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Books > Arts & Architecture > Art forms, treatments & subjects > Painting & paintings > General
The Story of the America's Cup 1851-2021 tells the chronological
history of 150 years of the most exciting and exhilarating yacht
race, open the pages and you can almost feel the wind in the sails
and the salt spray. Full page colour illustrations bring the yachts
alive, set as they are in their natural element, at sea, on the
waves; detailed descriptions give an amazing insider's view of the
construction of individual boats, the routes sailed, the crews, the
highs and lows of what was undoubtedly, extremely tough and
competitive sailing, the victories and the defeats. Paintings by
Tim Thompson, a leading marine artist are an integral part of the
book's appeal; he has captured the pure essence, the spirit of the
race and its place in history.
The fairy tales of the Brothers Grimm according to David Hockney
are like no other version you will have read before. Although
inspired by earlier illustrators of the tales, from Arthur Rackham
to Edmund Dulac, Hockney's extraordinary etchings re-imagine these
strange and supernatural stories for a modern audience, capturing
their distinctive atmosphere in a style that is recognisably the
artist's own. Reprinted for the first time since its original
publication in 1969, Hockney's book brings together some well-known
tales - Rapunzel, Rumpelstiltskin - with others that are less
familiar. Informed by great art of the past, attuned to
idiosyncrasies of character and incident, and fresh in execution
and content, his illustrations invite us to read each one as if for
the first time.
Johannes Vermeer, one of the greatest Dutch painters and for some
the single greatest painter of all, produced a remarkably small
corpus of work. In Vermeer's Family Secrets, Benjamin Binstock
revolutionizes how we think about Vermeer's work and life. Vermeer,
The Sphinx of Delft, is famously a mystery in art: despite the
common claim that little is known of his biography, there is
actually an abundance of fascinating information about Vermeer's
life that Binstock brings to bear on Vermeer's art for the first
time; he also offers new interpretations of several key documents
pertaining to Vermeer that have been misunderstood. Lavishly
illustrated with more than 180 black and white images and more than
sixty color plates, the book also includes a remarkable color
two-page spread that presents the entirety of Vermeer's oeuvre
arranged in chronological order in 1/20 scale, demonstrating his
gradual formal and conceptual development. No book on Vermeer has
ever done this kind of visual comparison of his complete output.
Like Poe's purloined letter, Vermeer's secrets are sometimes out in
the open where everyone can see them. Benjamin Binstock shows us
where to look. Piecing together evidence, the tools of art history,
and his own intuitive skills, he gives us for the first time a
history of Vermeer's work in light of Vermeer's life. On almost
every page of Vermeer's Family Secrets, there is a perception or an
adjustment that rethinks what we know about Vermeer, his oeuvre,
Dutch painting, and Western Art. Perhaps the most arresting
revelation of Vermeer's Family Secrets is the final one: in
response to inconsistencies in technique, materials, and artistic
level, Binstock posits that several of the paintings accepted as
canonical works by Vermeer, are in fact not by Vermeer at all but
by his eldest daughter, Maria. How he argues this is one of the
book's many pleasures.
The extraordinarily revealing interviews with Francis Bacon
conducted over a period of 25 years by the distinguished art critic
David Sylvester amount to a unique statement by Bacon on his art
and on art in general. In the book, a classic of its kind, Bacon
considers the problems of realism and sheds new light on aspects of
his life. With a rare and brilliant use of language, Bacon talks
about his aims as a painter and ways in which he works, responding
always with vivacity and candour to Sylvester's searching
questions. Bacon's obsessive effort to record and re-create the
human form, his practice of making variation on old masters'
painting and on photographs, his dependence on chance, and his
views about the way in which his work has been interpreted are only
some of the many subjects discussed and investigated in depth
during these historic encounters.
A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine
high-quality production with magnificent art. Perfect as a gift,
and an essential personal choice for writers, notetakers,
travellers, students, poets and diarists. Features a wide range of
well-known and modern artists, with new artworks published
throughout the year. BEAUTIFULLY DESIGNED. The highly crafted
covers are printed on foil paper, embossed then foil stamped,
complemented by the luxury binding and rose red end-papers. The
covers are created by our artists and designers who spend many
hours transforming original artwork into gorgeous 3d masterpieces
that feel good in the hand, and look wonderful on a desk or table.
PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical
features too: a pocket at the back for scraps and receipts; two
ribbon markers to help keep track of more than just a to-do list;
robust ivory text paper, printed with lines; and when you need to
collect other notes or scraps of paper the magnetic side flap keeps
everything neat and tidy. THE ARTIST. Very little is known of
Charlotte Cowan Pearson's life but it is known that she was
admitted as a lady member of the Botanical Society of Edinburgh
(now Botanical Society of Scotland) in 1894 and that she was an
enthusiastic botanical artist. An album of Charlotte's beautiful
botanical paintings of British plants is held in the Library of the
Royal Botanic Garden Edinburgh and pays witness to her talents as
an artist. The artwork on this journal shows 'Stellaria nemorum,
Lepidium campestre, Asperula odorata, Stellaria holostea' painted
in 1871. THE FINAL WORD. As William Morris said, "Have nothing in
your houses that you do not know to be useful, or believe to be
beautiful."
A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine
high-quality production with magnificent art. Perfect as a gift,
and an essential personal choice for writers, notetakers,
travellers, students, poets and diarists. Features a wide range of
well-known and modern artists, with new artworks published
throughout the year. BEAUTIFULLY DESIGNED. The highly crafted
covers are printed on foil paper, embossed then foil stamped,
complemented by the luxury binding and rose red end-papers. The
covers are created by our artists and designers who spend many
hours transforming original artwork into gorgeous 3d masterpieces
that feel good in the hand, and look wonderful on a desk or table.
PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical
features too: a pocket at the back for scraps and receipts; two
ribbon markers to help keep track of more than just a to-do list;
robust ivory text paper, printed with lines; and when you need to
collect other notes or scraps of paper the magnetic side flap keeps
everything neat and tidy. THE ARTIST. Based in Falmouth, Cornwall,
Lucy Innes Williams is a painter and illustrator with a passion for
bright colours, cold shapes and joyous mark-making. With an
artistic interest in highly ornate textiles, patterns, and the
decorative arts of the early-mid twentieth century, she uses a
combination of gouache, watercolour and printmaking. THE FINAL
WORD. As William Morris said, "Have nothing in your houses that you
do not know to be useful, or believe to be beautiful."
Taking a practical approach to colour, Colour: A workshop for
artists and designers is an invaluable resource for art students
and professionals alike. With its sequence of specially designed
assignments and in-depth discussions, it effectively bridges the
gap between colour theory and practice to inspire confidence and
understanding in anyone working with colour. This third edition is
updated with more contemporary examples drawn not just from
painting, but from textiles, graphic design, illustration and
animation. An expanded discussion of digital techniques, new
assignments and a refreshed design have all been brought together
to create a highly readable and relevant text.
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 illuminates the original meanings of seventeenth- and
early-eighteenth-century mural paintings in Britain. At the time,
these were called 'histories'. Throughout the eighteenth century,
though, the term became directly associated with easel painting
and, as 'history painting' achieved the status of a sublime genre,
any link with painted architectural interiors was lost. Whilst both
genres contained historical figures and narratives, it was the ways
of viewing them that differed. Lydia Hamlett emphasises the way
that mural paintings were experienced by spectators within their
architectural settings. New iconographical interpretations and
theories of effect and affect are considered an important part of
their wider historical, cultural and social contexts. This book is
intended to be read primarily by specialists, graduate and
undergraduate students with an interest in new approaches to
British art of the seventeenth and eighteenth centuries.
The only book available on Scottish painting, this book is now in
its third edition with a new introduction and final chapter that
brings the book up to date with the latest developments in Scottish
painting (Richard Wright's win of the Turner Prize 2009).
Illustrated throughout, the work is by acknowledged authority on
Scottish painting William Hardie. Scottish society has been
reflected through the strong colour and energetic brushwork of its
artists. The book traces the beginnings of Scottish painting from
the foundation of the Foulis Academy in 1753, with William Dyce and
Scott Lauder establishing themselves in the south, followed by W Q
Orchardson and John Pettie around 1860. European travel ensured
Scottish painters were open to new techniques, and the explosion of
the Glasgow Boys and then the Colourists onto the scene meant
Scotland was respected for its innovation and imagination. Charles
Rennie Mackintosh today is still internationally recognised for his
work, and the painting of John Byrne, Curister, and Peter Howson
bring the book to the present day.
The incomparable play of light and color in Paul Cezanne's work was
the foundation of his reputation as a forerunner of modernism. From
the start he went his own way, and his paintings initially evoked a
lack of understanding in art critics of the time, as well as
ridicule. Despite his romantic, baroque, impressionist, and finally
classical influences, it is still difficult to ascribe Cezanne to
any particular art movement. Still, which specific places left
lasting impressions on the scion of a provincial banker's family?
