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. Angela Harding is a fine art painter and illustrator based in Rutland, UK. She specialises in lino prints and her work is inspired by British birds and the countryside. 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."

Sold in packs of 6. Gorgeous, foiled, handmade greeting cards, blank inside and shrink-wrapped with a gold envelope. Themed with our art calendars, foiled notebooks and illustrated art books. Our greeting cards are printed on FSC paper and wrapped in biodegradable cellobag, and are themed with our art calendars, foiled notebooks and illustrated art books. Born in Kent, Annie Soudain spent her early childhood years in Truro, Cornwall, where her interest in plants and nature began. Now settled by the sea in Sussex, much of her work continues to be inspired by the beautiful landscapes surrounding her. This colourful linoprint was created using the reduction method, which involves progressively cutting, inking up, and printing from the same block.

The first comprehensive, scholarly sourcebook/research guide/bibliography on the major French Symbolists painters, this work includes nearly 3,000 entries covering a variety of materials. Each artist receives a primary and secondary bibliography with many annotated entries. Art works, personal names, and subject indexes facilitate easy access. The volume is designed for art historians, art students, museum and gallery curators, and others interested in this major art style of the last half of the 19th century and the first quarter of the 20th century. Art museums and art libraries in both the United States and abroad were gleaned for sources. This is a unique and substantial research tool. Symbolism is one of the most difficult art movements to define. Its primary meaning is the representation of things by symbols, by the imaginative suggestion of dreams and the subconscious through symbolic allusion and luxuriant decoration. The writings of Charles Baudelaire on the arts powerfully influenced the aesthetic theories of Symbolist artists and critics from 1860-1900, much as Baudelaire's poetics were the root of Symbolist literature. The Symbolist work, be it painting or poem, is above all personal and revelatory, precious not commonplace, reflecting and evoking a journey of the imagination. French Symbolist artists explored this style, attitude, and atmosphere from the 1880s to the early twentieth century. This sourcebook organizes biographical, historical, and critical information on four major French Symbolist artists: Pierre Puvis de Chavannes (1824-98), Gustave Moreau (1826-98), Odilon Redon (1840-1916), and Maurice Denis (1870-1943). The first three artists are recognized asoriginators of the movement. Denis is regarded as Symbolist's foremost theorist and profoundly religious practitioner. Although all four artists have been the focus of major retrospective exhibitions since 1990, no comprehensive sourcebook/bibliography exists.

Secret Knowledge created an international sensation when it was published in 2001. Now, Hockney takes his controversial thesis - that some of the masterpieces of Western art were created using optical devices - even further in light of new and exciting discoveries. In 32 new pages, he demonstrates how Renaissance artists used mirrors and lenses to help them develop chiaroscuro, perspective, and the arts of depicting three-dimensional space and forms. Stunning in its presentation and wide-ranging in its implications, Secret Knowledge remains the art book sensation of the new century.

This volume is about the long-neglected, but decisive influence of Uygur patrons on "Dunhuang" art in the tenth and eleventh centuries. Through an insightful introduction to the hitherto little-known early history and art of the Uygurs, the author explains the social and political forces that shaped the taste of Uygur patrons. The cultural and political effects of Sino-Uygur political marriages are examined in the larger context of the role of high-ranking women in medieval art patronage. Careful study of the iconography, technique and style sheds new light on important paintings in the collection of the British Museum in London, and the Musee national des Arts asiatiques-Guimet, in Paris, and through comparative analysis the importance of regional art centres in medieval China and Central Asia is explored. Richly illustrated with line drawings, as well as colour and black-and-white plates.

Turner's work is famous throughout the world. He transformed British landscape painting from a minor art to a highly respected one with huge power and range.. This beautifully illustrated guide looks at the man and his influences, and takes a route though Europe and Britain as his artistic life flowers and matures. Look out for more Pitkin Guides on the very best of British art, history, heritage and travel.

Tramelli considers three main areas of Giovanni Paolo Lomazzo's studies: color, perspective and anatomy, investigating the types of theoretical and practical knowledge on these subjects conveyed in the Trattato dell'Arte della Pittura and how the context of Milan at the end of the sixteenth century shaped the material gathered in Lomazzo's books.

Deborah Solomon's biography sets Jackson Pollock in his time and portrays him as a shy, often withdrawn person, full of insecurities and self-doubts, and frequently unable to express himself about his art or its meaning. Solomon interviewed two hundred people who knew Pollock and his work and she has drawn extensively on Pollock's own writings and other personal papers. She examines the artist's relationships with his family; his wife and fellow artist Lee Krasner; art patron Peggy Guggenheim; the painters Willem de Kooning, Mark Rothko, and many more.

