"Hallum's painting is charged with delight in colour, line, surface and composition, in powerfully unconventional ways." - Hettie Judah This is the first monograph on the London-born, Devon-based artist Jacqui Hallum. The publication documents Hallum's solo exhibition at The Walker Art Gallery, Liverpool (10 October 2019 - 1 March 2020), along with a series of solo, two-person and group exhibitions held between 2014 and 2020. Hallum is best-known for her mixed-media paintings on textiles - techniques she has developed and refined over the course of twenty years since completing her studies. Incorporating imagery and visual languages ranging from medieval woodcuts and stained-glass windows to Art Nouveau children's illustrations, tarot cards and Berber rugs, Hallum employs ink staining, painting, drawing and printing to create layers of pattern, abstraction and passages of figurative imagery. As part of her working process, Hallum often leaves the fabrics in the open air, exposed to the elements, in order to introduce weathering into the works. History, religion, mysticism and the beliefs and creativity of past civilisations are among the themes that overlap - often in a literal sense of pieces of fabrics layered, pinned, draped and hung together - to form painterly palimpsests that carry a sense of the past with them into the present. Along with a foreword by Professor Caroline Wilkinson, Director of the School of Art and Design at Liverpool John Moores University, and an introductory essay by artist, curator and director of Kingsgate Workshops and Project Space in London, Dan Howard-Birt, the publication features newly commissioned essays by arts journalist and critic Hettie Judah and by Andrew Hunt, Professor of Fine Art and Curating at the University of Manchester. Also featured is the edited transcript of a conversation between Hallum and Howard-Birt held at The Walker Art Gallery, Liverpool. Jacqui Hallum (b.1977, London) graduated with a BA in Fine Art from Coventry School of Art& Design, Coventry University, in 1999, and an MFA in Painting from the Slade School of Fine Art, University of London, in 2002. Hallum's solo exhibition at The Walker Art Gallery followed a three-month fellowship at Liverpool John Moores University, which resulted from winning the prestigious John Moores Painting Prize in 2018. The monograph, designed by work-form and edited by Susan Taylor, has been produced by Kingsgate Project Space and co-published with Anomie Publishing.

The Art of Drawing is the first book in sixty years to cover the wider history of drawing in Britain exploring the crucial role drawing has played in British art. Featuring works by foremost British artists from the early seventeenth century right up to the present day, this book offers fresh insights into the wide range of ways in which these artists have used drawing to think on paper, build up ideas and make finished exhibition pieces. Taking examples from the greatest masters, including Isaac Oliver, Peter Lely, WIlliam Blake, Thomas Rowlandson, John Constable, Edwin Landseer, Dante Gabriel Rossetti, Edward Burne-Jones, Wyndham Lewis, Paul Nash, Lucian Freud, David Hockney, John Piper, Sian Bowen and Grayson Perry, Susan Owens discusses the art and craft of drawing, materials and techniques and why artists chose them.ory of drawing in Britain exploring the crucial role drawing has played in British art. Featuring works by foremost British artists from the early seventeenth century right up to the present day, this book offers fresh insights into the wide range of ways in which these artists have used drawing to think on paper, build up ideas and make finished exhibition pieces. Taking examples from the greatest masters, including Isaac Oliver, Peter Lely, WIlliam Blake, Thomas Rowlandson, John Constable, Edwin Landseer, Dante Gabriel Rossetti, Edward Burne-Jones, Wyndham Lewis, Paul Nash, Lucian Freud, David Hockney, John Piper, Sian Bowen and Grayson Perry, Susan Owens discusses the art and craft of drawing, materials and techniques and why artists chose them.

Delve deeper into the work of the intriguing and iconic artist Aubrey Beardsley with this beautiful reissue of his classic 1897 illustrated book, containing fifty of his best known works. Aubrey Beardsley (1872–1898) lived a desperately short life and his career spanned just seven years. Nonetheless, his output as a draughtsman and illustrator was prolific. Beardsley's subversive illustrations became synonymous with decadence: he delighted in the erotic, shocking audiences with his bizarre sense of humour and fascination with the grotesque. His work was deemed too scandalous by many publishers of the period, but found a suitably unseemly home with the notorious Leonard Charles Smithers.  This book, published by Smithers in 1897, and now reproduced in a near-facsimile edition, is as much a historic document as it is a beautiful introduction to Beardsley's art.

