The ultimate illustrated guide to the sculpture parks and trails of England, Scotland, Ireland and Wales. This exciting guide to the sculpture parks, trails and gardens of England, Ireland, Scotland and Wales is the perfect book for those who like art and the outdoors. Divided up into countries and regions, the book is informative as well as beautifully illustrated with fabulous images of sculptures by a broad array of international artists. It provides information on all the major sculpture venues of interest, featuring the best and most established, while also providing a wide range of other interesting places to visit and explore. Each feature provides directions of how to get there, along with an overview of the park or trail, and lists sculptures of particular interest and quality, while maps of each area will help you find places close by to visit. This makes it easy to see which places are suited to you depending on your preferences, level of interest and time available. This fully revised 2nd edition provides updated information and new entries for England, as well as brand new sections providing thorough coverage of Scotland, Ireland and Wales. The ideal guide for those with a passion for both nature and sculptures.

Spell Songs is a musical companion piece to The Lost Words: A Spell Book by author Robert Macfarlane and artist Jackie Morris. This mixed media CD is accompanied by sumptuous illustrations from Jackie Morris, new 'spells' by Robert Macfarlane, enlightening thoughts by Robert, Jackie and Spell Singer Karine Polwart and stunning photography by Elly Lucas. In 2018 Folk by the Oak Festival commissioned Spell Songs because of their love of The Lost Words book. Spell Songs comprises eight remarkable musicians whose music engages deeply with landscape and nature; musicians who are perfectly placed to respond to the creatures, art and language of The Lost Words. They spent a week in Herefordshire bringing this music together in the company of Jackie Morris. Art inspired music and music inspired art. Jackie Morris immersed herself in the musical residency where she generously created new iconesque artwork of each musician and their instruments portrayed in an unexpected and enchanting way. These stunning new artworks accompany the CD. Spell Songs allowed these acclaimed and diverse musicians to weave together elements of British folk music, Senegalese folk traditions, and experimental and classical music to create an inspiring new body of work. Here are 14 songs which capture the essence of The Lost Words book. Spoken voice, whispers, accents, dialects, native languages, proverbs, sayings, birdsong, river chatter and insect hum all increase the intimacy of the musical world conjured by the songs. Inspired by the words, art and ethos of The Lost Words book, each musician brings new imaginings, embellishments and diversions which are rooted in personal experience, a deep respect for the natural world, protest at the loss of nature and its language and an appreciation for wildness and beauty. In February 2019 Spell Songs enjoyed standing ovations at sell-out performances in major venues across the UK culminating at The Queen Elizabeth Hall at the Southbank Centre, London. Spell Songs was a highlight of The Hay International Literary Festival 2019 and in August 2019 they were invited to perform at the BBC's Lost Words Prom in the Royal Albert Hall. They will continue to tour each year. "There are songs here that would live with me for the rest of my years, even if I'd had no part in their making". Robert Macfarlane

A visual feast of eclectic artwork informed and inspired by spiritual beliefs, magical techniques, mythology and otherworldly experiences. Mystical beliefs and practices have existed for millennia, but why do we still chase the esoteric? From the beginning of human creativity itself, image-makers have been drawn to these unknown spheres and have created curious artworks that transcend time and place - but what is it that attracts artists to these magical realms? From theosophy and kabbalah, to the zodiac and alchemy; spiritualism and ceremonial magic, to the elements and sacred geometry - The Art of the Occult introduces major occult themes and showcases the artists who have been influenced and led by them. Discover the symbolic and mythical images of the Pre-Raphaelites; the automatic drawing of Hilma af Klint and Madge Gill; Leonora Carrington's surrealist interpretation of myth, alchemy and kabbalah; and much more. Featuring prominent, marginalised and little-known artists, The Art of the Occult crosses mystical spheres in a bid to inspire and delight. Divided into thematic chapters (The Cosmos, Higher Beings, Practitioners), the book acts as an entertaining introduction to the art of mysticism - with essays examining each practice and over 175 artworks to discover. The art of the occult has always existed in the margins but inspired the masses, and this book will spark curiosity in all fans of magic, mysticism and the mysterious.

