Modern approaches to Roman imperialism have often characterized Romanzation as a benign or neutral process of cultural exchange between Roman and non-Roman, conqueror and conquered. Although supported by certain types of literary and archaeological evidence, this characterization is not reflected in the visual imagery of the Roman ruling elite. In official imperial art, Roman children are most often shown in depictions of peaceful public gatherings before the emperor, whereas non-Roman children appear only in scenes of submission, triumph, or violent military activity. Images of children, those images most fraught with potential in Roman art, underscore the contrast between Roman and non-Roman and as a group present a narrative of Roman identity. As Jeannine Diddle Uzzi argues in this 2005 study, the stark contrast between images of Roman and non-Roman children conveys the ruling elite's notions of what it meant to be Roman.

Throughout India images of babies appear everywhere - on posters, in calendars and on billboards. But these are no ordinary babies. Chairman Baby, Scientist Baby, Farmer Baby, Doctor Baby and Army Baby all make an appearance. Carriers of dreams, both personal and social, these babies find themselves in a bewildering and delightful variety of professional roles. One hundred classic baby posters go to make this book unashamedly zany.

Modern approaches to Roman imperialism have often characterized Romanzation as a benign or neutral process of cultural exchange between Roman and non-Roman, conqueror and conquered. Although supported by certain types of literary and archaeological evidence, this characterization is not reflected in the visual imagery of the Roman ruling elite. In official imperial art, Roman children are most often shown in depictions of peaceful public gatherings before the emperor, whereas non-Roman children appear only in scenes of submission, triumph, or violent military activity. Images of children, those images most fraught with potential in Roman art, underscore the contrast between Roman and non-Roman and as a group present a narrative of Roman identity. As Jeannine Diddle Uzzi argues in this 2005 study, the stark contrast between images of Roman and non-Roman children conveys the ruling elite's notions of what it meant to be Roman.

Figure Drawing for Artists: Making Every Mark Count is not a typical drawing instruction book; it explains the two-step process behind juggernauts like DreamWorks, WB and Disney. Though there are many books on drawing the human figure, none teach how to draw a figure from the first few marks of the quick sketch to the last virtuosic stroke of the finished masterpiece, let alone through a convincing, easy-to-understand method. That changes now! In Figure Drawing for Artists: Making Every Mark Count, award-winning fine artist Steve Huston shows beginners and pros alike the two foundational concepts behind the greatest masterpieces in art and how to use them as the basis for their own success. Embark on a drawing journey and discover how these twin pillars of support are behind everything from the Venus De Milo, to Michelangelo's Sibyl, to George Bellow's Stag at Sharkey's, and how they're the fundamental tools for animation studios around the world. Not to mention how the best comic book artists since the beginnings of the art form use them whether they know it or not. Figure Drawing for Artists: Making Every Mark Count sketches out the same two-step method taught to the artists of DreamWorks, Warner Brothers, and Disney Animation, so pick up a pencil and get drawing. The For Artists series expertly guides and instructs artists at all skill levels who want to develop their classical drawing and painting skills and create realistic and representational art.

Learn to draw figures and faces with this clear and easy to follow guide, the latest in the bestselling 'Read This' series. Revealing the techniques and ideas behind inspirational works, the book will set you on the path to making your own great drawings. From traditional life drawing to unconventional character studies, works by masters such as Henri Matisse, Auguste Rodin and Vincent van Gogh, as well as contemporary artists including Marlene Dumas, Zin Lim and Catherine Kehoe, all serve to illustrate a range of approaches and encourage readers to try out new ideas. Read This if You Want to Be Great at Drawing People is part of the internationally-bestselling 'Read This' series, which has sold over half-a-million books worldwide and has been translated into over 20 languages. More titles in the 'Read This' series: Read This if You Want to Take Great Photographs by Henry Carroll (9781780673356) Read This if You Want to Take Great Photographs of People by Henry Carroll (9781780676241) Read This if You Want to Take Great Photographs of Places by Henry Carroll (9781780679051) Use This if You Want to Take Great Photographs: A Photo Journal by Henry Carroll (9781780678887) Read This if You Want to Be Great at Drawing by Selwyn Leamy (9781786270542) Use This if You Want to Be Great at Drawing by Selwyn Leamy (9781786274052) Read This if You Want to Be a Great Writer by Ross Raisin (9781786271976) Read This if You Want to Be Instagram Famous edited by Henry Carroll (9781780679679)

