes. That is why the new volume of the 'Corpus' is an important publication - not only for art historians but also for all who want to fully enjoy the numerous works of art that date back to the Dutch Golden Age, now scattered in museums around the world.
For the past fifty years, Tamarind has breathed life into the once-underappreciated art of lithography. From Josef Albers and Philip Guston in the 1960s, to Ed Ruscha and Kiki Smith in recent decades, contemporary artists have teamed up with professional printmakers at Tamarind to create an archive of exceptional lithographs. In 1960, in an effort to generate interest in lithography and make it accessible to artists, June Wayne founded Tamarind Lithography Workshop, Inc., in Albuquerque, New Mexico. Fifty years and many thousands of prints later, it is difficult to imagine what lithography in the United States would be without the influence of the renowned Tamarind. Showcasing the broad aesthetic capabilities of lithography, Tamarind Touchstones demonstrates the diversity of the artists who have embraced lithography and their increased facility and comfort with the medium. Highlighting the ninety lithographs in the exhibition, reproduced in full color, this catalogue also includes glimpses into the recent activities of Tamarind, the psyche of the professional printmaker, and the curatorial perspective that guided the selection for this National Endowment for the Arts--funded traveling exhibition. With its trademark passion, Tamarind enters the next fifty years committed to its original goals to invigorate and fortify lithography and to expand its reach throughout the world.
Die Suider-Afrikaanse subkontinent is besonder ryk aan inheemse boomspesies (sowat 2100) wat in grootte wissel van struikagtiges tot oeroue, hooggroeiende reuse. Baie van die boomspesies en die natuurlike omgewing waarin hulle voorkom, is al deeglik bestudeer en gedokumenteer in bele algemene beskikbare publikasies. Inligting oor hulle hour is egter beperk en nie maklik toeganklik vir die algemene publiek nie. Hierdie boek bevat inligting oor die hourkenmerke en houteienskappe van 140 Suider-Afrikaanse houtsoorte (134 inheemse en ses uitheemse spesies).
The Sculpture of William Edmondson: Tombstones, Garden Ornaments, and Stonework is the first large-scale museum examination of the artist's career in over twenty years. Organized by Cheekwood Curator of Sculpture, Dr. Marin R. Sullivan, the exhibition draws upon new scholarship and methodologies to contextualize Edmondson's sculpture, both within the histories of Nashville during the Interwar years and the art histories of modern art in the United States. Edmonson has largely been confined to narratives that focus on his artistic discovery by white patrons in the 1930s, his work's formal resonance with so-called primitivism and direct carving techniques, and his place in the traditions of African American ""outsider"" art. This exhibition revisits Edmonson's work within these frameworks, but also seeks to reevaluate his sculpture on its own terms and as part of a comprehensive practice that included the creation of commercial objects rather than strictly fine art. The exhibition's title references the sign that hung on the outside of Edmondson's studio, advertising what was for sale and on view to the public in his yard, including tombstones, birdbaths, and statuary meant to be used and intended for outdoor rather than gallery display. This catalog expands upon the exhibition, including photos of Edmondson's grave markers and his yard art.
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