First published in 1997, this volume will revolutionise the study of watercolour painting in Britain. The Royal Watercolour Society archive constitutes a major academic resource covering two hundred years of the history of watercolour painting in Britain. The rediscovery in 1980 of 'the Jenkins Papers', the early records of the Society, was a major find for the history of British art. The archives are substantial and remarkably comprehensive. Minutes of annual general meetings, Council and committees, are all intact; extraordinarily, the Society's catalogues for its own exhibitions have also survived, with details of who bought the pictures and for how much. It contains biographical information on several hundred artists who practised throughout the United Kingdom from the end of the eighteenth century to the present day. Prepared by the archivist to the RWS, Simon Fenwick, this is not just a work of reference, but an absorbing book to dip into again and again. The Society of Painters in Water Colours, as it was then titled, was founded in 1804 to promote the interests of painters using watercolour and to provide a platform for members to sell their work. As such, its archives provide an excellent insight into the evolving debate on the status of the artists and their medium, and an authoritative account of the way in which watercolour paintings were sold, distributed and acquired. The substantial introduction by Greg Smith surveys some of the purposes and practices of watercolour from 1750 to the present day and highlights key issues, many yet to be examined, relating to the study of watercolour. His survey is arranged around a number of topics including the notion of watercolour as a British art, collecting and display, book illustration, architectural drawing, map-making and topography, antiquarian studies, decorative arts, printmaking, portrait miniatures and drawings, amateur practices and the changing status of the sketch.

Using five case studies of contemporary art, this book uses ideas of systems and dispersion to understand identity and experience in late capitalism. This book considers five artists who exemplify contemporary art practice: Seth Price; Liam Gillick; Martin Creed; Hito Steyerl and Theaster Gates. Given the diversity of materials used in art today, once-traditional artistic mediums and practices have become obsolete in describing what artists do today. Francis Halsall argues that, in the face of this obsolescence, the ideas of system and dispersion become very useful in understanding contemporary art. That is, practitioners now can be seen to be using whatever systems of distribution and display are available to them as their creative mediums. The two central arguments are first that any understanding of what art is will always be underwritten by a related view of what a human being is; and second that these both have a particular character in late capitalism or, as is named here, the Age of Dispersion. The book will be of interest to scholars and students working in art history, contemporary art, studio art, and theories of systems and networks.

Explore the works of one of the greatest artists of all time.

Vincent Van Gogh art deck is a stunning collection of 50 cards featuring some of the most iconic paintings of this legendary artist.

Each card explores a different masterpiece in intricate detail, offering a deep dive into Van Gogh's creative process, artistic technique, and personal life.

From the vibrant swirls of Starry Night to the delicate blooms of Almond Blossom, these cards offer a unique perspective on the life and work of one of the greatest artists of all time.

Whether you're an art lover, a Van Gogh aficionado, or simply looking for a beautiful and informative deck of cards, Vincent Van Gogh art deck is the perfect addition to your coffee table, bookcase, or desk.

Look At This If You Love Great Art is a must read for anyone with a passion for exceptional art. Featuring 100 of the best artworks ever produced, inside is a collection of insightful summaries on just what it is that makes each one so vital. Art writer Chloe Ashby talks you through the pieces that resonate with her, revealing the fascinating stories behind them and offering her considered take on why each work should be regarded as a pinnacle of artistic endeavour. With entries curated to offer a unique juxtaposition of styles, mediums and schools of art, expect a contemporary take on classic artworks, where titans of art history cross paths with under-appreciated examples from outside the traditional canon, and where rebellious visionaries blaze trails that still influence today's cutting-edge artists. Covering all the most important genres of art -Abstraction, Pop Art, Surrealism, Renaissance art, Impressionism and more - this engaging summary only deals with artworks that really matter and the reasons why you have to see them.