Sold in packs of 6. Gorgeous, foiled, handmade greeting cards, blank inside and shrink-wrapped with a gold envelope. Themed with our art calendars, foiled notebooks and illustrated art books. Our greeting cards are printed on FSC paper and wrapped in biodegradeable cellobag, and are themed with our art calendars, foiled notebooks and illustrated art books. This example features Turkish Wall Tiles.

A unique portrait of one of the creative geniuses of the 20th century, by the distinguished critic David Sylvester. Controversial in both life and art, Francis Bacon was one of the most important painters of the 20th century. His monumental, unsettling images have an extraordinary power to disturb, shock and haunt the spectator, 'to unlock the valves of feeling and therefore return the onlooker to life more violently'. Drawing on his personal knowledge of Bacon's inspirations, intentions and working methods, David Sylvester surveys the development of the work from 1933 to the early 1990s, and discusses critically a number of its crucial aspects. He also reproduces previously unpublished extracts from his celebrated conversations with Bacon in which the artist speaks about himself, modern painters and the art of the past. Finally, Sylvester gives a brief account of Bacon's life, correcting certain errors that elsewhere have been presented as facts. Divided into the sections 'Review', 'Reflections', 'Fragments of Talk' and 'Biographical Note', Looking Back at Francis Bacon is a unique portrait of one of the creative geniuses of our age by a writer of comparable distinction.

Met die bundel beeldgedigte stel Marlene van Niekerk op ’n oorspronklike en toeganklike manier die minder bekende Nederlandse skilder Jan Mankes (1889-1920) bekend. Sy lewer daarmee nogeens ’n bewys van die vernuwende aard van haar werk. Die bundel bevat ’n dosyn of wat skilderye, in kleur afgedruk, telkens vergesel van ’n beeldgedig in Afrikaans met die Nederlandse vertaling daarvan op die volgende bladsy. Beskryf as “’n poetiese kragtoer”.

Bouleau's classic illustrated work examines the essential reliance of European painting tradition on the golden mean and other geometrical patterns. From antiquity to the present, expert painters-including abstract modern masters such as Paul Klee and Jackson Pollock-have conveyed harmony through the mathematics of spatial division, ultimately giving geometry a crucial role as the foundation upon which these classics were built. For over half a century, "The Painter's Secret Geometry" has been a seminal work for students of art history and composition. Now this popular, rich analysis is back in print for today's artists and historians.

A year of weekly interviews (1949-1950) with artist Diego Rivera by poet Alfredo Cardona-Pena disclose Rivera's iconoclastic views of life and the art world of that time. These intimate Sunday dialogues with what is surely the most influential Mexican artist of the twentieth century show us the free-flowing mind of a man who was a legend in his own time; an artist who escaped being lynched on more than one occasion, a painter so controversial that his public murals inspired movements, or, like the work commissioned by John D. Rockefeller, were ordered torn down. Here in his San Angelin studio, we hear Rivera's feelings about the elitist aspect of paintings in museums, his motivations to create public art for the people, and his memorable, unedited expositions on the art, culture, and politics of Mexico. The book has seven chapters that loosely follow the range of the author's questions and Rivera's answers. They begin with childlike, yet vast questions on the nature of art, run through Rivera's early memories and aesthetics, his views on popular art, his profound understanding of Mexican art and artists, the economics of art, random expositions on history or dreaming, and elegant analysis of art criticisms and critics. The work is all the more remarkable to have been captured between Rivera's inhumanly long working stints of six hours or even days without stop. In his rich introduction, author Cardona-Pena describes the difficulty of gaining entrance to Rivera's inner sanctum, how government funtionaries and academics often waited hours to be seen, and his delicious victory. At eight p. m. the night of August 12, a slow, heavy-set, parsimonious Diego came in to where I was, speaking his Guanajuato version of English and kissing women's hands. I was able to explain my idea to him and he was immediately interested. He invited me into his studio, and while taking off his jacket, said, "Ask me..." And I asked one, two, twenty... I don't know how many questions 'til the small hours of the night, with him answering from memory, with an incredible accuracy, without pausing, without worrying much about what he might be saying, all of it spilling out in an unconscious and magical manner. A series of Alfredo Cardona-Pena's weekly interviews with Rivera were published in 1949 and 1950 in the Mexican newspaper, El Nacional, for which Alfredo was a journalist. His book of compiled interviews with introduction and preface, El Monstruo en su Laberinto, was published in Spanish in 1965. Finally, this extraordinary and rare exchange has been translated for the first time into English by Alfredo's half-brother Alvaro Cardona Hine, also a poet. According to the translator's wife, Barbara Cardona-Hine, bringing the work into English was a labor of love for Alvaro, the fulfillment of a promise made to his brother in 1971 that he did not get to until the year before his own death in 2016.