Francis Bacon is considered one of the most important painters of the twentieth century. A major exhibition of his paintings at the Royal Academy of Arts, planned for 2020 but postponed because of the pandemic, explores the role of animals in his work – not least the human animal. Having often painted dogs and horses, in 1969 Bacon first depicted bullfights. In this powerful series of works, the interaction between man and beast is dangerous and cruel, but also disturbingly intimate. Both are contorted in their anguished struggle, and the erotic lurks not far away: ‘Bullfighting is like boxing,’ Bacon once said. ‘A marvellous aperitif to sex.’ Twenty-two years later, a lone bull was to be the subject of his final painting. In this fascinating publication – a significant addition to the literature on Bacon – expert authors discuss Bacon’s approach to animals and identify his varied sources of inspiration, which included wildlife photography and the motion studies of Eadweard Muybridge. They contend that, by considering animals in states of vulnerability, anger and unease, Bacon was able to lay bare the role of instinctual behaviour in the human condition. Images below, left to right: Francis Bacon (1909-1992), Fragment of a Crucifixion, 1950. Oil and cotton wool on canvas, 140 x 108.5 cm. Stedelijk van Abbemuseum, Eindhoven. Photo Hugo Maertens Francis Bacon (1909-1992), Study for Portrait (with Two Owls), 1963. Oil on canvas, 198.1 x 144.8 cm. Private collection. Photo Prudence Cuming Associates Ltd Francis Bacon (1909-1992), Man with Dog, 1953. Oil on canvas, 152 x 117 cm. Albright-Knox Art Gallery, Buffalo, New York. Gift of Seymour H. Knox Jr, 1955, inv. K1955:3. Photo Prudence Cuming Associates Ltd All images © The Estate of Francis Bacon. All rights reserved, DACS/Artimage 2020.

Dink mens aan Wes-Afrika, dink jy aan woestyn en kamele, Bedoeiene en swaar tekstielweefstof, silwer juweliersware en stomende speserye. Tog is daar naas die bykans mistieke idille-beeld mediaflitse van honger en armoede, politieke onstabiliteit en diktatorskap, vrees en verskrikking. As vryskutjoernalis in Dakar kry Louw die geleentheid om lande soos Senegal, Togo, Ghana, die Ivoorkus en Burkina Faso nie net as “toubab” (Westerling) en toeris te besoek nie, maar kry sy ook glimpse van die streek se hartklop: onreg, ongelykheid en onmag wat dekades na die val van kolonialisme nog die vinger wys na Europese hebsug ... maar ook die kuns, die kleur en die ritme van ’n leefstyl so diep verweef met die waai van die wind, die skakerings van sandduine en die val van die Afrika-son dat dit byna anderkant Westerse woordeskat le. Anderkant ’n eerste kyk. Anderkant Timboektoe.

Whether painted by artist-warriors depicting their feats in battle or by other Native American artists, 19th and 20th century ledger drawings--drawn on blank sheets of ledger books obtained from U.S. soldiers, traders, missionaries, and reservation employees--provide an excellent visual source of information on the Great Plains Native Americans. An art form representing a transition from drawing on buffalo hide to a paper medium, ledger drawings range in style, content, and quality from primitive and artistically poor to bold and sharp with lavish use of color. Although interest in ledger drawings has increased in the last 20 years, there has never been a guide to holdings of these drawings. By bringing together the diverse and scattered institutions that hold them, this book will make finding the drawings quicker and easier. Illustrated with examples of ledger drawings, the guide identifies the libraries, archives, historical societies, and museums that hold ledger drawings. The institutions listed range from those with large collections, such as the Smithsonian, Yale, and Oklahoma museums, to institutions with only a few drawings. The book also includes a bibliography of books and articles about Indian pictographic art. The index will enable researchers to locate art by individual artists and tribes.

A selection of the most striking images taken from the bestselling "Morphia" series have been gathered together along with a selection of coloured pieces to celebrate the talent of Kerby Rosanes and his fans.

Containing a full-colour section displaying the most accomplished, completed artworks produced by Kerby's fans, along with stylistic comments and opinions from Kerby. The beautiful artworks displayed in the colour section are also included in the black and white section of the book, so you can take inspiration from the colouristas and bring your own images to life.

