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.

This book is a practical manual intended specifically for anyone interested in delving into the technique of granting colour to fashion figurine illustrations to give them more life and expressiveness. In a clear and educational way, Tiziana Paci, author of the well-known book Figure Drawing for Fashion Design, explains in detail the different themes examined in the work through images and examples along with concise and to-the-point texts ideal for neophytes as well as people who have been working in this field for years. The book is divided into the following chapters: poses, colour and colour combinations, watercolour technique, tools such as professional markers, coloured pencil and water-soluble graphite, digital techniques and mixed techniques. Together, these suggestions allow both beginner and professional illustrators to depict figurines in vivid poses with incredible effects including the imitation of any type of material: leather, jewellery, bright fabrics and transparencies, and many more, following very different styles.

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.

Up until a few years ago, biographies of both J.M.W. Turner and John Ruskin had claimed that, in 1858, Ruskin burned bundles of erotic paintings and drawings by Turner in a fit of embarrassed Victorian censorship, to protect Turner's posthumous reputation. Ruskin's friend Ralph Nicholson Wornum, who was Keeper of the National Gallery, was said to have colluded in the alleged destruction. However, in 2005 these works, which form part of the Turner Bequest held at Tate Britain, were re-appraised by Turner scholar Ian Warrell, who suggested that Ruskin and Wornum did not destroy the sketches and that almost all of the allegedly destroyed drawings are in the Tate collection. This lavishly illustrated book, the first exclusively devoted to Turner's erotic work, examines in detail this little known aspect of the artist's oeuvre. In his original essay, fully reproduced here, Warrell places the work within the context of Turner's social and artistic milieu, contemporary preoccupations with art for public and 'private' consumption, and the details and intricacies of Turner's life and output. An essential addition to the canon of work on Britain's most prolific and adored artist, this beautifully produced volume will be of interest to scholars, connoisseurs, and all Turner devotees.

Learn simple step-by-step techniques for drawing and embellishing the exciting, inspiring, and beautiful motifs of sacred geometry. In Creative Drawing: Symbols and Sacred Geometry, artist, instructor, and author Ana Victoria Calderon takes you on an inner voyage of creative discovery. Learn how sacred geometry has been practiced and celebrated by cultures all over the world and influenced artists throughout history, including Leonardo da Vinci Start with the essentials-compass drawing with graphite pencils on paper-then explore the featured mediums for embellishing, including colored pencils, watercolor, inks, and other easy-to-use mediums Take a step-by-step look at fundamental drawing techniques for a variety of universal motifs, starting with the simple circle and building to more complex motifs, including the Yin Yang symbol, the Tree of Life, the Torus, and the Vortex Learn to paint a variety of stunning effects and find great project ideas for creating amazing images The study and creation of sacred geometry inspires the imagination and provokes reflection. So grab your pencils and take a beautiful creative journey with drawing! Perfect for creative beginners, the books in the Art for Modern Makers series take a fun, practical approach to learning about and working with paints and other art mediums to create beautiful DIY projects and crafts.

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.

Once a classic drawing instruction manual that was used to teach countless children and young adults how to draw, Drawing Made Easy by E. G. Lutz is now back in print after many years absence. Hallmarks of his approach are simplifying complex shapes as well as working from big to small. These concepts, outlined in Drawing Made Easy, are simple enough for children to understand and yet the same principles are evident in many Old Master drawings. Also contained within this reprinted volume are selections from Lutz's earlier book, Practical Drawing.

We all need a creative space: a blank canvas where we can doodle our masterpieces; a white page where we can jot down our innermost thoughts; a secret place where we can unleash our wildest imaginings and let them roam free for a while. And what could be finer than finding that creative space populated by flights of fancy that help stir those very doodles, scribbles and imaginings? The Creative Space Journal is a journal through 100 art projects, offering prompts and projects, sparks and nudges, ideas and inspirations for activities to reflect, enhance or change your mood. Its pages present beautifully illustrated exercises designed to add some art and mischief to your world, and to make your life more imaginative and inventive. They are surrounded by frames and spaces, lines and bullets, where you can record your adventures. The journal provides a safe place where you can retreat and allow your creativity to flourish. Organised to reflect your head space - Happy, Sad, Angry, Relaxed, Playful, Bored, Wired or Sleepy - it's the perfect companion to dip in and out of, explore by mood or fill with your creativity from cover to cover. Travel into your creative space, and create a journal that is uniquely yours.

This book contains all of Gary Gianni's artwork for George R.R. Martin's A Song of Ice and Fire series. Over 300 pages of beautifully illustrated scenes from the five novels in the series--A Game of Thrones, A Clash of Kings, A Storm of Swords, A Feast For Crows and A Dance With Dragons--are featured alongside passages from the books themselves. Also included are illustrations from the two prequels of the series, A Knight of the Seven Kingdoms and Fire and Blood. All together, the paintings and hundreds of drawings in pencil and pen-and-ink provide a unique view of the Seven Kingdoms of Westeros as seen through the eyes of the award-winning illustrator. Describing Gianni's artwork, George R.R. Martin says it's "as if I am looking through a window into Westeros, that I am there with Tyrion and Daenerys, with Ned and Arya, with Dunk and Egg." All of Gary Gianni's previously shown pencil sketches and paintings have been tightened up and polished for this collection, making them appear as new works. In addition, over 35 pencil drawings appear for the first time. The artist draws on his longtime experience in comics and illustration to offer a unique perspective into Martin's universe. The book also includes an introduction by Cullen Murphy, who discusses the art of illustration and adds context to the pictures by providing an overview of Gianni's career. Notes from the artist reveal insight concerning his methods and the creative process of working with Martin, a relationship that has spanned five years to date.

