Rankafu showcases for the first time an exceptional set of orchid woodblock prints from early 20th century Japan. Considered masterworks of botanical art, the Rankafu prints are visually stunning and reproduced here in full colour, showcasing the fine details of this spectacular art form. Accompanying these stunning prints, the authors tell the story of Shotaro Kaga, a pioneering horticulturist whose orchid collection and breeding programme started a craze in Japan that continues to this day. Kaga and his gifted orchid gardener, Kenkichi Goto were highly skilled orchid growers and developed hundreds of spectacular orchid hybrids. Kaga's interest in orchids was sparked by his visit to Kew in 1910 where he first saw tropical orchids in the extensive greenhouses, and visited many famous orchid nurseries such as Sander & Sons, from whom he would buy hundreds of plants over the coming decades. This book is the most comprehensive work to date on Rankafu and is unrivalled in its breadth of information and research. It is a beautiful book that will appeal to orchid fanatics and lovers of botanical art, as well as those with an interest in 20th century Japan and the artistic process of making Japanese woodblock prints. With a foreword by Phillip Cribb, leading orchid expert and author of many orchid books.

A significant collection of Texas paintings and prints hangs humbly and inconspicuously throughout the offices, conference rooms, and hallways of Texas A&M University Press. These works comprise the Frank H. Wardlaw Collection of Texas Art, named in honor of the Press's founding director, who was one of the genuine publishing icons of his day. Established in 1983 at the dedication of the new headquarters of Texas A&M University Press on the campus of Texas A&M, the collection began with twenty inaugural contributions that came as gifts from respected Texas artists whose art appeared in the books Wardlaw had shepherded to publication at the Press. Since then, the collection-which continues to be linked to artists published by the Press-has grown to house more than one hundred paintings, photographs, and illustrations. Among the noted artists featured in the collection are E. M. (Buck) Schiwetz, Otis Dozier, Michael Frary, Everett Spruce, Emily Guthrie Smith, Jerry Bywaters, and, among more recent additions, Dorothy Hood and Richard Stout. Through interviews with longtime staff and research into the Press's book files and correspondence, William and Linda Reaves have uncovered the captivating history of this unlikely collection. In A Book Maker's Art, they present the freshly assembled story of the Wardlaw collection, from its modest yet unique beginning to its present-day status as one of the university's excellent collections of Texas art, reflecting the exceptional bond of arts and letters that has come to distinguish Texas A&M University Press.

Der weibliche Akt, geschaffen als Dialog zwischen Kunstler und Muse.

Wie Sie sicher schon festgestellt haben, gibt es eine Fulle von Anleitungen, die sich detailliert mit dem Zeichnen von Comic-Figuren beschaftigen. Comics zeichnen mit Illustrator & Photoshop geht einen Schritt weiter, und stellt Ihnen eine Methode vor, mit der es Ihnen moglich wird, Ihre Zeichnungen auf ein professionelles Level zu bringen. Anhand der beiden Adobe-Programme Illustrator und Photoshop wird Ihnen eine Anleitung an die Hand gegeben, mit der Sie spielend leicht saubere Ergebnisse erzielen werden. Sie werden Lernen, wie Sie Ihre Zeichnungen mittels Illustrator zeichnen und vorkolorieren konnen, und wie Sie mittels Photoshop weiche Schattierungen anlegen und Bereiche umfarben konnen.

Denton Welch (1915-48) died at the age of thirty-three after a brief but brilliant career as a writer and painter. The revealing, poignant, impressionistic voice that buoys his novels was much praised by critics and literati in England and has since inspired creative artists from William S. Burroughs to John Waters. His achievements were all the more remarkable because he suffered from debilitating spinal and pelvic injuries incurred in a bicycle accident at age eighteen. Though German bombs were ravaging Britain, Welch wrote in his published work about the idyllic landscapes and local people he observed in Kent. There, in 1943, he met and fell in love with Eric Oliver, a handsome, intelligent, but rather insecure "landboy"--an agricultural worker with the wartime Land Army. Oliver would become a companion, comrade, lover, and caretaker during the last six years of Welch's life. All fifty-one letters that Welch wrote to Oliver are collected and annotated here for the first time. They offer a historical record of life amidst the hardship, deprivation, and fear of World War II, and also are a timeless testament of one young man's tender and intimate emotions, his immense courage in adversity, and his continual struggle for love and creative existence.

