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.

The first book to focus exclusively on women as subjects in street art, this study, part travelogue and part dialogue, examines these depictions of women artistically, politically, and culturally across continents. Interviews with artists peel back the layers between artist and image, revealing stories about their work, its context, and its environment. From artists in LA pushing back on Hollywood's shiny perfection; to painters in Costa Rica examining the cultural links of women, myth, and nature; to women in South Africa decrying domestic violence, what links these works are their temporality and public ownership. Why do wall artists choose women as their frequent and favourite subjects? What does it say about our conceptions of gender and rebellion, protest, pride, place, and community? And how does the growing commercialisation of street art affect their portrayal? Colour photos and guided historical context provoke these questions and inspire further ones.

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.

William Hunter and the Anatomy of the Modern Museum accompanies a groundbreaking exhibition organized by the Hunterian at the University of Glasgow, in collaboration with the Yale Center for British Art, to celebrate the 2018 tercentenary of The Hunterian's founder, Dr. William Hunter (1718-1783). This publication is the first in 150 years to assess the contribution made by Hunter, the Scottish-born obstetrician, anatomist, and collector, to the development of the modern museum as a public institution. Essays examine how Hunter gathered his collection to be used as a source of knowledge and instruction, encompassing outstanding paintings and works on paper, coins and medals, and anatomical and zoological specimens. Hunter also possessed ethnographic artifacts from Spain, the Middle East, China, and the South Pacific, and was an avid collector of medieval manuscripts and incunabula; these were all located within one of the most important "working" libraries of eighteenth-century London. Published by the Yale Center for British Art in association with The Hunterian Exhibition Schedule: The Hunterian, Glasgow (09/28/18-01/06/19) Yale Center for British Art (02/14/19-05/20/19)

In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector's items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones. Europe and the World Beyond focuses geographically on peoples of South America and the Mediterranean as well as Africa-but conceptually it emphasizes the many ways that visual constructions of blacks mediated between Europe and a faraway African continent that was impinging ever more closely on daily life, especially in cities and ports engaged in slave trade.

On the African continent, images of mothers and children are found wherever the visual arts are, from early rock-art sites in Egypt and the Sahara to the contemporary arts of South Africa. Discovered in a variety of materials, from stone, ivory, and metals to beadwork, wood, and even paintings, images of maternity enliven virtually every type of object made in the region. Defining maternity as a biological and cultural phenomenon, the author goes beyond obvious notions of fertility to consider the importance of maternity in thought, ritual action, and worldview. Maternity images of all eras evoke deep and significant messages - well beyond what meets the eye. Distributed for Mercatorfonds

After more than thirty years of research and teaching, artist Valerie Winslow has compiled her unique methods of drawing human anatomy into one groundbreaking volume: Classic Human Anatomy. This long-awaited book provides simple, insightful approaches to the complex subject of human anatomy, using drawings, diagrams, and reader-friendly text. Three major sections-the skeletal form, the muscular form and action of the muscles, and movement-break the material down into easy-to-understand pieces. More than 800 distinctive illustrations detail the movement and actions of the bones and muscles, and unique charts reveal the origins and insertions of the muscles. Packed with an extraordinary wealth of information, Classic Human Anatomy is sure to become a new classic of art instruction.

With this book, Emmelyn Butterfield-Rosen brings a new formal and conceptual rubric to the study of turn-of-the-century modernism, transforming our understanding of the era's canonical works. Butterfield-Rosen analyzes a hitherto unexamined formal phenomenon in European art: how artists departed from conventions for posing the human figure that had long been standard. In the decades around 1900, artists working in different countries and across different media began to present human figures in strictly frontal, lateral, and dorsal postures. The effect, both archaic and modern, broke with the centuries-old tradition of rendering bodies in torsion, with poses designed to simulate the human being's physical volume and capacity for autonomous thought and movement. This formal departure destabilized prevailing visual codes for signifying the existence of the inner life of the human subject. Exploring major works by Georges Seurat, Gustav Klimt, and the dancer and choreographer Vaslav Nijinsky- replete with new archival discoveries-Modern Art and the Remaking of Human Disposition combines intensive formal analysis with inquiries into the history of psychology and evolutionary biology. In doing so, it shows how modern understandings of human consciousness and the relation of mind to body were materialized in art through a new vocabulary of postures and poses.