Magnificent compendium of the finely detailed plant images from the Victorian era-all identified with Latin and common names and arranged alphabetically by family. Hundreds of plant species-from lilies, lichens, poppies and palms to mushrooms, mosses, marigolds and maples-supplemented by specialized appendices on edible foods, medicinal herbs, plants used in decoration and in graphic design. Indispensable source of inspiration and copyright-free graphics for designers and artists; a captivating compendium for botanists, gardeners, and collectors of old engravings.

The German-Swedish artist Ann Wolff is a pioneer of the studio glass movement in Europe. Born in Lubeck in 1937, she has achieved international fame for her sculptures which mainly use the material glass, but she has always drawn as well.This volume now presents a collection based on a selection of sixty hitherto unpublished drawings from the 1980s. The works, executed in pencil on paper, focus on a female figure seen in reflections and duplications, sometimes surreal and whimsical in connection with animals and intermediate beings, and sometimes with a man or a child: dream worlds, pictures of the subconscious, often inspired by fairy tales. The pictures unfold their narrative potential as investigations of the female self in the social milieu of an age characterised by feminist movements and discussions regarding the relationship between the sexes.

Jacopo Tintoretto (1518/19-1594) was among the most distinctive artists of the Italian Renaissance. Yet, although his bold paintings are immediately recognizable, his drawings remain unfamiliar even to many scholars. Drawing in Tintoretto's Venice offers a complete overview of Tintoretto as a draftsman. It begins with a look at drawings by Tintoretto's precedents and contemporaries, a discussion intended to illuminate Tintoretto's sources as well as his originality, and also to explore the historiographical and critical questions that have framed all previous discussion of Tintoretto's graphic work. Subsequent chapters explore Tintoretto's evolution as a draftsman and the role that drawings played in his artistic practice-both preparatory drawings for his paintings and the many studies after sculptures by Michelangelo and others-thus examining the use of drawings within the studio as well as teaching practices in the workshop. Later chapters focus on the changes to Tintoretto's style as he undertook ever larger commissions and accordingly began to manage a growing number of assistants, with special attention paid to Domenico Tintoretto, Palma Giovane, and other artists whose drawing style was infl uenced by their time working with the master. The book is published in conjunction with the exhibition Drawing in Tintoretto's Venice, opening at the Morgan Library& Museum, New York, in 2018 and travelling to the National Gallery of Art, Washington, in early 2019. All of the drawings in the exhibition are discussed and illustrated, and a checklist of the exhibition is also included in the volume, but the book is a far more widely ranging account of Tintoretto's drawings and a comprehensive account of his work as a draftsman.

The self-portrait of Baccio Bandinelli in the Isabella Stewart Gardner Museum, Boston, shows the scupltor pointing not to a work of marble or bronze, but to a drawing. Bandinelli was particularly proud of his skills as a draughtsman, and he was prolific in his production of works on paper. This set him apart from contemporaries in his profession; many Renaissance sculptors left us no drawings at all. Accompanying an exhibition at the Gardner Museum, this publication will put Bandinelli's portrait in context by looking at the practice of drawing by scupltors from the Renaissance to the Baroque in Central Italy. A focus of the book will be Bandinelli's own drawings and the development of his practice across his career and his experimentation with different media. Bandinelli's drawings will be compared with those of Michelangelo and Cellini. The broader question considered, however, is when, how, and why scupltors drew. EVery Renaissance sculptor who set out to make a work in metal or stone would first have made a series of preparatory models in wax, clay, and/or stucco. Drawing was not an essential practice for sculptors in teh way it was for painters, and indeed, most surviving sculptors' drawings are not preparatory studies for works they subsequently executed in three dimensions. By comparing bot rough sketches and more finished drawings with related three-dimensional works by the same artists, the importance of drawing for various individual sculptors will be examined. When sculptors did draw, it often indicated something about the artist's training or about his ambitions. Among the most accomplished draftsmen were artists like Pollaiuolo, Verrocchio, and Cellini, who had come to sculpture by way of goldsmithery, a profession that required profieciency in ornamental design. Artists who soought to become architects, meanwhile - the likes of Michelangelo, Giambologna, and Ammanati - similarly needed to learn to draw, since architects had to provide plans, elevations, and other drawings to assistants and clients and had to imagine the place of individual figures within a larger multi-media ensemble. Certain kinds of projects, moreover - fountains and tombs, for example - required drawings to a degree that others did not. Sections on the Renaissance goldsmith-sculptor and sculptor-architect will allow comparison of the place drawing had in various artists' careers. Beginning with a chapter dedicated to the importance of draftsmanship in the education of sculptors, showing works by Finiguerra, Cellini Bandinelli, and Giambologna, the book will be split up into chapters dealing with the various challenges scupltors faced while drawing objects in the round, reliefs, and architectural structures. A central section will focus on Bandinelli, demonstrating the importance drawing held for him while he was preparing sculptures and as an independent token of his artistry.