World-renowned photographer Michael Poliza's best-selling book, originally published in 2006, has now been released in an abridged, flexi cover edition. Featured are the very best photographs from a collection that captures Africa's elegant natural beauty and animal life. Text in English, German and French.

This book is one of a series of volumes resulting from the World Archaeological Congress, September 1986 which addressed world archaeology in its widest sense, investigating how people lived in the past and how and why changes took place to result in the forms of society and culture which exist now. The series brought together archaeologists and anthropologists from many parts of the world, academics from contingent disciplines, and also non-academics from a wide range of cultural backgrounds who could lend their own expertise to the discussions. This book is an exploration of the way in which the animal world features in the works of art of a variety of cultures of different times and places. Contributors have adopted a variety of perspectives for looking at the complex ways in which past and present humans have interrelated with beings they classify as animals. Some of the approaches are predominantly economic and ecological, some are symbolic and others philosophical or theological. All these different views are included in the interpretation of the artworks of the past, revealing some of the foci and inspirations of cultural attitudes to animals. Originally published 1989.

Susan Herbert's delightful feline reimaginings of famous scenes from art, theatre, opera, ballet and film have won her a devoted following. This unprecedented new compilation of her best paintings provides an irresistible introduction to her feline world. An array of cat characters take the starring roles in a variety of instantly recognizable settings. The masterpieces of Western art retain their distinctive styles while being cleverly filled with furry faces and pussycat tails. Cats then take to the stage in Shakespearean dramas and lavishly staged opera productions. The final stop is Hollywood, where cats are cast in everything from big-budget epics to cult classics, emulating the timeless glamour of the golden age of cinema. From Botticelli's Birth of Venus through Puccini's Tosca to James Dean and Lawrence of Arabia, Susan Herbert's brilliantly observed feline dramatis personae are a joy to discover.

Beautiful bird illustrations by Madeleine Floyd Details of the wonderful songs and sounds of our birds A celebration of our feathered creatures and their songs for all bird lovers A celebration of British birds and their songs, from the sought-after artist Madeleine Floyd. Some 50 of her exquisite drawings of birds, along with their specific eggs are captured here for fans of her work and wildlife enthusiasts. It includes details of the songs and sounds made by each of the birds, from sparrows, tits, to the lyrical nightingale. The latter has up to 250 different phrases in his song and each performance is made up of a unique composition. The art of Madeleine Floyd is beautifully presented in this gem of a book and should delight all bird lovers.

Thomas Kinkade Studios Perpetual Calendar with Scripture features inspirational Bible verses and beautiful full-color paintings by Thomas Kinkade Studios. Thomas Kinkade Studios carries on Thomas Kinkade's legacy of creating and sharing beautiful images that evoke a sense of peace, inspiration, and gratitude-reminding us all of home, family, and the places and things that make us happy. Each page of this spiral-bound calendar shows an uplifting King James Bible verse against a backdrop of a beautiful image from the extensive Thomas Kinkade Studios art collection. The sturdy easel makes it perfect for home or office for years to come.

Offering a corrective to the common scholarly characterization of seventeenth-century Dutch landscape painting as modern, realistic and secularized, Boudewijn Bakker here explores the long history and purpose of landscape in Netherlandish painting. In Bakker's view, early Netherlandish as well as seventeenth-century Dutch painting can be understood only in the context of the intellectual climate of the day. Concentrating on landscape painting as the careful depiction of the visible world, Bakker's analysis takes in the thought of figures seldom consulted by traditional art historians, such as the fifteenth-century philosopher Dionysius the Carthusian, the sixteenth-century religious reformer John Calvin, the geographer Abraham Ortelius and the seventeenth-century poet Constantijn Huygens. Probing their conception of nature as 'the first Book of God' and art as its representation, Bakker identifies a world view that has its roots in the traditional Christian perceptions of God and creation. Landscape and Religion from Van Eyck to Rembrandt imposes a new layer of interpretation on the richly varied landscapes of the great masters. In so doing it adds a new dimension to the insights offered by modern art-historical research. Further, Bakker's explorations of early modern art and literature provide essential background for any student of European intellectual history.

Focusing on three celebrated northern European still life painters"Jan Brueghel, Daniel Seghers, and Jan Davidsz. de Heem"this book examines the emergence of the first garland painting in 1607-1608, and its subsequent transformation into a widely collected type of devotional image, curiosity, and decorative form. The first sustained study of the garland paintings, the book uses contextual and formal analysis to achieve two goals. One, it demonstrates how and why the paintings flourished in a number of contexts, ranging from an ecclesiastical center in Milan, to a Jesuit chapter house and private collections in Antwerp, to the Habsburg court in Vienna. Two, the book shows that when viewed over the course of the century, the images produced by Brueghel, Seghers and de Heem share important similarities, including an interest in self-referentiality and the exploration of pictorial form and materials. Using a range of evidence (inventories, period response, the paintings themselves), Susan Merriam shows how the pictures reconfigured the terms in which the devotional image was understood, and asked the viewer to consider in new ways how pictures are made and experienced.

