The art of the past can seem very far away, obscured both by time and by knotty academic theory. Foregrounding the experience of the contemporary viewer, Look Again shows how this need not be the case. Ossian Ward's simple, ten-step programme acts as an aid to looking, breaking down the often obscure strategies of the Old Masters into intuitive categories - from Art as Honesty to Art as Vision. Look Again's novel approach is influenced by John Berger's Ways of Seeing, but is here updated for the art world of the 21st century. Key to this book is an emphasis on ways of experiencing Old Masters - more than just looking. Just as contemporary art should be judged by how it moves us, cajoles us and envelops us, so too can the great paintings of the world be seen as immersive, captivating, even participatory experiences. Ward does not deny the specific complexities and barriers associated with looking at art from other eras. Instead he offers readers a new formula to help illuminate this kind of art. His method not only provides the viewer with the tools to interpret a work of art, but also assumes that we hold some of this knowledge within ourselves already. In other words, everyone can share the enriching experience of Old Master paintings.

A draughtsman of remarkable ability, matching even his mentor Augustus John, Henry Lamb (1883-1960) was a founder-member of the Camden Town Group, exhibiting at their inaugural exhibition in 1911. He was a powerful and original War artist, and an engaging and sensitive portrait painter, whose group portraits in particular are as successful as those by any British painter of the age. To date unfairly eclipsed by the glamorous and culturally infl uential circle around him, Lamb is now probably best known through these fi gures and his many compelling portraits of them, amongst them Lady Ottoline Morrell, Evelyn Waugh and Lytton Strachey, whose monumental full-length portrait by Lamb in Tate Britain is probably the artist's best-known work. Lamb abandoned a promising medical career in Manchester to pursue his training as an artist at the London art school run by William Orpen and Augustus John. He found inspiration in the rural simplicity of Brittany, and a later visit to Ireland inspired his great genre painting Fisherfolk, Gola Island of 1913 - not seen in public since the last major retrospective in 1984. Following active service during the First World War as an army medical offi cer (for which he was awarded a Military Cross), he contributed two of the greatest artworks to the proposed National Hall of Remembrance a year after armistice in 1919. Following a productive period in Poole after the War, where he produced some evocative townscapes of its streets and skylines, he eventually settled in Coombs Bissett near Salisbury. Here he established a reputation as a sought-after portrait painter, executing a constant stream of landscapes, still lives, genre pictures and fi ne domestic subjects. Accompanying an exhibition at Salisbury Museum in 2018 and Poole Museum in 2019, Henry Lamb: Out of the Shadows will focus on over 50 works by the artist from across his career. As well as loans from major national collections, the group will include signifi cant works from private collections, including a substantial archive from the artist's family and a number of re-discovered masterpieces. The catalogue will also feature an introductory essay by Lamb's cousin, the writer Thomas Pakenham who knew the artist well.

With over 10 million views and growing, Mark Crilley's "Realism Challenge" YouTube videos have an enormous worldwide legion of fans and have been featured on sites such as Yahoo News and Reddit. Now, for the first time, Crilley pulls back the curtain to reveal his artistic tricks and secret methods for creating these astonishing renderings. The Realism Challenge leads artists through Crilley's use of pencil, watercolour, pastel, and gouache to produce life-like, seemingly impossible drawings of common household objects like playing cards, crumpled paper, leaves, and seashells that look just like photographs. Each lesson builds off the previous, with sidebars covering specific techniques-such as rendering drop shadows, applying white highlights, and building from light to dark-that artists can master in order to conquer The Realism Challenge.