A radical, lively departure from received notions about art of the Romantic period For many, the term "neoclassicism" has come to imply discipline, order, restraint, and a certain myopia. Leaving the term behind, this book radically challenges enduring assumptions about the art produced from the late 18th century to the early Victorian period, casting new light on appropriations of the classical body by British artists. It is the first to foreground the intersections of gender, race, and class in discussions of British visual classicism, laying bare artists' alternately politicizing and emphatically sensual engagements with Greco-Roman art. Rather than rely exclusively on subsequent scholarship, the book takes up the poet John Keats (1795-1821) as a theoretical framework. Eschewing the "Golden Age" narrative, which sees J. M. W. Turner (1775-1851) as the pinnacle of the period's artistic achievement, the book examines overlooked artists, such as Henry Howard (1769-1847) and John Graham Lough (1798-1876). The result is a fresh account of underappreciated works of British painting and sculpture.

Praised by critics and teachers alike for more than 40 years, Burne Hogarth's Dynamic Anatomy is recognized worldwide as the classic, indispensable text on artistic anatomy. Now revised, expanded, and completely redesigned with 75 never-before-published drawings from the Hogarth archives and 24 pages of new material, this award-winning reference explores the expressive structure of the human form from the artist's point of view. The 400 remarkable illustrations explain the anatomical details of male and female figures in motion and at rest, always stressing the human form in space. Meticulous diagrams and fascinating action studies examine the rhythmic relationship of muscles and their effect upon surface forms. The captivating text is further enhanced by the magnificent figure drawings of such masters as Michelangelo, Rembrandt, Rodin, Picasso, and other great artists. Dynamic Anatomy presents a comprehensive, detailed study of the human figure as artistic anatomy. This time-honored book goes far beyond the factual elements of anatomy, providing generations of new artists with the tools they need to make the human figure come alive on paper.

This classic book is an invaluable instructor and reference guide for any professional, amateur or student artist who depicts the human form. Revealing the drawing principles behind 100 inspiring masterpieces, this book presents works by Da Vinci, Michelangelo, Rubens, Raphael, Titian, Rembrandt and others. 230 illustrations.

Women - as warriors, workers, mothers, sensual women,even absent women - haunt 19th- and 20th-century Western painting: their representation is one of its most common subjects. Representing Women brings together Linda Nochlin's most important writings on the subject, as she considers work by Miller, Delacroix, Courbet, Degas, Seurat, Cassatt and Kollwitz, among many others. In her riveting, partly autobiographical, extended introduction, Nochlin documents her own pioneering approach to art history; throughout the seven essays in this book, she argues for the honest virtues of an art history that rejects methodological assumptions, and for art historians who investigate the work before their eyes while focusing on its subject matter, informed by a sensitivity to its feminist spirit.

This is the latest volume in the acclaimed series that depicts medicine as depicted in art throughout history. This sumptuously illustrated volume offers a visual history of the depiction of illness and healing in Western culture, ranging from Egyptian wall carvings to medieval manuscripts and from paintings and sculpture by the great masters of the Renaissance to 20th century artists such as Matisse & Magritte. Thematic chapters cover the examination of patients and their maladies, healing and medical treatments, and the sufferings and hopes of patients awaiting cure and recovery. Psychological anguish, represented by Masaccio's The Expulsion of Adam and Eve, and Munch's The Scream, are also treated along with more obvious physical manifestations.