What and who were major influences supporting and advancing his
innovative oeuvre? James H. Rubin traces Cezanne's life and work
from A to Z in this brief volume, creating an image of a painter
who wanted to transform painting itself. The author-and established
connoisseur-succeeds in closely approaching the artist while at the
same time maintaining the necessary distance to his inimitable
paintings.
Part of a series of exciting and luxurious Flame Tree Notebooks.
Combining high-quality production with magnificent fine art, the
covers are printed on foil in five colours, embossed then foil
stamped. And they're powerfully practical: a pocket at the back for
receipts and scraps and two bookmarks. These are perfect for
personal use and make a dazzling gift. This example is based on
Claude Monet's Bridge over a Pond of Water Lilies. 'All of a
sudden,' Monet would one day recall, 'I had the revelation of the
enchantment of my pond. I took up my palette...' And the rest is
art-history. Again and again - well over 200 times, and often
working on an enormous scale - Claude Monet would return to water
lilies as his subject.
Part of a series of exciting and luxurious Flame Tree Notebooks.
Combining high-quality production with magnificent fine art, the
covers are printed on foil in five colours, embossed then foil
stamped. And they're powerfully practical: a pocket at the back for
receipts and scraps and two bookmarks. These are perfect for
personal use and make a dazzling gift. This example is based on
Vincent van Gogh's Almond Blossom.
A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine
high-quality production with magnificent art. Perfect as a gift,
and an essential personal choice for writers, notetakers,
travellers, students, poets and diarists. Features a wide range of
well-known and modern artists, with new artworks published
throughout the year. BEAUTIFULLY DESIGNED. The highly crafted
covers are printed on foil paper, embossed then foil stamped,
complemented by the luxury binding and rose red end-papers. The
covers are created by our artists and designers who spend many
hours transforming original artwork into gorgeous 3d masterpieces.
PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical
features too: a pocket at the back for scraps and receipts; two
ribbon markers to help keep track of more than just a to-do list;
robust ivory text paper, printed with lines; and when you need to
collect other notes or scraps of paper the magnetic side flap keeps
everything neat and tidy. THE ARTIST. Lucy Innes Williams is a
painter and illustrator with an artistic interest in highly ornate
textiles, patterns, and the decorative arts of the early-mid
twentieth century. She uses a combination of gouache, watercolour
and printmaking. THE FINAL WORD. As William Morris said, "Have
nothing in your houses that you do not know to be useful, or
believe to be beautiful."
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Alice Neel
- People Come First
(Hardcover)
Kelly Baum, Randall Griffey; Contributions by Meredith A. Brown, Julia Bryan-Wilson, Susanna V. Temkin
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R1,145
R892
Discovery Miles 8 920
Save R253 (22%)
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Positioning Alice Neel as a champion of civil rights, this book
explores how her paintings convey her humanist politics and capture
the humanity, strength, and vulnerability of her subjects Â
“One of the most ambitious and thorough collections of Neel’s
work to date.”—Allison Schaller, Vanity Fair  “For me,
people come first,” Alice Neel (1900–1984) declared in 1950.
“I have tried to assert the dignity and eternal importance of the
human being.” This ambitious publication surveys Neel’s nearly
70-year career through the lens of her radical humanism. Remarkable
portraits of victims of the Great Depression, fellow residents of
Spanish Harlem, leaders of political organizations, queer artists,
visibly pregnant women, and members of New York’s global diaspora
reveal that Neel viewed humanism as both a political and
philosophical ideal. In addition to these paintings of famous and
unknown sitters, the more than 100 works highlighted include
Neel’s emotionally charged cityscapes and still lifes as well as
the artist’s erotic pastels and watercolors. Essays tackle
Neel’s portrayal of LGBTQ subjects; her unique aesthetic
language, which merged abstraction and figuration; and her
commitment to progressive politics, civil rights, feminism, and
racial diversity. The authors also explore Neel’s highly personal
preoccupations with death, illness, and motherhood while
reasserting her place in the broader cultural history of the 20th
century. Published by The Metropolitan Museum of Art/Distributed by
Yale University Press Exhibition Schedule: The Metropolitan Museum
of Art, New York (March 22–August 1, 2021)  Guggenheim,
Bilbao (September 17, 2021–January 30, 2022)  de Young
Museum, San Francisco (March 12–July 10, 2022)
Following the success of A Dog a Day (Pavilion, 2017), Sally Muir
returns with a sea of new, but crucially old, faces. Several years
ago Sally Muir began a Facebook project, 'A Dog a Day', posting dog
art daily. Through the project she was introduced to endless people
and their dogs, and the distinct personalities and complex emotions
that owners attribute to them. More recently, Sally's project
changed focus and she asked the public to send in photographs of
their old dogs. Featuring grey muzzles, milky eyes and wobbly legs,
as well as tender anecdotes picked up from a whole lifetime of
companionship, Sally Muir's paintings of our more senior canines
are collected here for the first time. Sally Muir is well known for
her portrayal of dogs, with Elderly Dog featuring in the Royal
Academy Summer Exhibition in 2018 and Hound following up in the
Summer Exhibition in 2019. The popularity of Elderly Dog has
fuelled Sally's desire to continue to paint older dogs, and
celebrate the ageing process of our favourite pets in grace and
style. From loose sketches and lithographs to potato prints and oil
paintings, Old Dogs includes a range of mediums that Sally has
become known for, and embraces dogs of all shapes and sizes: big,
small, pedigree and cross breed.