"Ghosts, Brides & Other Companions" gathers new and early paintings and drawings on paper by Dutch artist Elly Strik (born 1961), spanning the entirety of the artist's career to date. It includes an interview conducted by Swiss curator and art historian, Jean-Christophe Ammann.

Como sabemos que la Biblia es la Palabra de Dios? Que es el pecado y de donde vino? Como es que Jesus es completamente Dios y completamente hombre? Que son los dones espirituales? Cuando y como volvera Cristo? Si se hace preguntas de este tipo, > no es un termino abstracto, solo es una forma de acercarse a encontrar las respuestas que todo cristiano debe saber. Este libro es un compendio de la sumamente recomendada Teologia Sistematica de Grudem, el cual abarca las mismas cuestiones esenciales de la fe, dandole una firme comprension sobre siete topicos clave: ?La doctrina de la Palabra de Dios ?La doctrina de Dios ?La doctrina del hombre ?Las doctrinas de Cristo y del Espiritu Santo ?La doctrina de la aplicacion de la redencion ?La doctrina de la iglesia ?La doctrina del futuro Al igual que Teologia Sistematica, este libro se caracteriza por su claridad, su fuerte enfasis espiritual, su minuciosidad en cada detalle y su referencia a temas actuales como la guerra espiritual y los dones del Espiritu. Sin embargo, usted no necesita tener varios anos de estudio biblico para obtener el beneficio total que brinda Doctrina Biblica, ya que es facil de comprender y cuenta con solidas respuestas biblicas a sus preguntas mas importantes."

Cet ouvrage explore un moment clef du developpement de l'art moderne egyptien, lorsque sont definis les fondements d'une nouvelle pratique artistique au debut du 20eme siecle. Base sur un important travail de terrain mene en Egypte et sur des documents d'archives jusqu'ici inexplores, il se centre sur une generation de peintres et de sculpteurs appeles les pionniers (al-ruwwad). Formes dans des institutions telles que l'Ecole des Beaux-Arts du Caire, leur production s'inscrit dans un mouvement de renaissance artistique et reflete les multiples interactions transculturelles entre l'Egypte et l'Europe. Cette etude offre ainsi un regard nouveau sur ces artistes qui ont pose les jalons du modernisme egyptien et met en lumiere une production jusqu'ici peu etudiee. Tandis que l'on aborde aujourd'hui l'histoire de l'art dans une perspective globale a la lumiere de circulations, d'echanges et de reseaux, elle offre un point d'ancrage permettant de mieux apprehender les dynamiques et les enjeux actuels de l'art contemporain au Moyen-Orient. In this book, Nadia Radwan explores a key moment of the development of modern Egyptian art, when the foundations of a new artistic practice are defined in the early 20th century. Based on field work and unexplored archival material, this work focuses on a generation of painters and sculptors commonly referred to as the pioneers (al-ruwwad). Trained in institutions, such as the School of Fine Arts in Cairo, their production is inscribed in a project of artistic renaissance and reflects multiple transcultural interactions between Egypt and Europe. This publication thus re-evaluates these artists that opened the path to Egyptian modernism and sheds light their yet understudied production. While art history is now approached in the perspective of circulations, exchange and networks, this book offers a background to a better comprehend the dynamics and stakes of contemporary art in the Middle East and intends to contribute to the cartographic constellation of a world art history.

Unicorns have captured the imagination of people all over the world. These fantastical creatures have never been so popular, and well-known fantasy artist Sharon Hurst shows you how to bring them to life in this, her first book. Containing 26 different unicorns to draw in a range of poses and styles, each one is achieved in just 7 simple steps, making this book suitable for all ages and abilities. Each one starts with a few basic shapes and is developed into a finished tonal drawing, and a final coloured version shows you how to take your drawing even further. Choose from majestic winged creatures or playful young unicorns and discover how easily you too can create these amazing fantasy animals.