Sketching and carving both visualize and memorize a given image, but within Nowau culture the manner in which this is achieved in a canoe prowboard is entirely different than in a conventional drawing. When studying the impressive ceremonial canoes of Kitawa, in the Milne Bay Province of Papua New Guinea, G.M.G. Scoditti became struck by the absolute predominance of the artist's mind in the process of creating images: all its stages, its uncertainties and experimentation, must unfold within its silent, rarefied space. Only once fully formed can the image be revealed to the village in material form. Reflecting on the absence of orthographic writing within Nowau culture, and finding parallels with poetic and musical composition, Scoditti gained further insight into the Nowau processes of creation through the critiques the Kitawan carvers made of his own fieldwork sketchbooks. Spurred on by their curiosity, the anthropologist handed over his art materials to the master carvers to make their own drawings on paper or cardboard. Traditional pigments used on the polychrome canoe prowboards were added to the unfamiliar media of watercolour, acrylic, coloured pencils and ballpoint pen. Three-dimensional ornamentation became two-dimensional as images of self-decoration and huts were added to those of prowboards. This exercise was all the more fascinating given the prohibition of drawing on the surface of the wood before carving. On return to Italy, further graphic dialogues unfolded when an architect and an artist from the tradition of Italian Abstraction responded with their own intriguingly different interpretations of the canoe prowboard and its relationship to the Nautilus shell. All these drawings are brought together in this book, along with Scoditti's own sketches from fieldwork and ethnographic collections in Newcastle upon Tyne and Rome. 'The fieldworker's or museum ethnographer's sketches are never going to be quite the same. Through the double filter of Kitawan philosophy and Scoditti's ruminations, the apparently simple triad of sketch - drawing - carving opens out into a discourse on the creative mind. The Kitawan creator - here primarily the male carver - does not have to demonstrate how he creates, and what springs from these pages have a fascination of their own. Several distinctive hands, Kitawan and Italian, reflect from different interpretive and professional vantage points on the very process of drawing through doing exactly that, drawing. The result are images that delight and challenge, sensitively assembled, beautifully reproduced. An extraordinary record of creativity, and a rare corpus of visual memorials.' - Professor Dame Marilyn Strathern, University of Cambridge

Although written in 1913, this brilliant and authoritative guideto drawing is still highly relevant today. Speed, a highly regardedpainter in his time, takes the student comprehensively throughapproaches, techniques and materials and illustrates them allwith diagrams and paintings from both his contemporaries andthe Masters. He also discusses various aspects of the science andphilosophy of art, such as the use of proportion, the nature of talentand the definition of beauty.This handsome new edition from Benediction Classics containsall the original plates and diagrams and would be a great addition tothe resources of any budding artist.

Nei Jing states, "Without entering and leaving, there is no development; without ascending and descending, no transformation, absorption, and storing."

The definitive anatomical coloring book is now back and freshened up with a new cover. Each year, thousands of students studying to be doctors, physical therapists, and medical technicians have to master the art of anatomy--and prospective artists also want to capture realistic movement and posture. What better way to remember each bone, muscle, and organ than by coloring a picture? The very act of drawing entices students to spend more time with the image, and to examine the body's structure more closely. That's why this one-of-a-kind coloring book, with its concisely written text and easy-to-color-in medical illustrations, has always been such a huge seller--and why it's now revised into this new user-friendly format. Arranged according to body systems, the color-key organization links anatomical terminology to the more than 1,000 precise and detailed black-and-white illustrations.

From the self-made illustrator and creator Kitty Willow (@wobblywillows) comes a collection of creepy and cute sketches that are perfect coloring activities for children and adults. Experience cozy, magical, and witchy drawings for a delightful, creative, and indulgent me time. Sweet & Creepy Coloring contains over 60 adorable and slightly spooky black-and-white sketches that you can color, perfect for Halloween and suitable for all ages. Illustrations include mushrooms, bats, ghosts, ancient forests, cats, birds, potions bottles, crystals, and much more. Soon you'll be hanging up your finished artwork, or mimicking the sketches into your own doodles. Who doesn't love a little sweet and creepy mixed together?