Based on a close study of Van Dyck's Self-portrait with a Sunflower, this book examines the picture's context in the symbolic discourses of the period and in the artist's oeuvre. The portrait is interpreted as a programmatic statement, made in the ambience of the Caroline court after Van Dyck's appointment as 'Principal Painter', of his view of the art of painting. This statement, formulated in appropriately visual terms, characterizes painting as a way of looking and seeing, a mode of vision. In making such a claim, the artist steps aside from the familiar debate about whether painting was a manual or an intellectual discipline, and moves beyond any idea of it as simply a means of representing the external world: the painter's definitive faculty of vision can reach further than those realities which present themselves to the eye. John Peacock analyses the motif of looking - the ways in which figures regard or disregard each other - throughout Van Dyck's work, and the images of the sunflower and the gold chain in this particular portrait, to reveal what is essentially an idealist conception of pictorial art. He contradicts previous opinions that the artist was pedestrian in his thinking, by showing him to be familiar with a range of ideas current in contemporary Europe about painting and the role of the painter.

Nature provides the subject for the beautifully intricate patterns and graceful lines of the art of Charlie Burk. His subject is clearly grass, with a horizon line or a slice of sky visible in many of his works as he moves in his world of sumptuous colors and delicate patterns. In a complex play of call-and-response, one brushstroke calls for the next. ""What really interests me,"" he says, ""is the texture grass creates and the way it moves in space."" Another equally powerful pull is the visual beauty and the artistic journey it presents, that ever-fresh experience of dancing on the edge between abstract and representational art.

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 image of Eugene Delacroix as an august artist with an august oeuvre was initially frozen into place by posthumous tributes and it has continued to the present. He was one of the finest yet least understood painters of the nineteenth century, the golden age of the French Romantic movement. He is remembered best for his masterpiece, La Liberte guidant le people, but few of his works have received the kind of constant, fascinated revisiting that has sealed the iconic status of Theodore Gericault's Le Radeau de la Meduse, for example. This book is one of the first to look carefully at individual paintings by Delacroix, especially at one of his most important works - a key but often overlooked painting from early Romanticism's heyday, Scene des massacres de Scio.

Despite the increased visibility of Victorian women artists in museum exhibitions and historical studies, the art produced by Victorian women has been viewed through a restrictive lens. Scholars have focused on works produced for the marketplace, but have overlooked art created and displayed outside of established venues and institutions of higher learning. Drawing upon sketches, paintings, and photographs, Intrepid Women: Victorian Artists Travel is a groundbreaking study that examines the art that women produced whilst traveling, as well as the circumstances that took these artists - both amateurs and professionals - far beyond the reaches of the traditional Grand Tour. Traveling throughout the British Empire, including the Middle East, India, Canada, and North Africa, and even to the Americas, the artists adapted to new climes and foreign cultures partially by documenting the unfamiliar through their art, sometimes at great physical risk. This volume of essays offers fresh evidence that through their travel and art, women extended both geographic and social boundaries. Each author presents evidence that women overcame institutional as well as cultural obstacles to improve their artistic skills and to use their art to convey worlds most British citizens would never see for themselves.

More than 70 works of Hogarth include musical references, and Jeremy Barlow's book is the first full-length work devoted to this aspect of his imagery. The first two chapters examine the evidence for Hogarth's interest in music and the problems of assessing accuracy, realism and symbolic meaning in his musical representations. Subsequent chapters show how musical details in his works may often be interpreted as part of his satirical weaponry; the starting point seems to have been his illustrations of the clamorous 'rough music' protest in Samuel Butler's immensely popular poem Hudibras. Hogarth's use of music for satirical purposes also has connections with a particular type of burlesque music in 18th-century England. It may be seen too in the roles played by his humiliated fiddlers or abject ballad singers. Each of the final two chapters focuses on a particular Hogarth subject: his paintings of a scene from a theatrical satire of music and society, The Beggar's Opera, and the print The Enraged Musician itself. The latter work draws together uses of musical imagery discussed previously and the book concludes with an analysis of its internal relations from a musical perspective. The book is lavishly illustrated with Hogarth's drawings, prints and paintings. Many other images are reproduced to provide contextual background. Several indices and appendices enhance the book's value as a reference tool: these include an annotated index of Hogarth's instruments, with photographs or other representations of the instruments he depicts; a detailed index of Hogarth's works with musical imagery; the texts and music for broadside ballads and single-sheet songs related to Hogarth's titles; 18th-century texts and street cries related to Hogarth's The Enraged Musician, and other musical examples indicated in the text. Also included is a facsimile of Bonnell Thornton's burlesque Ode on St CA|cilia's Day.