An Authoritative, Comprehensive Guide for Contemporary Figurative Artists At a time when renewed interest in figurative art is surging throughout the art world, author Robert Zeller presents The Figurative Artist's Handbook - the first comprehensive guide to figure drawing and painting to appear in decades. Illustrated with Zeller's own exquisite drawings and paintings as well as works by nearly 100 historical and contemporary figurative art masters, the handbook is also a treasure trove of the finest figurative art of the past and the present day. Included are Michelangelo, Pieter Brueghel the Elder, Peter Paul Rubens, Jean-Auguste-Dominique Ingres, Gustav Klimt, Edward Hopper, Andrew Loomis, Andrew Wyeth, Lucian Freud, Odd Nerdrum, Eric Fischl, Bo Bartlett, Steven Assael, John Currin, and many others. Original and thoroughly modern in his approach, Zeller brings together three figure-drawing methods long thought to be at odds, synthesizing these seemingly incompatible techniques to achieve a cohesive and complete understanding of the human figure. Although all three methods underlie contemporary fine-arts practice and education, no artist's handbook has ever combined them before. - The Study of Gesture (Disegno): Rooted in the Italian Mannerist style of the 16th and 17th centuries, the gestural method emphasizes life, rhythm, and movement in the human body. - The Structural Approach: A mainstay of 20th- and 21st-century art instruction, this method applies an architectural perspective to the body, using a block conception for anatomically sound, solid figures. - The Atelier Method: Based on the training provided by 18th- and 19th-century art academies, the atelier approach creates sensual, smooth renderings based on meticulous study of the figure's surface morphology in light and shadow. Covering all the basics as well as many advanced techniques, The Figurative Artist's Handbook is aimed at both students and experienced artists. A practical, how-to guide, it provides in-depth step-by-step instruction and - rare among figure-drawing books - features sections on composition, portraiture, and painting. Chapters on creativity and on using a sketchbook help readers hone their artistic vision and evolve ideas from the initial inspiration to the fully developed work. Also included is an extensive section highlighting the great movements in figurative art throughout history - from ancient Egypt and Greece to the present.

Design creative characters inspired by real people. Let Mike Mattesi show you how to use life drawing to discover the poses, features and personalities which form the basis of character and then build, develop and 'PUSH' your drawings to new heights of dramatic and visual impact for believable characters audiences can relate to.

Packed with color illustrations and photographs of the models who inspired them. With step-by-step explanation of how the characters were developed and exercises for you to sharpen your skills this is everything you need to bring your characters to life.

Table of Contents

Key Concepts

- Fear

- Risk

- Opinion

- Hierarchy

- Contrast and Affinity

Force with Character

- Amazing angles

- Developing ideas

Space with Character

- Spatial Bounding Box

- Playing with depth

- Forced perspective

- Ratio

Size

- Overlap

- Creating flat design

Shape with Character

- Straight to Curve Design

- Forceful Triangle

- The Brilliant Bounding Box

- Seeing ratios through Hierarchy

- Facial Ratios

- The law of Thirds

Costume with Character

- Tonal Theory

- Color theory

- Imaginative Designs

Reportage with Character

- Using forced perspective

- The character behind architecture

- Forcing the stories

Animals with Character

- Pulling character out of animals

Mickalene Thomas's vivid paintings, collages, and photographs explode off the wall. Their larger-than-life women stare back and down at the viewer, confronting them head on. Over the course of her prolific career, Thomas has created a body of work that expands notions of beauty, gender, sexuality, and race, offering a complex vision of what it means to be a Black woman. In Femmes Noires, Thomas moves breezily between pop culture and the long history of Western and African art, inserting images of Black women into iconic paintings. At times she poses them nude; at other times, she draws on elements as diverse as 1970s black-is-beautiful images of women, Edouard Mamet's odalisque figures, the mise-en-scene studio portraiture of James Van Der Zee and Malick Sidibe, and her own collection of personal portraits and staged scenes. Her ability to detect and contain contradictions and to wrestle with stereotypes translates into powerful, self-possessed depictions of Black women that confront and subvert stereotypes. Femmes Noires is a bold examination of Thomas's work and her artistic practise at an important moment in history. It blends writing from iconic Black writers and essayists (Alice Walker, Chimamanda Ngozi Adichie, Edwidge Danticat, and Lorraine O'Grady) with 120 reproductions from Thomas's oeuvre (collages, paintings, film stills, and photographs). Original essays by Andrea Andersson, visual arts curator of the Contemporary Art Center of New Orleans; Julie Crooks, curator at the Art Gallery of Ontario; and writer-art critic Antwaun Sargent complete the book. Mickalene Thomas: Femmes Noires accompanies an international touring exhibition organized by the Art Gallery of Ontario and the Contemporary Art Centre in New Orleans..

