Master the craft of glass art in your own home studio

The Glass Artist's Studio Handbook is a robust review of three popular glass art styles--stained glass, fusing, and lampworking--that brings learning new skills and making glass art within everyone's reach. With the right tools, classic techniques, and several "teaching projects," you will soon be making beautiful glass art at home.

Artist Cecilia Cohen walks you through planning your work space, selecting tools and materials, mastering basic glasswork techniques, and applying your new skills to original pieces. In addition, "The Glass Artist's Studio Handbook "encourages good organization, unique and inspired design, and eco-friendly practices, ensuring it will remain an invaluable resource for artists.

The Glass Artist's Studio Handbook

- Invites you into the studios of 18 glass artists from around the world

- Teaches fundamental glass-art techniques--cutting glass, soldering, flameworking, kilnwork, and more--in full-color photographs

- Illustrates the steps for crafting beautiful pieces of glass art, including suncatchers, jewelry, boxes, beads, and a kaleidoscope

Whether you are new to the art and want to set up your first studio and learn the basics, or an experienced artist looking to expand your repertoire and stimulate your creativity with advanced projects, The Glass Artist's Studio Handbook is for you.

Provincial towns in Britain grew in size and importance in the eighteenth century. Ports such as Glasgow and Liverpool greatly expanded, while industrial centres such as Birmingham and Manchester flourished. Market towns outside London developed as commercial centres or as destinations offering spa treatments as in Bath, horse racing in Newmarket or naval services in Portsmouth. Containing over 100 images of towns in England, Wales and Scotland, this book draws on the extensive Gough collection in the Bodleian Library. Contemporary prints and drawings provide a powerful visual record of the development of the town in this period, and finely drawn prospects and maps - made with greater accuracy than ever before - reveal their early development. This book also includes perceptive observations from the journals and letters of collector Richard Gough (1735-1809), who travelled throughout the country on the cusp of the industrial age.

Touch is our first sense. Through touch we make art, stake a claim to what we own and those we love, express our faith, our belief, our anger. Touch is how we leave our mark and find our place in the world; touch is how we connect. Drawing on works of art spanning four thousand years and from across the globe, this book explores the fundamental role of touch in human experience, and offers new ways of looking. In a series of lavishly illustrated essays, the authors explore anatomy and skin; the relationship between the brain, hand, and creativity; touch, desire and possession; ideological touch; reverence and iconoclasm. A final section collects a range of reflections, historic and contemporary, on touch. Objects range from anonymous ancient Egyptian limestone sculpture, to medieval manuscripts and panel paintings, to devotional and spiritual objects from across the world, to love tokens and fede rings. Drawings, paintings, prints and sculpture by Raphael, Michelangelo, Rembrandt, Carracci, Hogarth, Turner, Rodin, Degas, and Kollwitz are explored, along with work by contemporary artists Judy Chicago, Frank Auerbach, Richard Long, the Chapman Brothers, and Richard Rawlins. The events of 2020 have made us newly alive to the preciousness and the dangers of touch, making this exploration of our most fundamental sense particularly timely and resonant.

The first substantial overview of Newling's mysterious, intriguing, and often beautiful works.

This catalogue accompanies an exhibition at the Barber Institute of Fine Arts that will shine a spotlight on Pieter Brueghel the Younger (1564 - 1637/38), an artist who was hugely successful in his lifetime but whose later reputation has been overshadowed by that of his famous father, Pieter Bruegel the Elder (c.1525 - 1569). Peasants and Proverbs: Pieter Brueghel the Younger as Moralist and Entrepreneur shares recent research into the Barber's comical yet enigmatic little painting, Two Peasants Binding Firewood, setting out fresh insights and offering a new appreciation of a figure whose prodigious output and business skills firmly established and popularised the distinctive 'Brueghelian' look of Netherlandish peasant life. Born in Brussels, Pieter Brueghel the Younger was just five years old when his renowned father died prematurely. Clearly talented, by the time he was around 20 years old, Brueghel the Younger was already registered as a master in Antwerp's Guild of Saint Luke. Between 1588, the year of his marriage, and 1626, he took on nine apprentices, demonstrating that he had established a successful studio. His workshop produced an abundance of paintings, ranging from exact copies of famous compositions by his father, to pastiches and more inventive compositions that further promoted the distinctive Bruegelian 'family style', usually focused on scenes of peasant life. He was, as a consequence, later deemed a second-rate painter, capable of only producing derivative works. This exhibition and book highlight how a more sophisticated understanding is now emerging of a creative and capable artist, and a savvy entrepreneur, who exploited favourable market conditions from his base in cosmopolitan Antwerp. From this deeper understanding of his practice, his favoured subjects and the market for them, we gain a more profound and compelling insight into the society in which he operated and its preoccupations and passions. A dozen other versions of Two Peasants Binding Firewood exist and, by examining some of them alongside the Barber painting, and using the insights gleaned from recent conservation work and technical analysis, the exhibition and book will explore how Brueghel the Younger operated his studio to produce and reproduce paintings, and the extent to which the entire enterprise was motivated by trends in the contemporary art market.

