Around 1500, Lucas Cranach the Elder steps onto the world stage - in Vienna. The publication explores this, the artist's earliest period of work and presents all the paintings he produced during this time, their expressiveness radically different from the courtly-elegant compositions he subsequently produced as court painter in Wittenberg. Lucas Cranach the Elder (1472-1553) produced his earliest works around 1500 in Vienna, shortly before moving to Wittenberg to become court painter to the Elector of Saxony. These brilliant paintings, drawings, and woodcuts document both the thirty-year-old's close contacts with the humanist circles of Konrad Celtis and Johannes Cuspinian, and identify him as a precursor of the so-called Danube School.

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.

Dazzling works on paper from a vast and celebrated collection The Harvard Art Museums house one of the most significant collections of works on paper in North America. Among its many strengths are sheets by draftsmen of the French School, including notable masters such as Simon Vouet, Claude Lorrain, Nicolas Poussin, Jean-Antoine Watteau, François Boucher, Jean-Baptiste Greuze, and Jean-Honoré Fragonard. Following an introductory essay that charts the formation of this group of drawings, this catalogue provides thorough entries on more than 100 outstanding examples from the 16th to 18th century that encompass a range of genres and motifs—from landscapes and figure studies to historical and mythological scenes—many of which were produced for major commissions or mark key moments in the development of style and taste in early modern France. Alvin L. Clark Jr. marshals his decades-long engagement with these works, pairing a discerning eye with perceptive readings that deepen our understanding of the drawings and their makers. Distributed for the Harvard Art Museums

Connect with your deepest emotions through a daily sketching practice and transform negative thinking and anxiety into abundant possibilities, mindfulness and joy. 'Through profound yet simple teachings and practices Sheila Darcey invites our innate human creativity to express and transcend our turbulence. Following her guidance, we move from turmoil to peace by liberating the artist that lives in us all.' Gabor Mate You don't need to be an artist to express yourself. All you need is a pen and paper, and a willingness to look within. Sketch by Sketch shows you how to create a practice that will help you to move away from a negative headspace and spiralling emotions towards the realm of possibility, happiness and clarity. As you embrace the process, you'll begin to experience a shift in perspective and find true fulfilment, one sketch at a time. You'll discover: * over 40 sketching prompts on a variety of insightful topics, from hope to courage * easy-to-follow guidance for beginners and keen sketchers alike, and blank space for you to sketch * a comprehensive, inspiring visual library and example sketches * a detailed Q&A at the back of the book This inspiring book will unlock your basic human need to create, express and feel. Step by step, you'll find peace on the page. 'An exquisite inquiry into the deepest parts of yourself. This book will help you bring to light the things that have been haunting you, so they no longer hold you back. Highly recommended.' Pedram Shojai OMD, New York Times bestselling author

Originally published in 1916, this book contains guidance on drawing with perspective, with specific reference to architectural drawings. Wright and Rudd illustrate their principles with over three hundred drawings of complex architectural features such as ovolo moulding and mastabas. This book will be of value to anyone with an interest in illustration, art or perspective.

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 first volume to appear in the Natural History series catalogues a group of spectacular drawings of citrus fruit in watercolour and gouache, most of which were commissioned to illustrate Giovanni Battista Ferrari's Hesperides, an ambitious attempt at a complete taxonomy and classification of the entire citrological world, which was published in Rome in 1646. Cassiano dal Pozzo played a fundamental role in this project: it was he who commissioned and supplied most of the drawings and then arranged for them to be engraved for Ferrari's projected work. The citrus drawings - grouped in the Catalogue under the headings of citrons, lemons, oranges, pummelos, hybrids, monstrosities and unidentified citrus fruit - are reproduced in full colour and are accompanied by a wealth of comparative material which includes the Hesperides engravings, additional drawings and photographs of actual specimens, mainly of the monstrous kind. In addition to detailed scientific descriptions of the specimens themselves, the catalogue also gives art historical information on watermarks, annotations, types of mount, provenance and literature. The introductory essays explain Cassiano's method of gathering information from a network of correspondents around Europe and consider the relationship between these drawings and other natural history subjects commissioned by Cassiano. The authors discuss the work of the artists involved in the project and assess the major contribution made the classification of citrus fruit by the collaborative efforts of Cassiano of Ferrari.

With a rare combination of great economy of means and unfailing panache, Antony Cleminson's drawings of palatial buildings and urban settings are endlessly delightful and fascinating. Collected from more than 60 years of traveling with his wife Jan, a concert violinist, they take in England, France, Italy, Spain, Germany, Croatia, Russia, Jordan, Syria, and Yemen. They bring not only extreme sensitivity to place, but also an engineer's understanding of structure, and an historian's understanding of style. Pencil, chalk, charcoal, red and black ink, and india ink are some of the media used, and the book is printed on genuine Ingres paper to reproduce these beautiful drawings as closely as possible. Will appeal to those with a love of architectural heritage in Europe and the Middle East.

This hands-on practical guide provides dyslexic young people with techniques to improve their observational drawing skills, showing them how they can work around the issues commonly reported by students with SLDs. Many creative and talented individuals with neurological differences report difficulties with short-term memory, co-ordination and planning ahead within a project, and a lack of specialised teaching may even dissuade them from pursuing art at school. This book addresses those challenges. The authors, who have many years' experience of teaching art to dyslexic and dyspraxic students, also include examples not just of the techniques described, but also of the creative ideas other neurodiverse students have come up with. Fully illustrated, with clear explanations, and space to draw and sketch, this much needed book will provide dyslexic art students with the tools and confidence to achieve their goals and become the creative professionals of the future.