Review: ...a strong and engaged spectrum of essays by leading scholars that reflects the range and depth of Caravaggio scholarship today. It constitutes a milestone contribution to our understanding of this artist and his complex historical reception, as well as the range of approaches currently at work in the study of early modern European art.'- Genevieve Warwick, University of Edinburgh and Editor, Art History'This is a distinguished collection of original essays by well-established scholars of Italian Baroque art and Caravaggio in particular. It is remarkable for the diversity of questions asked and methodological resources deployed in answering them. Such is the sureness of scholarship that underpins each essay, however, that there is little to no contradiction among them. Each essay contributes to a fuller understanding of Caravaggio that is greater than the sum of its excellent parts.' - Charles DempseyProfessor of Italian Renaissance and Baroque Art EmeritusThe Johns Hopkins University.

'A truly transformative read' Sunday Times STYLE 'More than ever, we need books like this' Jessica Seaton, Co-Founder of Toast and author of Gather, Cook, Feast A whole new way of looking at the world - and your life - inspired by centuries-old Japanese wisdom. Wabi sabi ("wah-bi sah-bi") is a captivating concept from Japanese aesthetics, which helps us to see beauty in imperfection, appreciate simplicity and accept the transient nature of all things. With roots in zen and the way of tea, the timeless wisdom of wabi sabi is more relevant than ever for modern life, as we search for new ways to approach life's challenges and seek meaning beyond materialism. Wabi sabi is a refreshing antidote to our fast-paced, consumption-driven world, which will encourage you to slow down, reconnect with nature, and be gentler on yourself. It will help you simplify everything, and concentrate on what really matters. From honouring the rhythm of the seasons to creating a welcoming home, from reframing failure to ageing with grace, wabi sabi will teach you to find more joy and inspiration throughout your perfectly imperfect life. This book is the definitive guide to applying the principles of wabi sabi to transform every area of your life, and finding happiness right where you are.

This edited volume maps dialogues between science and technology studies research on the arts and the emerging field of artistic research. The main themes in the book are an advanced understanding of discursivity and reasoning in arts-based research, the methodological relevance of material practices and things, and innovative ways of connecting, staging, and publishing research in art and academia. This book touches on topics including studies of artistic practices; reflexive practitioners at the boundaries between the arts, science, and technology; non-propositional forms of reasoning; unconventional (arts-based) research methods and enhanced modes of presentation and publication.

This book provides a comprehensive assessment of Dürer’s depictions of human diversity, focusing particularly on his depictions of figures from outside his Western European milieu. Heather Madar contextualizes those depictions within their broader artistic and historical context and assesses them in light of current theories about early modern concepts of cultural, ethnic, religious and racial diversity. The book also explores Dürer’s connections with contemporaries, his later legacy with respect to his imagery of the other and the broader significance of Nuremberg to early modern engagements with the world beyond Europe. The book will be of interest to scholars working in art history, Renaissance studies and Renaissance history.

First published in 1917, On Collecting Japanese-Prints is meant to assist the amateur who has started a collection for the first time, or the person who, while not actually a collector, is sufficiently interested to read about the subject, yet finds the more exhaustive and advanced works thereon somewhat beyond them. How to distinguish forgeries and imitations; what prices should be given; what examples can still be obtained, are some of the questions which the writer has attempted to answer. The following chapters being primarily written for the beginner, artists whose work is very rare, or whose prints they are unlikely to come across in their search for examples, are not mentioned, unless where necessary from a historical or artistic point of view.

Islamic Visual Culture, 1100-1800 is the second in a set of four volumes of studies on Islamic art by Oleg Grabar. Between them they bring together more than eighty articles, studies and essays, work spanning half a century by a master of the field. Each volume takes a particular section of the topic, the three other volumes being entitled: Early Islamic Art 650-1100; Islamic Art and Beyond; and Jerusalem. Reflecting the many incidents of a long academic life, they illustrate one scholar's attempt at making order and sense of 1400 years of artistic growth. They deal with architecture, painting, objects, iconography, theories of art, aesthetics and ornament, and they seek to integrate our knowledge of Islamic art with Islamic culture and history as well as with the global concerns of the History of Art. In addition to the articles selected, each volume contains an introduction which describes, often in highly personal ways, the context in which Grabar's scholarship developed and the people who directed and mentored his efforts. The focus of the present volume is on the key centuries - the eleventh through fourteenth - during which the main directions of traditional Islamic art were created and developed and for which classical approaches of the History of Art were adopted. Manuscript illustrations and the arts of objects dominate the selection of articles, but there are also forays into later times like Mughal India and into definitions of area and period styles, as with the Mamluks in Egypt and the Ottomans, or into parallels between Islamic and Christian medieval arts.