Karen Chase examines old age as it was constructed in Victorian social and literary cultures. Beginning with the vexed relation between elderly people whose numbers and needs taxed the state which sought to identify, classify, and provide for them, she analyzes illuminating moments in narrative form, social policy, or cultural attitudes. The book considers the centrality of institutions and of the generational divide; it traces the power and powerlessness of age through a range of characters and individuals as distinct from one another as Dickens's inebriated nurse, Sairey Gamp, to the sober Queen Victoria; and it studies specific narrative forms for expressing heightened emotions attached to aging and the complexities of representing age in pictorial and statistical 'portraits'. Chapters are organized around major literary works set alongside episodes and artifacts, diaries and memoirs, images and inscriptions, that produced (and now illuminate) the construction of old age through Victoria's long reign.
The Victorians and Old Age shows that if old age became for the Victorians such a conspicuous public topic and problem, it also became an intensely private preoccupation. The social formation of old age created terms, images, and narratives that lone individuals used to fashion the stories of their lives. The book is intent to respect the specificity of aging: not only the wide diversities of circumstance (rich and poor, urban and rural, watched and forgotten, powerful and dispossessed) but also the distinct acts of representation by novelists, painters, journalists, sociologists, and diary-keepers.

Sarah Raphael (1960-2001) died young: preparing a show for New York, she contracted pneumonia and never recovered. Her work, large- and small-scale, is now represented in all the leading British collections. A major retrospective at Marlborough Fine Arts, London, in 2003, bringing together work from her last seven years, was as amazing as her earlier exhibitions in its brilliance, its formal variety and inventiveness. One breathtaking area of her work which has so far been inadequately displayed is her drawing. There are few modern artists who equal her in assurance and firmness of line. Michael Ayrton said to her when she was fourteen, 'Draw your own hands. If you can draw your own hands you can do anything.' She did, and she could. Her informal portraits of friends, some well-known, some unknown, never flatter except in telling the truth. She did justice to every model, and her sense of setting, the economy of her perspectives, her ability to create presence, continue to amaze the viewer. Even the most seemingly casual sketch, closely observed, reconstitutes an original, sculptural space about it. The lessons Michael Ayrton taught ensured that she is always at least a three-dimensional artist. Most of the drawings are from her notebooks and sketchbooks, and Frederic Raphael draws from over twenty-five years of work, primarily pencil sketches. As William Boyd has written, 'you can tell how good they are, yourself'. She has her own, unarguable authority.

Designed and outlined by Will Eisner before his death in 2005, this posthumous masterwork, the third and final book in the Will Eisner Instructional Series, finally reveals the secrets of Eisner s own techniques and theories of movement, body mechanics, facial expressions, and posture: the key components of graphic storytelling. From his earliest comics, including the celebrated Spirit, to his pioneering graphic novels, Eisner understood that the proper use of anatomy is crucial to effective storytelling. His control over the mechanical and intuitive skills necessary for its application set him apart among comics artists, and his principles of body grammar have proven invaluable to legions of students in overcoming what is perhaps the most challenging aspect of creating comics. Buttressed by dozens of illustrations, which display Eisner s mastery of expression, both subtle and overt, Expressive Anatomy for Comics and Narrative will benefit comics fans, students, and teachers and is destined to become the essential primer on the craft."

Faces are everywhere in the National Gallery's collection: in portraits and narrative scenes, in allegories and paintings of everyday life. It is often the faces shown that communicate most directly in a picture; their expressions may reveal the drama of a story, or the character of a sitter in a portrait. A Closer Look: Faces examines a wide array of fascinating faces found in paintings at the National Gallery. It explains why artists in the past created faces to look as they do, what painters through the ages have considered the "ideal" face, how faces are painted, and the reasons for the development of portrait painting. Illustrated with seventy pictures and beautiful details, this book provides an insider's view of the many faces in Western European art. Published by National Gallery Company/Distributed by Yale University Press

A unique visual encyclopedia for artists and illustrators

Like its acclaimed predecessor, the Second Edition of this outstanding photographic reference offers illustrators, fine artists, and animators immediate access to the human form in deep perspective, that is, foreshortened. With all-new photographs, the Atlas of Foreshortening features:

• Over 530 high-quality photographs
• Both male and female nudes
• Poses with slight, moderate, and marked foreshortening
• Detail shots and full-body photographs
• Many poses shot from multiple angles

From Renaissance fresco painters to contemporary graphic novel artists, the ability to draw clothed figures from one's imagination has always been crucial to artists - and exceptionally difficult to attain. With over 220 illustrations, The Art of Drawing Folds: An Illustrator's Guide to Drawing the Clothed Figure reveals the logic and patterns in folds, enabling the reader to more easily predict the behavior of cloth when creating folds in their own drawings and paintings. Addressing folds in clothing systematically, the author provides a clear, concise approach to the analysis, classification and visualization of convincingly naturalistic folds. Starting with the nature of fabric and its geometry, this book methodically explores the reasons for fold behavior based on the construction of clothing and the shapes and actions of the human figure. An essential guide and reference for animators, illustrators, storyboard artists, comic-book artists, 3D modelers, sculptors, fashion designers and students, The Art of Drawing Folds simplifies one of the most complex and important aspects of drawing the clothed figure.