"Exploring for the very first time the hidden relationship between paintings and stereoscopic cards in Victorian times." The advent of a new painting by a great artist was big news in the 1850s, but few were able to access and enjoy directly the new works of art. Stereo cards, created by enterprising photographers of the day, reconstructed the scenes and gave an opportunity for the man in the street to enjoy these scenes, in magical life-like 3D. The Poor Man's Picture Gallery contains high-definition printed reproductions of well-known Victorian paintings in the Tate Gallery, and compares them with related stereo cards - photographs of scenes featuring real actors and models, staged to tell the same story as the corresponding paintings, all of which are the subject of an exhibition in the Tate Gallery in 2014.

First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

Come enjoy the art of pastel painting with beloved workshop instructor Maggie Price. In this step-by-step guide, she teaches you everything you need to know to make the most of this accessible art form. From selecting the right materials to learning the fundamentals of composition, Maggie starts with the basics and progresses to 21 complete pastel demonstrations that detail specific painting techniques and effects. You'll learn how to: Create depth and movement with color Paint using a range of strokes Blend colors to create luminous skies, reflections and more Underpaint to achieve brilliant light and deep shadows Mix pastels with watercolor and gouache to create fluid effects Create new compositions from photographs In addition to step-by-step guidance, you'll be inspired by the work of ten nationally renowned pastel artists. Their contributions to this book illustrate the limitless possibilities of pastel painting and offer additional insight for working with this versatile medium. Maggie also includes dozens of helpful sidebars to help you save time, avoid mistakes and work more efficiently. With its blend of visual instruction, thorough guidance and breathtaking artwork, this is the only guide you need to experience the joy and satisfaction of painting with pastels.

Of all the great paintings in the world, Picasso's Guernica has had a more direct impact on our consciousness than perhaps any other. In this absorbing and revealing book, Gijs van Hensbergen tells the story of this masterpiece. Starting with its origin in the destruction of the Basque town of Gernika in the Spanish Civil War, the painting is then used as a weapon in the propaganda battle against Fascism. Later it becomes the nucleus of the Museum of Modern Art in New York and the detonator for the Big Bang of Abstract Expressionism in the late 1940s. This tale of passion and politics shows the transformation of this work of art into an icon of many meanings, up to its long contested but eventually triumphant return to Spain in 1981.

Featuring 150 iconic artworks, The National Gallery Masters of Art Puzzle Book is a visually spectacular puzzle challenge perfect for any art-enthusiast. This must-buy gift book contains 100 puzzles reproducing and inspired by the world's most famous paintings, making it a truly one-of-a-kind decorative delight. From pictorial puzzles such as Fake or Fortune, Jigsaw and Scrambled Image, to cryptic puzzles like Odd One Out or The Missing Link, through logic puzzles, riddles and even a series of progressively more difficult art knowledge quizzes, there is something for everyone, from the puzzle master to the art aficionado. Featured paintings include Sunflowers by Vincent van Gogh, The Fighting Temeraire by J.M.W. Turner, The Arnolfini Portrait by Jan van Eyck, The Hay Wain by John Constable, The Virgin of the Rocks by Leonardo da Vinci, Bathers at La Grenouillere by Claude Monet and many, many more.