This lushly illustrated book examines the cross-cultural influences and unique artistic dialogue between Hispano and Native American arts in the Southwest over the past 400 years since Spanish colonization. Insightful essays by historians, artists, and scholars including Estevan Rael-Galvez, Lane Coulter, Enrique R. Lamadrid, Marc Simmons, and others, explore the impact of cultural interaction on various art forms including painting, sculpture, metalwork, textiles, architecture, furniture and performance and ceremonial arts. Over 150 art works and photographs gathered from museums across the country are testimony to the unique Southwestern aesthetic that developed from this dynamic cultural exchange. Published as companion to an exhibition at the Museum of Spanish Colonial Art in Santa Fe, New Mexico on display through September 30, 2010.

Wide-ranging and timely, The Practice of Public Art brings together practicing artists, curators, activists, art writers, administrators, city planners, and educators from the United Kingdom and United States to offer differing perspectives on the many facets of the public art process. The Practice of Public Art examines the continual evolution of public art, from monuments and memorials to socially engaged public art practice. Topics include constructing new models for developing and commissioning public art works, understanding the challenges of public art vs. public design, and unraveling the relationships between public artists and the communities they serve. The Practice of Public Art offers a diverse perspective on the complex nature of public art in the twenty-first century.

A sumptuous survey of over 300 women painters and their work spanning almost five centuries Great Women Painters is a groundbreaking book that reveals a richer and more varied telling of the story of painting. Featuring more than 300 artists from around the world, it includes both well-known women painters from history and today's most exciting rising stars. Covering nearly 500 years of skill and innovation, this survey continues Phaidon's celebrated The Art Book series and reveals and champions a more diverse history of art, showcasing recently discovered and newly appreciated work and artists throughout its more than 300 pages and images. Artists featured include: Hilma af Klint, Eileen Agar, Sofonisba Anguissola, Cecily Brown, Leonora Carrington, Mary Cassatt, Elaine de Kooning, Marlene Dumas, Nicole Eisenman, Jadé Fadojutimi, Helen Frankenthaler, Artemisia Gentileschi, Maggi Hambling, Carmen Herrera, Gwen John, Frida Kahlo, Tamara de Lempicka, Agnes Martin, Joan Mitchell, Alice Neel, Plautilla Nelli, Georgia O'Keeffe, Paula Rego, Bridget Riley, Jenny Saville, Dana Schutz, Lee Krasner, Yayoi Kusama

This fully revised and updated third edition offers students and artists valuable insights into traditional color theory and its practical application using today's cutting-edge technology. The text is lavishly illustrated, stressing issues of contemporary color use and examining how today's artists and designers are using color in a multitude of mediums in their work. It is the only book that has parity between the male and female artists and designers represented, while containing more multicultural and global examples of art and design than any other text. This book begins with how we see color and its biological basis, progressing to the various theories about color and delving into the psychological meaning of color and its use. There are individual chapters on color use in art and design, as well as global and multicultural color use. One chapter investigates cross cultural life events such as marriages and funerals, while examining the six major religions' conceptual and psychological underpinnings of color use. The final chapter explores the future of color. Contemporary Color is the ideal text for color theory courses, but also for beginning art and design students, no matter what their future major discipline or emphasis may be. It provides the foundation on which to build their career and develop their own personal artistic voice and vision.