Dioramas are devices on the frontier of different disciplines: art, anthropology, and the natural sciences, to name a few. Their use developed during the nineteenth century, following reforms aimed at reinforcing the educational dimension of museums. While dioramas with human figures are now the subject of healthy criticism and are gradually being dismantled, a thorough study of the work of artists and scientists who made them helps shed light on their genesis. Among other displays, this book examines anthropological dioramas of two North American museums in the early twentieth century: the American Museum of Natural History in New York, and the New York State Museum. Sites of creation and mediation of knowledge, combining painting, sculpture, photography, and material culture, dioramas tell a story that is always political.

What is a woman? What is a man? How do they--and how should they--relate to each other? Does our yearning for "wholeness" refer to something real, and if there is a Whole, what is it, and why do we feel so estranged from it? For centuries now, art and literature have increasingly valorized uniqueness and self-sufficiency. The theoreticians who loom so large within contemporary thought also privilege difference over similarity. Silverman reminds us that this is but half the story, and a dangerous half at that, for if we are all individuals, we are doomed to be rivals and enemies. A much older story, one that prevailed through the early modern era, held that likeness or resemblance was what organized the universe, and that everything emerges out of the same flesh. Silverman shows that analogy, so discredited by much of twentieth-century thought, offers a much more promising view of human relations. In the West, the emblematic story of turning away is that of Orpheus and Eurydice, and the heroes of Silverman's sweeping new reading of nineteenth- and twentieth-century culture, the modern heirs to the old, analogical view of the world, also gravitate to this myth. They embrace the correspondences that bind Orpheus to Eurydice and acknowledge their kinship with others past and present. The first half of this book assembles a cast of characters not usually brought together: Friedrich Nietzsche, Sigmund Freud, Marcel Proust, Lou-Andreas Salome, Romain Rolland, Rainer Maria Rilke, Wilhelm Jensen, and Paula Modersohn-Becker. The second half is devoted to three contemporary artists, whose works we see in a moving new light: Terrence Malick, James Coleman, and Gerhard Richter.

Migrating the Black Body explores how visual media-from painting to photography, from global independent cinema to Hollywood movies, from posters and broadsides to digital media, from public art to graphic novels-has shaped diasporic imaginings of the individual and collective self. How is the travel of black bodies reflected in reciprocal black images? How is blackness forged and remade through diasporic visual encounters and reimagined through revisitations with the past? And how do visual technologies structure the way we see African subjects and subjectivity? This volume brings together an international group of scholars and artists who explore these questions in visual culture for the historical and contemporary African diaspora. Examining subjects as wide-ranging as the appearance of blackamoors in Russian and Swedish imperialist paintings, the appropriation of African and African American liberation images for Chinese Communist Party propaganda, and the role of YouTube videos in establishing connections between Ghana and its international diaspora, these essays investigate routes of migration, both voluntary and forced, stretching across space, place, and time.

A fascinating look at the partnership of artist James McNeill Whistler and his chief model, Joanna Hiffernan, and the iconic works of art resulting from their life together "[A] lavish volume. . . . Illuminating. . . . MacDonald's deep research has . . . unearthed important new facts."-Gioia Diliberto, Wall Street Journal In 1860 James McNeill Whistler (1834-1903) and Joanna Hiffernan (1839-1886) met and began a significant professional and personal relationship. Hiffernan posed as a model for many of Whistler's works, including his controversial Symphony in White paintings, a trilogy that fascinated and challenged viewers with its complex associations with sex and morality, class and fashion, academic and realist art, Victorian popular fiction, aestheticism and spiritualism. This luxuriously illustrated volume provides the first comprehensive account of Hiffernan's partnership with Whistler throughout the 1860s and 1870s-a period when Whistler was forging a reputation as one of the most innovative and influential artists of his generation. A series of essays discusses how Hiffernan and Whistler overturned artistic conventions and sheds light on their interactions with contemporaries, including Gustave Courbet, for whom she also modeled. Packed with new insights into the creation, marketing, and cultural context of Whistler's iconic works, this study also traces their resonance for his fellow artists, including Dante Gabriel Rossetti, Edgar Degas, John Singer Sargent, and Gustav Klimt. Published in association with the National Gallery of Art, Washington Exhibition Schedule: Royal Academy of Arts, London (February 23-May 23, 2022) National Gallery of Art, Washington (July 3-October 10, 2022)