Victor Perard's concise guide for artists at every level features easy-to-follow steps for capturing the magnificence of trees. Shading techniques, composition, shadow and light methods, and outlining approaches are all aimed to help artists draw dozens of varieties with vitality and expression.

Describing drawing as her "primary activity," for over thirty years Roni Horn (b. 1955) has created innovative and experimental works on paper marked by both conceptual and technical complexity. This carefully curated survey of the artist's drawings from the early 1980s through 2016 explores works revolving around the mutability of identity and the fragility of place, time, and language; it also delves into Horn's unique approach to mark-making and her process of cutting up and reassembling words and images. With sumptuous illustrations, this catalogue features an insightful look at and selected details of Horn's large-scale-sometimes over ten feet tall-works on paper; the artist's series of cadmium red drawings; and her cut-and-pasted word drawings that combine well-known literary texts by Gertrude Stein and William Shakespeare with colloquial expressions.

"Seventeenth-Century European Drawings in Midwestern Collections: The Age of Bernini, Rembrandt, and Poussin" brings together more than one hundred treasures of the Baroque age from museum collections throughout the Midwest. The volume presents a fascinating and representative selection of Italian, Dutch, Flemish, and French drawings in Midwestern repositories, offering new insights on many of these works of art. Many are relatively unknown, and some have never before been published.
Authored by major scholars in the field, the catalogue presents each drawing along with a concise description with full scholarly apparatus. Four essays, written by Babette Bohn, George S. Keyes, Kristi A. Nelson, and Alvin L. Clark, Jr., respectively, introduce the Italian, Dutch, Flemish, and French schools. The catalogue's introductory essay, by Shelley Perlove, places these works within the historical, iconographic, and stylistic currents of seventeenth-century art. The catalogue is designed to have widespread appeal for art historians, curators, artists, collectors, students, and general readers interested in art and cultural history. Moreover, "Seventeenth-Century European Drawings in Midwestern Collections "highlights the surprising number of institutions throughout the Midwest that have acquired distinguished European drawings from the seventeenth century worthy of full recognition by collectors and connoisseurs.

In Mythical Beasts: An Artist's Field Guide to Designing Fantasy Creatures, thirty talented artists show you how to sketch, draw, and render thirty mythical creatures. Learn how to create some of the best-known fantasy creatures including the werewolf, unicorn, and of course the fantasy staple the dragon. Also included are lesser-known mythical beasts such as the Slavic Leshy, Japanese Jorogumo, and the Congolese Dingonek. Each creature has its own chapter which covers its history, how to render main elements, and variations, and one large final illustration. If you are a fan of mythology and fantasy, then Mythical Beasts is the book for you!

The Monochrome of the Sala delle Asse is a portion of wall decoration left at the drawing stage and represents the roots of one of the sixteen mulberry trees that, regularly spaced on the walls of the room, intertwine above to create a polychrome arboreal pavilion on the vault. The Monochrome of the Sala delle Asse is a portion of wall decoration left at the drawing stage and represents the roots of one of the sixteen mulberry trees that, regularly spaced on the walls of the room, intertwine above to create a polychrome arboreal pavilion on the vault. The decoration of the room, which was never completed, is historically tied to the name of Leonardo da Vinci by a letter written in April 1498 by Gualtiero da Bascape, the secretary of Ludovico il Moro, to the duke of Milan, explaining that Lunedi si desarmara la camera grande da le Asse c[i]oe da la tore. Magistro Leonardo promete finirla per tuto Septembre. The room was subjected to radically changing fortunes over the centuries, and was later the object of two complex restoration campaigns, the first carried out between 1893 and 1902 by Luca Beltrami and the second between 1955 and 1956 by Costantino Baroni. This volume provides an account of the result of these restorations. It describes the complex diagnostic research and the technical assessments that form the foundations of a broader project for the conservation of the painted area. Text in English and Italian.

This practical introduction to botanical illustration is formed of ten graded lessons, where each teaches you new skills to build upon the last. From mushrooms to orchids to hawthorn berries and leaves; once you've completed these lessons in drawing and painting botanical subjects, you will have all the techniques you need in order to tackle far more complex arrangements. An experienced teacher of botanical illustration, Valerie Price shows even the uninitiated illustrator how to produce accurate and beautiful results, with her step-by-step instructions on how to tackle each individual project. With advice on topics including accurate drawing, measuring and recording your subject, right the way through to preparing a well-composed botanical plate, this book covers everything you need to know to get ahead in botanical illustration.

If you are passionate about DIY and simple things, creating your own journal is the perfect system for you! It allows you to enjoy the usefulness of an agenda, but within a completely personalized system; it is a methodical system that will help you organize your day, month, and year. 17 people who are passionate about journals explain first-hand what notebook they like to work with, what are the most-used materials, and how you can organize and decorate your own.

Hanna Nagel's focus as an artist was on drawing and graphic prints. Like no other woman artist of her time, she examined the relationship between men and women as well as the problematic balancing act between professional work and motherhood. Her work following her studies in Karlsruhe was at first characterized by objective precision. With her move to Berlin, she, however, distanced herself from the stringent drawing style of Neue Sachlichkeit. The oft-biographical works executed with a brush and pen in Indian ink are formally more complex and painterly, whereby the impression of these so-called "Dunkle Blatter" (Dark Works) corresponds to the narratively and symbolically charged topics chosen. The focus of the exhibition and catalogue is on the works of the 1920s and the early 1930s.