The complete and unabridged full-color edition First published in 1856, The Grammar of Ornament remains a design classic. Its inspiration came from pioneering British architect and designer Owen Jones (1809-1874), who produced a comprehensive design treatise for the machine age, lavishly illustrated in vivid chromolithographic color. Jones made detailed observations of decorative arts on his travels in Europe, the Middle East, and in his native London, where he studied objects on display at the Great Exhibition of the Works of Industry of All Nations in 1851 and at local museums. His aim was to improve the quality of Western design by changing the habits of Victorian designers, who indiscriminately mixed elements from a wide variety of sources. Jones's resulting study is a comprehensive analysis of styles of ornamental design, presenting key examples ranging from Maori tattoos, Egyptian columns, and Greek borders to Byzantine mosaic, Indian embroidery, and Elizabethan carvings. At once splendidly Victorian and insistently modern, The Grammar of Ornament celebrates objects of beauty from across time periods and continents, and remains an indispensable sourcebook today.

Conservation of Easel Paintings, Second Edition provides a much-anticipated update to the previous edition, which has come to be known internationally as an invaluable and comprehensive text on the history, philosophy and methods of the treatment of easel paintings. Including 49 chapters written by more than 90 respected authors from around the world, this volume offers the necessary background knowledge in technical art history, artists' materials and scientific methods of examination and documentation. Later sections of the book provide information about the varying approaches and methods for treatment and issues of preventive conservation, as well as valuable reflections on storage, shipping, and exhibition. Including exciting developments that have taken place since the last edition was published, the book also covers new techniques of examination, especially MacroXRF scanning and Reflectance Transmission Imagery. Drawing on research presented at recent professional conferences, information about innovative methods for cleaning modern and contemporary paintings and insights into modern oil paints is also included. Incorporating the latest regulations and understanding of health and safety practices and integrating theory with practice throughout, Conservation of Easel Paintings, Second Edition will continue to be an indispensable reference for practicing conservators. It will also be an essential resource for students taking conservation courses around the world.

This book tells the story of the Del Riccio family in Florence in the early modern period, investigating the cultural mediations fostered by the family between Florence, Rome, and Naples, as well as shedding light on the intellectual and social exchanges between different regions of Italy and on the creation of foreign nations within the main Italian cities. These social and cultural dimensions are further explored through the study of the obsessive persistence of the family's relationship with Michelangelo Buonarroti, exhibited both publicly, in the Florentine and Neapolitan family chapels, and privately in their homes. The main achievement of this study is to move the focus from the ruling power, the Medici family and the immediate members of their court, to a Florentine middle-class family and its social mobility: this shift from the conventional narrative to a distributed microhistory is fundamental to better assess the use of images and artworks in early modern Florence and abroad. The aesthetic and stylistic choices in the use of art and art display made by the Del Riccio reveal a deep awareness of the substantial differences in taste and meaning between different cities of the Italian peninsula. The book will be of interest to scholars working in art history, visual culture, and Renaissance studies.

'Even a seasoned art history buff will find new things to discover in this book.' - Hyperallergic 'Fascinating facts and illuminating anecdotes.' - The Art Newspaper The perfect miscellany for every art lover - an essential and engaging collection of facts, figures, and findings about art, artists, and the art world, past and present This extraordinary compendium of compelling facts, figures, and findings gathers and distils obscure and fascinating information about art, artists, and the art world. Fun, surprising, and compelling, in this covetable book you will learn: - which artist's work is stolen most often (Picasso) - names of artists' pets: Fat Fat & Cous-Cous (Louise Nevelson's cats), Giotto and Goya (John Baldessari's dogs) - artist couples (Nancy Rubins and Chris Burden; Niki de Saint Phalle and Jean Tinguely; Dorothea Tanning and Max Ernst) - things artists collect: prosthetic arms and legs (Sophie Calle), glass eyes (Hiroshi Sugimoto) - odd jobs and side hustles: telephone marketer (Tomma Abts), crop duster (James Turrell) - artists who were rejected from art school (Francisco Goya, Auguste Rodin) ... and hundreds of other miscellaneous details. Thoughtfully and thoroughly researched, this intriguing book offers refreshing and surprising perspectives on the world of art. The five page-turning chapters cover: - Artists - Art School - Art Studio - Art Museum - Art World