Concepts of identity are complex and changing, and in this book Katherine Hoffman examines images of individuals and families from ancient Egypt to the present--more than two thirds of the book covers the twentieth century. Through a comprehensive study of paintings, sculpture, photography, film, television, and other media, Hoffman provides eye-opening insights on the identity of family and self through time and explores what these images say about the attitudes and values of a particular culture.Concepts of identity and self as individuals and families are complex and changing, but images from the artist, the photographer, the filmmaker, and TV producer can help us discover where we came from, who we are and why, and where we are in the maze of postmodern life. Katherine Hoffman explores portraits and images from ancient Egypt to the present--more than two-thirds of the book covers the twentieth century, including images from art, photography, film, TV, and other media. The 75 illustrations are integrated with the text.

"The writing is beautiful, the ideas persuasive, and the picture it paints of the process of careful observation is one that every writer should read. . . . A rich and wonderful book."
--American Journal of Education A landmark contribution to the field of research methodology, this remarkable book illuminates the origins, purposes, and features of portraiture--placing it within the larger discourse on social science inquiry and mapping it onto the broader terrain of qualitative research.

If mediatization has surprisingly revealed the secret life of inert matter and the 'face of things', the flipside of this has been the petrification of living organisms, an invasion of stone bodies in a state of suspended animation. Within a contemporary imaginary pervaded by new forms of animism, the paradigm of death looms large in many areas of artistic experimentation, pushing the modern body towards mineral modes of being which revive ancient myths of flesh-made-stone and the issue of the monument. Scholars in media, visual culture and the arts propose studies of bodies of stone, from actors simulating statues to the transmutation of the filmic body into a fossil; from the real treatment of the cadaver as a mineral living object to the rediscovery of materials such as wax; from the quest for a 'thermal' equivalence between stone and flesh to the transformation of the biomedical body into a living monument.

The Wilton House sculptures constituted one of the largest and most celebrated collections of ancient art in Europe. Originally comprising some 340 works, the collection was formed around the late 1710s and 1720s by Thomas Herbert, the eccentric 8th Earl of Pembroke, who stubbornly 're-baptized' his busts and statues with names of his own choosing. His sources included the famous collection of Cardinal Mazarin, assembled in Paris in the 1640s and 1650s, and recent discoveries on the Via Appia outside Rome. Earl Thomas regarded the sculptures as ancient - some of them among the oldest works of art in existence - but in fact much of the collection is modern and represents the neglected talents of sixteenth-and seventeenth-century artists, restorers and copyists who were inspired by Greek and Roman sculpture. About half of the original collection remains intact today, adorning the Gothic Cloisters that were built for it two centuries ago. After a long decline, accelerated by the impact of the Second World War, the sculptures have been rehabilitated in recent years. They include masterpieces of Roman and early modern art, which cast fresh light on Graeco-Roman antiquity, the classical tradition, and the history of collecting. Illustrated with specially commissioned photographs, this catalogue offers the first comprehensive publication of the 8th Earl's collection, including an inventory of works dispersed from Wilton. It re-presents his personal vision of the collection recorded in contemporary manuscripts. At the same time, it dismantles some of the myths about it which originated with the earl himself, and provides an authoritative archaeological and art-historical analysis of the artefacts.

An essential guide for all artists with more than 600 images to show readers how to draw realistic characters with examples of movement, faces, and hands. Anatomy charts and rules of proportion will also allow users to accurately represent any human subject. Including instructions for a variety of drawing techniques (graphite pencils, colored pencils, felt tip pens, etc.) and a diverse array of models, this is the ultimate guide to mastering drawing the human form.

Sketches and drawings are the foundations of great art, where thoughts and concepts first come to life as an image. In Sketching from the Imagination: Characters, fifty talented artists share their sketches, inspirations, and approaches to creating characters. This book is a visually stunning collection packed with useful tips and creative insights--an invaluable resource that will inspire artists of all abilities.