This is the first modern scholarly edition of the letters and memoirs of Joseph Severn, English painter and deathbed companion of John Keats. It includes letters from a remarkable collection of never-before-published correspondence held by descendants of the Severn family. Scott's unprecedented access to hundreds of new letters has resulted in a major revisionist work that challenges traditional ideas about Severn's life and character. The edition includes new information about Severn's early artistic success in Italy, an extraordinarily thorough record of his day-to-day activities as a working artist in England, and surprising details about his experience as British Consul in Rome. The volume represents a significant work of recovery, printing in full three important memoirs that have until now appeared only in inaccurate excerpts and offering thirty-three illustrations that demonstrate the range of Severn's talents as a painter. Scott makes a compelling case for a revaluation of Severn, whose friends also included Charles Eastlake, William Gladstone, Leigh Hunt, John Ruskin, and Mary Shelley. This collection will prove valuable not only to literary biographers and Keats scholars, but also to art and cultural historians of the Romantic and Victorian eras. Adding significantly to the volume's usefulness are a detailed chronology of Severn's life and artwork, and appendices containing an index of the newly discovered letters and a ledger of Severn's patrons, paintings and commissions.

Brett Whiteley was one of the most dynamic and talented artists in the history of Australian art, an artist whose recognition had spread worldwide before his untimely death in 1992. Early in his career he established a name for himself in London, exhibiting at the Whitechapel Art Gallery and coming into contact with many British painters - Francis Bacon and David Hockney among others. His early paintings startled critics and fellow artists, but even at that point, two basic subjects were evident: the landscape and the nude, elements which became the mainstay of his oeuvre. At the root of all Whiteley's work was a draughtsmanship of stunning virtuosity, capable of capturing all the poetic arabesque of a river in a single sweeping line of brush and ink, or the erotic curves of the human body in a few searching strokes of charcoal. This volume presents an illuminating evaluation of Whiteley's achievement. Works dating from the 1950s to the last years of his life, illustrated in over 180 colour plates, allow Whiteley's career to be surveyed in its entirety. Barry Pearce, Head Curator at the Art Gallery of New South Wales, provides a comprehensive overview of Whiteley's life and art; Bryan Robertson offers an impression of the artist's years in London; and Wendy Whiteley, the artist's wife and companion for over three decades, contributes an intimate portrait of the man behind the work. Superbly illustrated and produced, Brett Whiteley: Art & Life is a fitting tribute to one of Australia's most significant artists, a man whose outstanding work excites, amazes and impresses us no less now than it did when first created.

A dazzling array of invention, insight and observation from perhaps the greatest genius of Western civilisation. Towering across time as the painter of the Mona Lisa, forever famous as a sculptor and an inventor, Leonardo da Vinci was one of the greatest minds of both the Italian Renaissance and Western civilisation. His celebrated notebooks display the astonishing range of his genius. Dan Brown's The Da Vinci Code and recent in-depth biographies have stimulated renewed interest in Leonardo and his complex and enquiring intelligence. This brand-new selection of sketches, diagrams and writings from the notebooks is a beautiful and varied record of Leonardo's theories and observations, embracing not only art but also architecture, town planning, engineering, naval warfare, music, medicine, mathematics, science and philosophy. Complete with a short biographical essay describing Leonardo's life and achievements, this is the perfect introduction to a mysterious and endlessly fascinating genius.

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. Janine Partington is a vitreous enamel artist and designer based in Bristol, UK. Previously a museum curator and administrator, Janine is now a full-time artist. She fuses glass onto metal, known as enamelling, using hand-cut stencils and sifting techniques to create her works. Her designs are fresh and contemporary, often featuring scenes from nature, including seed heads, trees and birds.

Landon Mackenzie is a Vancouver-based artist, admired for her large-scale works with paint on canvas. Less known are her works on paper, many in ink and watercolour, which she produces voluminously as a tandem practice to her large-scale paintings, often while traveling. Somewhere between jottings and finished works intended for public exhibition, these small paintings speak to the deepest level of human creativity. They function, at times, as glimpses into Landon Mackenzie's psyche or soul. Landon Mackenzie Parallel Journeys: Works on Paper is envisaged as visually rich and elegantly designed book. Born in Boston and raised in Toronto, Mackenzie studied printmaking as an undergraduate in the era of conceptual art at the Nova Scotia College of Art and Design (NSCAD) in Halifax. Beginning with some of her changing plate etchings made there in 1975 and included in this publication, these early layered works often featuring text, shed light on her mature painting practice, in which she often writes words and phrases into the paintings that later get obscured by marks and images.Her strengths as an artist are her inventive energy, her intellectual restlessness and curiosity, her love of imagery, maps, language and history, and her determination to keep working in the face of frowning would-be authority figures. She is able to harness her mind, emotion, body and spirit to have all systems working in tandem and firing with precision and grace. Her work is embodied, informed, poetic, expressive, and completely her own.