First published in 1965, Mannerism is the rediscovery and revaluation of Mannerism, that long misjudged artistic style which came into its own during the crisis of the Renaissance. Expressionism, Surrealism and Abstract Art prepared the ground for a new understanding of Mannerism, and Dr. Hauser shows how this revaluation signifies an even deeper caesura in intellectual history than the crisis of the Renaissance itself in which Mannerism arose. These propositions however, only touch on the problem which is exhaustively treated by Hauser in all its historical and thematical variations. The author does not confine himself to the observation of development from the point of view of the history of art. In Part One he considers the emergence of the scientific worldview during the Renaissance, the economic and social revolution, religious movements and political ideas, the problem of alienation, and narcissism as keys to the understanding of Mannerism. Part Two, which deals with the history of Mannerism both in Italy and abroad, gives not only remarkable analyses of works of art with the aid of 322 reproductions, but also considers leading representatives of the literature of the Mannerism in Italy, Spain, France, and England. Again, in Part Three, parallel and connecting lines are drawn between art and literature to make the rules of form and the contents clearly recognisable. The book will be of interest to students of art history and literature.

- Written specifically for beginning students. The sometimes personal, sometimes intellectual and speculative form of the essays will be refreshing to readers accustomed to the more technical, jargon-laden approach of many academic texts. - Brings aesthetics back into the contemporary discourse about art and architecture - not in order to escape the necessity of political or historical understandings of art and architecture, but to ground such approaches in our actual lived experience of works. - This book will appeal to readers who might not have much, or any, background in the plastic arts. An important premise of this book is the idea that highly nuanced aesthetic concepts can be explored and presented in fairly simple and accessible prose and thus made accessible to this audience. - Takes an interdisciplinary approach, considering canonical works of art, but also many buildings, gardens, and works of design, arguing that well-designed functional objects can establish a special bridge between the fine arts and our everyday lives.

While much has been achieved in understanding and managing weather effects and erosion phenomena affecting ancient imagery within the relatively protected environments of caves and rock-shelters, the same cannot be said of rock-art panels situated in the open-air. Despite the fact that the number of known sites has risen dramatically in recent decades there are few examples in which the weathering and erosion dynamics are under investigation with a view to developing proposals to mitigate the impact of natural and cultural processes. Most of the work being done in different parts of the world appears to be ad-hoc, with minimal communication on such matters between teams and with the wider archaeological community. This richly illustrated book evaluates rock-art conservation in an holistic way, bringing together researchers from across the world to share experiences of work in progress or recently completed. The chapters focus on a series of key themes: documentation projects and resource assessments; the identification and impact assessment of weathering/erosion processes at work in open-air rock-art sites; the practicalities of potential or implemented conservation interventions; experimentation and monitoring programs; and general management issues connected with public presentation and the demands of ongoing research investigations. Consideration is given to the conservation of open-air rock-art imagery from many periods and cultural traditions across the Old and New Worlds. This timely volume will be of interest to conservators, managers, and researchers dealing with aesthetic and ethical issues as well as technical and practical matters regarding the conservation of open-air rock-art sites.

Through meticulously researched case studies, this book explores the materiality of terracotta sculpture in early modern Europe. Chapters present a broad geographical perspective showcasing examples of modelling, firing, painting, and gilding of clay in Portugal, Spain, Italy, Germany, and the Netherlands. The volume considers known artworks by celebrated artists, such as Luca della Robbia, Andrea del Verrocchio, Filipe Hodart, or Hans Reichle, in parallel with several lesser-studied terracotta sculptures and tin-glazed earthenware made by anonymous artisans. This book challenges arbitrary distinctions into the fine art and the applied arts, that obscured the image of artistic production in the early modern world. The centrality of clay in the creative processes of artists working with two- and three-dimensional artefacts comes to the fore. The role of terracotta figures in religious practices, as well as processes of material substitutions or mimesis, confirm the medium’s significance for European visual and material culture in general. This book will be of interest to scholars working in art history, Renaissance studies, and material culture.