Serial Drawing offers a timely and rigorous exploration of a relatively little-researched art form. Serial drawings - artworks that are presented as singular works but are made up of distributed parts - are studied in fresh, contemporary terms with a novel philosophical approach, emphasizing both the way in which this unique form of visual art exists in the world, and how it is encountered by the beholder. Inspired by the quadruple framework of Graham Harman's object-oriented ontology, Joe Graham explores a variety of serial drawings according to the idea that, in being serially arrayed, such artworks constitute a rather particular form of art object: one which is both unified yet pluralised, visible yet withdrawn. Examining works by artists such as Alexei Jawlensky, Ellsworth Kelly, Hanne Darboven, Jill Baroff and Stefana McClure, Graham interrogates the manner in which serial drawings are able to be appreciated by the viewer who beholds them in object-oriented terms. This task is carried out by paying attention to the manner in which three tensions - space, time and seriality -emerge for consideration within the beholders performative encounter with the work: an encounter which is 'seen serially', and which the medium of drawing specifically directs their attention towards.

Nous avons vecu une periode particulierement difficile. Il n'y avait aucune direction connue dans notre travail. Pas a pas, nous avons depasse l'effroi de l'egarement et decouvert le plaisir de domaines nouveaux... Mais les critiques n'etaient pas de notre cote, aucune valeur sociale n'etait attachee a nos travaux. C'est en ces termes que le peintre Ahmad Esfandiari (1922-2012) decrit l'effervescence des annees 1940 durant lesquelles un style pictural novateur - la Nouvelle peinture - apparait en Iran. A l'appui d'archives et d'entretiens, cet ouvrage tente de restituer la flamme qui a anime ces artistes-pionniers: leur esprit d'innovation face a une tradition artistique multiseculaire; les risques pris, les transgressions osees et soutenues contre vents et marees. Ils furent les premiers a explorer des terres inconnues, annonciatrices de la modernite. Nombreuses furent les resistances: proces en justice, vandalisme, censure, interdiction de publier leurs revues. Aujourd'hui encore, leur heritage demeure paradoxalement occulte. Leur determination et leur force de conviction ont pourtant suscite des mutations artistiques majeures, sources de changements sociaux non moins importants.

Die Autorin analysiert umfassend das Fruhwerk des deutschen Kunstlers Otto Freundlich (1878-1943). Dieser begann bereits wahrend seines ersten Paris-Aufenthaltes 1908 eine eigenstandige, nicht-gegenstandliche Formensprache zu entwickeln, ohne sich wie zahlreiche seiner Zeitgenossen den vorherrschenden Kunststilen anzupassen oder unterzuordnen: "Ich habe [...] nach meiner inneren UEberzeugung geschaffen, die verlangte, von der Tradition abzugehen." Anhand der Rekonstruktion seines Netzwerkes positioniert die Untersuchung den Kunstler als selbstbewussten Wegbereiter der Abstraktion innerhalb der Pariser Avantgarde.

Explore how dot drawing can bring new style to your work, from lettering to nature subjects, and everything in between. Also known as "stippling," the dot-drawing technique is similar stylistically to pointillism. With the instructions and projects in Dot Drawing, you will create pictures consisting of patterns of dots that are shaded in intensity and placement to give lifelike shape, form, and depth. Artists specializing in all styles can benefit from dot drawing, since-although the name sounds so simple-the technique requires a solid knowledge and understanding of the balance between positive and negative space. Start by learning about the best materials and techniques, including dos and don'ts. Make your dot drawings more realistic by understanding light, controlling your pen, and blending. Then, guided photos lead you through projects step by step. There are 10 projects to explore and play with in each of 4 categories: lettering, natural motifs, illustration, and tattoo art.

Aubrey Beardsley and British Wagnerism in the 1890s is an interdisciplinary study of the influence of Richard Wagner on the work of Aubrey Beardsley (1872-1898). The study considers Beardsley's pictorial and literary versions - or perversions - of Wagner's operas. It explores the role of Wagnerism within British culture of the 1890s, in particular the relations between Wagnerism and the decadent movement.