Accomplished artist Marion Kaiser brings you this fun, beautiful and quirky guide to creating cute stone art. Getting started couldn't be easier. It doesn't require expensive materials or complicated techniques - all you need is a stone, some acrylic paints and varnish! It's great for beginners, and more seasoned artists alike, and is the perfect family craft. Discover 20 fun designs in a variety of styles. Projects include animals such as a panda, elephant and lizard, insects such as a ladybird and dragonfly, and birds such as a swan and a penguin. There are other lovely things to create too, such as a cottage, a mandala and a feather. With clear step-by-step instructions accompanying each design, and beautiful photographs to inspire you, Painting Stones will soon have you on your way to creating your own rock art collection. You can even share the fun by creating a quirky treasure trail around your neighbourhood for passers-by to discover!

This generously illustrated volume on the work of Rembrandt makes the world's greatest art accessible to readers of every level of appreciation. Celebrated for his penetrating portraits, richly detailed landscapes, and evocative narrative paintings, the seventeenth century artist Rembrandt is generally considered one of Europe's greatest painters and printmakers, and the master of the Dutch School. His work is distinguished by broad brushwork, luminous palettes, and a sense of order and movement that recalls the finest Renaissance art. Overflowing with impeccably reproduced images, this book offers fullpage spreads of masterpieces as well as highlights of smaller details--allowing the viewer to appreciate every aspect of the artist's technique and oeuvre. Chronologically arranged, the book covers important biographical and historic events that reflect the latest scholarship. Additional information includes a list of works, timeline, and suggestions for further reading.

Little is known about Walter Leblanc (1932-1986), one of the key representatives of kinetic and optical art in the mid-20th century. This comprehensive monograph, the first on this artist for an international audience, includes unpublished materials, which provide insight not only into the art of LeBlanc, but also into the ZERO artist movement to which he was connected and with which he was in close dialogue beginning in the 1950s. Walter Leblanc is based on extensive studies of the artist's work: with about 150 images of his paintings and sculptures, comparative works, historical photos and documents, it includes a selection of Leblanc's writings, an iconographic mapping of selected works in museums around the world, and a bio-bibliographical appendix. Demonstrating the wealth of his creative output, the book reaffirms the enduring role Leblanc played in the development of modern and contemporary art on a global scale. Distributed for Mercatorfonds

Built in 1290, the cathedral at Orvieto, Italy, is a masterpiece of Italian gothic architecture. The decoration of the Cappella Nuova, commenced by Fra Angelico in 1447 and magnificently completed by Luca Signorelli in 1499 and 1504, displays an awe-inspiring Last Judgement and Apocalypse and, below it, scenes from Dante and classical literature. Drawing on years of detailed research into the history of the chapel, Sara Nair James identifies Signorelli's theological advisors as a group of Dominican scholars, known as the 'Masters of the Sacred Page of this city'. She presents the decoration as an integrated whole, a program complex in iconography, message, source material and theory and, through a detailed response to Dante's Divine Comedy and a moralized reading of classical legends, explains how the events of the end-time join the literary narratives to form a sermon on salvation through penance. The book is not simply a work of traditional iconography, explaining the stories behind the pictures. It is an important study in the theory and techniques of the visual representation of religious belief and its reception by the laity. The detailed illustration includes many photographs taken after the restoration of the chapel in 1996.