A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine
high-quality production with magnificent art. Perfect as a gift,
and an essential personal choice for writers, notetakers,
travellers, students, poets and diarists. Features a wide range of
well-known and modern artists, with new artworks published
throughout the year. BEAUTIFULLY DESIGNED. The highly crafted
covers are printed on foil paper, embossed then foil stamped,
complemented by the luxury binding and rose red end-papers. The
covers are created by our artists and designers who spend many
hours transforming original artwork into gorgeous 3d masterpieces.
PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical
features too: a pocket at the back for scraps and receipts; two
ribbon markers to help keep track of more than just a to-do list;
robust ivory text paper, printed with lines; and when you need to
collect other notes or scraps of paper the magnetic side flap keeps
everything neat and tidy. THE ARTIST. Anita Ree (1885-1933) was a
German painter, whose works reflect the changes in society during
the early twentieth century. She painted portraits, nudes,
landscapes, and murals. Unfortunately, her work was denounced by
the Nazis and removed from museums. However, much of it remains to
be enjoyed today. THE FINAL WORD. As William Morris said, "Have
nothing in your houses that you do not know to be useful, or
believe to be beautiful."
Part of a series of exciting and luxurious Flame Tree Notebooks.
Combining high-quality production with magnificent fine art, the
covers are printed on foil in five colours, embossed then foil
stamped. And they're powerfully practical: a pocket at the back for
receipts and scraps and two bookmarks. These are perfect for
personal use and make a dazzling gift. This example is Hokusai's
The Great Wave. The most notable period in Hokusai's artistic life
was the latter part of his career, beginning in 1830 when he was 70
years old. He began the series of landscapes he is most famous for:
'Thirty-six Views of Mount Fuji', which included The Great Wave,
off Kanagawa, probably his most iconic image.
One of the most accomplished human beings who ever lived, Leonardo
da Vinci (1452-1519) remains a quintessential Renaissance genius.
The perfect companion to the Leonardo Graphic Work edition, this
book is a compact catalogue raisonne of all of the artist's
masterful paintings. Drawn from our best-selling XXL edition, the
book traces the artist's life and work across 10 chapters,
presenting all known paintings and drawing on his letters,
contracts, diary entries, and writings to explore the man behind
such groundbreaking artworks. From Virgin of the Rocks to Virgin
and Child with St. Anne to the ever-beguiling Mona Lisa, you'll
find some of the finest treasures of the Louvre, Prado, and
National Gallery, London here, as well as Leonardo works lost to
time, but no less startling in their precision and poise. About the
series Bibliotheca Universalis - Compact cultural companions
celebrating the eclectic TASCHEN universe!
A celebration of the richness of figurative painting over the last
100 years and a passionate critique of the accepted history of art
in the 20th century. Figurative painting is due a reappraisal. In
this passionately argued volume the distinguished writer and artist
Timothy Hyman cuts a new path through the tangle of
twentieth-century art. The World New Made explores the work of more
than fifty individual painters, presenting a collective
'Resistance' who together offer a human-centred alternative to the
dominance of the Abstract or the Conceptual in conventional
narratives of modern art. Structured not as a survey but as
in-depth studies of more than 130 specific artworks, this lavishly
illustrated book brings these often marginalized artists
centre-stage: not just Alice Neel and Balthus, Max Beckmann and
Frida Kahlo, but also Marsden Hartley and Charlotte Salomon, Bhupen
Khakhar and Jacob Lawrence. A rich cast is brought to life, partly
through their own writings. As the author argues, 'All across the
world, isolated artists found new idioms for human-centred painting
in the midst of modern life.'
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