The Ultimate Beginner's Guide to Drawing Figures! To draw an anatomical figure, you don't need a stack of weighty anatomy books. Just take it step by step! In How to Draw People, author Jeff Mellem teaches beginning artists how to draw the human figure, from stick figure to anatomically accurate person, in clear, easy-to-follow lessons. More than just a reference, this book provides the step-by-step instruction to teach you to draw the human figure and the anatomical knowledge to draw it realistically. In each chapter, called "levels," you'll learn core concepts for drawing the human figure. Each new chapter builds on the previous one to give you the skills you need to add complexity to your drawing. By the end of each chapter, you will be able to draw the figure with greater detail. By the end of Level 5, you will be able to draw an expressive figure with defined muscle groups in a variety of poses both real and imagined. Clear goals to progress from stick figure to anatomically correct Exercises and assignments to practice new skills Level-Up Checklists in each chapter to assess your skills before moving on With clear step-by-step demonstrations and check-ins along the way, How to Draw People is the beginner's guide to drawing realistic figures.

Accessible, informative guide to one of Te Papa's most popular permanent art exhibitions. The portrait wall in Toi Art, the art gallery within New Zealand's national museum, Te Papa, is the most popular art exhibition for museum visitors. Hung salon-style on dark red walls, its 36 arresting portraits span historical portraiture to contemporary practice, and represent mana. Some trumpet the status of European royalty, Maori leaders, or prosperous colonial settlers in New Zealand. Others advertise the skills of the artist. All carry stories from the past into the present. This handy book details each work in both English and te reo Maori and is the perfect souvenir of a visit to Te Papa and an ideal starting point for exploring questions of art, identity, and cross-cultural exchange.

As scholars debate the most appropriate way to teach evolutionary theory, Constance Areson Clark provides an intriguing reflection on similar debates in the not-too-distant past. Set against the backdrop of the Jazz Age, God-or Gorilla explores the efforts of biologists to explain evolution to a confused and conflicted public during the 1920s. Focusing on the use of images and popularization, Clark shows how scientists and anti-evolutionists deployed schematics, cartoons, photographs, sculptures, and paintings to win the battle for public acceptance. She uses representative illustrations and popular media accounts of the struggle to reveal how concepts of evolutionary theory changed as they were presented to, and absorbed into, popular culture. Engagingly written and deftly argued, God-or Gorilla offers original insights into the role of images in communicating-and miscommunicating-scientific ideas to the lay public.

Eine Minute und dreissig Sekunden ist die durchschnittliche Lange, die fur einen Beitrag in einem Nachrichtenblock vorgesehen ist. Die Kunstlerin Monika Huber fotografiert seit uber zehn Jahren taglich Bilder aus Nachrichtenbeitragen, die von Protest, Aufruhr, Krieg, Gewalt und deren Folgen zeugen. Sie speichert die Bilder digital, druckt sie aus und uberarbeitet sie mit den Mitteln der Malerei und Zeichnung. UEber die Jahre ist so ein Archiv entstanden, das eine "Grammatik" der Nachrichtenbilder offenlegt und uns zu einer kritischen Auseinandersetzung mit der Krisenberichterstattung in Fernsehnachrichten einladt. Die Auswahl von uber 100 Bildern aus dem Archiv wird begleitet von Beitragen, die das Archiv Einsdreissig aus kunsthistorischer, philosophischer, politikwissenschaftlicher und journalistischer Perspektive verorten. Kunstlerische Entlarvung der Rhetorik der Medienbilder Mit Beitragen von Ernst van Alphen, Mieke Bal, James W. Davis, Antje Kapust, Ute Schaeffer, Ulrich Wilmes und einer Einfuhrung von Bernhart Schwenk

This volume collects some of the best covers and other artwork from rising star GUILLEM MARCH (Gotham City Sirens, Catwoman). More than one-hundred, full-color images featuring the sexiest girls from his stunning work for Eros Magazine and Playboy Spain, never-before-seen in the U.S., plus much unpublished art.

The bestselling New Fashion Figure Templates has been providing help for fashion students and fashion designers for decades and this new expanded edition will provide help for generations to come. The new edition includes over 200 templates of men, women, teens, and children on perforated pages for easy pull out, which can then be scanned. Costumers will also be provided with access to download a range of templates direct from the internet.The templates include figures in movement - with attitude and in classic elegant poses - from a variety of angles including full-length poses, three-quarter length poses, back views and front-on poses. The figures may be copied or photocopied and enlarged from the book or used as a guide to develop your own illustrations. This is a very useful tool for fashion students and designers, providing them with strong visuals for their work by making the most of templates created by one of the world's leading fashion illustrators, Patrick John Ireland. But they can overlay their own designs on to the templates to ensure the work bears their own creativity or use the scans as a basis for digital designs.A new chapter provides over 150 different fashion details from the author, ranging from sleeve shapes, hemlines, tucks, collars, drapes, gathers, pleats, and pockets.