This essay explores the development of Salvador Dali, from the early phases of childhood, the bizarre and complex aims of his first experiments, to his absorption into high society of Paris in the 1930s, and his inclusion in the Surrealist movement from 1928 to 1939. The essay focuses on the makeup of a provocative and original personality acutely reflexive, intelligent and pathologically driven. As a creative signifier of considerable and generative impact, Dali can be identified as a unique sounding board for his own and succeeding times.

Life of Newlyn/St Ives artist famed for his paintings of animals and birds.

Artworks, manuscripts, printed works and wildlife sound recordings come together in this major compendium of the greatest and strangest representations of animals on record. Eighty detailed case studies highlight celebrated works, including John James Audubon's The Birds of America, Matthew Paris's Liber additamentorum, Maria Sibylla Merian's Metamorphosis (1705), Mark Catesby's The Natural History of Carolina, Florida and the Bahama Islands, as well as letters from Charles Darwin, the Baburnama, translated by Mirza 'Abd al-Rahim Khan, Japanese printed works by Hirase Yoichiro (1914-1915), Arabic hippiatric texts and the work of contemporary artists including Levon Biss and Jethro Buck. Rich, newly photographed, illustrations bring these works to life, while interactive QR technology will allow readers to listen to recordings of the sound exhibits as they read. Expertly edited, this powerful collection of objects prompt us to consider the increasing importance of technology and data to our understanding of humanity's impact on the world's faunal inhabitants.

This catalogue accompanies the first exhibition devoted to a fascinating group of drawings by the Anglo-Swiss Henry Fuseli (1741-1825), one of eighteenth-century Europe's most idiosyncratic, original and controversial artists. Best known for his notoriously provocative painting The Nightmare, Fuseli energetically cultivated a reputation for eccentricity, with vividly stylised images of supernatural creatures, muscle-bound heroes, and damsels in distress. While these convinced some viewers of the greatness of his genius, others dismissed him as a charlatan, or as completely mad. Fuseli's contemporaries might have thought him even crazier had they been aware that in private he harboured an obsessive preoccupation with the figure of the modern woman, which he pursued almost exclusively in his drawings. Where one might have expected idealised bodies with the grace and proportions of classical statues, here instead we encounter figures whose anatomies have been shaped by stiff bodices, waistbands, puff ed sleeves, and pointed shoes, and whose heads are crowned by coiffures of the most bizarre and complicated sort. Often based on the artist's wife Sophia Rawlins, the women who populate Fuseli's graphic work tend to adopt brazenly aggressive attitudes, either fixing their gaze directly on the viewer or ignoring our presence altogether. Usually they appear on their own, in isolation on the page; sometimes they are grouped together to form disturbing narratives, erotic fantasies that may be mysterious, vaguely menacing, or overtly transgressive, but where women always play a dominant role. Among the many intriguing questions raised by these works is the extent to which his wife Sophia was actively involved in fashioning her appearance for her own pleasure, as well as for the benefit of her husband. By bringing together more than fi fty of these studies (roughly a third of the known total), The Courtauld Gallery will give audiences an unprecedented opportunity to see one of the finest Romantic-period draughtsmen at his most innovative and exciting. Visitors to the show and readers of the lavishly illustrated catalogue will further be invited to consider how Fuseli's drawings of women, as products of the turbulent aftermath of the American and French Revolutions, speak to concerns about gender and sexuality that have never been more relevant than they are today. The exhibition showcases drawings brought together from international collections, including the Kunsthaus in Zurich, the Auckland Art Gallery in New Zealand, and from other European and North American institutions.