SHARE SCANDINAVIA contains 50 Scandinavian inspired artworks carefully selected amongst the best up-and-coming first time published artist. Following the success of SHARE Vol. 1, this second installment combines the winning concept of high quality prints on perforated pages with the in-demand Scandinavian aesthetic.

As the first serious study and presentation of the Sheldon Museum of Art's collection of works on paper, this catalog introduces students and art lovers alike to the largest, most international area of the museum's holdings, which includes prints and drawings from the European Renaissance to the present. Like the other collection catalogs in the American Transnationalism series, this publication draws together a team of distinguished scholars and features some of the museum's most iconic works. These include rarely seen yet important objects such as medieval manuscript illuminations and Renaissance prints; nineteenth-century drawings and prints by such artists as Mary Cassatt, Winslow Homer, and James McNeill Whistler; twentieth-century works by Peggy Bacon, George Bellows, Charles Demuth, Marjorie Organ Henri, John Marin, Georgia O'Keeffe, Diego Rivera, and Charles White; and contemporary works by Robert Colescott, Vija Celmins, Roy Lichtenstein, Judy Pfaff, and Kara Walker.

American artist Paul Re invites us to join him on his journey for harmony, wisdom, and inner joy with Art, Peace, and Transcendence. His hybrid hand-digital prints, Reograms, are a unique art form very different from the Rayograms made in the twentieth century by the American Surrealist Man Ray. Re's digital prints are computer manipulations of the drawings, paintings, and sculpture he has created over his forty-year career-the transformations may be mild or dramatic, each manually massaged into a harmonious whole. Commentary by the artist, drawing from his background in physics, philosophy, and the practice of yoga and meditation, accompanies the fifty-eight full-page plates, placing each piece in its historical context. Bridging the lines of art and science, Re takes us on a discovery of our oneness with the whole of the universe and the source from which it emerged.

Studienarbeit aus dem Jahr 1999 im Fachbereich Kunst - Grafik, Druck, Note: 1, Universitat Bremen (Studiengang Lehramt Kunstpadagogik), Veranstaltung: Von der Vorlage zur Druckgrafik, Sprache: Deutsch, Abstract: Diese Grafik, welche hier als Fotografie zu sehen ist, entstand innerhalb der Lehrveranstaltung "Von der Vorlage zur Druckgrafik," wahrend des Sommersemesters 1998 in den Kunstpadagogischen Druckwerkstatten der Universitat Bremen. Es handelt sich hierbei um einen manuellen Siebdruck...

French pochoir prints from the glorious Art Deco era present women's fashion designs in their most original era. Chosen from the period 1924 to 1931, this clothing was revolutionary and has been the epitome of haute couture designers ever since. The most famous clothing designers of the time are represented abundantly, including Charles Worth, Jean Patou, Paul Poiret, Lucien Lelong, Joseph Paquin and many others. The hand printed illustrations are each little masterpieces, often admired and collected themselves for their fine details and originality.

Studienarbeit aus dem Jahr 2005 im Fachbereich Kunst - Grafik, Druck, Note: 1,0, Technische Universitat Berlin, Veranstaltung: Seminar: Formen der Allegorie, Sprache: Deutsch, Abstract: Noch heute, nach annahernd 500 Jahren, gibt es von Durers Kupferstich Melencolia I" keine allgemein anerkannte ikonographische und ikonologische Deutung. Und das trotz unausgesetzter Interpretationsbemuhungen, von den altesten zu Lebzeiten Durers bis hin zu den jungsten der Gegenwart. Haufig entstanden Mangel bei der Analyse dadurch, dass der Stich nach reiner Anschaulichkeit ausgelegt wurde, eine Uberbewertung von Einzelbeobachtungen zu einseitigen Verzerrungen fuhrte und historische Quellen falsch verwertet oder ganzlich unbekannt waren. Im Grossteil der Deutungen ist zu erkennen, dass die Vielschichtigkeit des Stichs nicht durchschaut und dementsprechend nur unzulanglich wiedergegeben werden konnte. Das Ziel der vorliegenden Arbeit ist nicht, diesen Interpretationen im einzelnen nachzugehen. Vielmehr sollen haufig diskutierte Fragenkomplexe und Allegoriefelder angefuhrt werden, um daran die Probleme bei der Deutung von Durers Melencolia I" aufzuzeig