In Neo-Impressionism and Anarchism in Fin-de-Siecle France, Robyn Roslak examines for the first time the close relationship between neo-impressionist landscapes and cityscapes and the anarchist sympathies of the movement's artists. She focuses in particular on paintings produced between 1886 and 1905 by Paul Signac and Maximilien Luce, the neo-impressionists whose fidelity to anarchism, to the art of landscape and to a belief in the social potential of art was strongest. Although the neo-impressionists are best known for their rational and scientific technique, they also heeded the era's call for art surpassing the mundane realities of everyday life. By tempering their modern subjects with a decorative style, they hoped to lead their viewers toward moral and social improvement. Roslak's ground-breaking analysis shows how the anarchist theories of Elisee Reclus, Pierre Kropotkin and Jean Grave both inspired and coincided with these ideals. Anarchism attracted the neo-impressionists because its standards for social justice were grounded, like neo-impressionism itself, in scientific exactitude and aesthetic idealism. Anarchists claimed humanity would reach its highest level of social and moral development only in the presence of a decorative variety of nature, and called upon progressive thinkers to help create and maintain such environments. The neo-impressionists, who primarily painted decorative landscapes, therefore discovered in anarchism a political theory consistent with their belief that decorative harmony should be the basis for socially responsible art.

Slavery, Geography and Empire in Nineteenth-Century Marine Landscapes of Montreal and Jamaica is among the first Slavery Studies books - and the first in Art History - to juxtapose temperate and tropical slavery. Charmaine A. Nelson explores the central role of geography and its racialized representation as landscape art in imperial conquest. One could easily assume that nineteenth-century Montreal and Jamaica were worlds apart, but through her astute examination of marine landscape art, the author re-connects these two significant British island colonies, sites of colonial ports with profound economic and military value. Through an analysis of prints, illustrated travel books, and maps, the author exposes the fallacy of their disconnection, arguing instead that the separation of these colonies was a retroactive fabrication designed in part to rid Canada of its deeply colonial history as an integral part of Britain's global trading network which enriched the motherland through extensive trade in crops produced by enslaved workers on tropical plantations. The first study to explore James Hakewill's Jamaican landscapes and William Clark's Antiguan genre studies in depth, it also examines the Montreal landscapes of artists including Thomas Davies, Robert Sproule, George Heriot and James Duncan. Breaking new ground, Nelson reveals how gender and race mediated the aesthetic and scientific access of such - mainly white, male - artists. She analyzes this moment of deep political crisis for British slave owners (between the end of the slave trade in 1807 and complete abolition in 1833) who employed visual culture to imagine spaces free of conflict and to alleviate their pervasive anxiety about slave resistance. Nelson explores how vision and cartographic knowledge translated into authority, which allowed colonizers to 'civilize' the terrains of the so-called New World, while belying the oppression of slavery and indigenous displacement.

A vibrant survey of visual culture in Golden Age Denmark (1801-1864) Following the disastrous outcome of the Napoleonic Wars and national bankruptcy, Denmark affected a remarkable cultural renaissance, spawning such major talents as Hans Christian Andersen, Soren Kierkegaard and Hans Christian Orsted. The Golden Age, roughly spanning the first half of the nineteenth century, produced defining images of a peaceful and ordered society as the emerging Copenhagen bourgeoisie asserted a taste for portraits, urban scenes and landscapes that embraced their lifestyles. Artists such as Christen Kobke and C. W. Eckersberg turned their attentions to the people, traditions and customs of their land, encapsulating the quintessence of this celebrated period of cultural richness. Danish Golden Age Painting examines the vital role played by the visual arts within the wider context of the era's social, political, intellectual, scientific, artistic and cultural achievements. Drawing on the best of established and contemporary Danish scholarship, it presents an innovative survey of Danish Golden Age art.

This timely study of Winslow Homer highlights his imagery of the Atlantic world and reveals themes of racial, political, and natural conflict across his career Long celebrated as the quintessential New England regionalist, Winslow Homer (1836-1910) in fact brushed a much wider canvas, traveling throughout the Atlantic world and frequently engaging in his art with issues of race, imperialism, and the environment. This publication focuses, for the first time, on the watercolors and oil paintings Homer made during visits to Bermuda, Cuba, coastal Florida, and the Bahamas. Among these, The Gulf Stream (1899), often considered the most consequential painting of his career, reveals Homer's lifelong fascination with struggle and conflict. Recognizing the artist's keen ability to distill complex issues, Winslow Homer: Crosscurrents upends popular conceptions and convincingly argues that Homer's work resonates with the challenges of the present day. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (April 11-July 31, 2022) National Gallery, London (September 10, 2022-January 8, 2023)

A bold, compelling, and original study of nonhuman life in Warhol. Like a Little Dog examines a dimension of Andy Warhol that has never received critical attention: his lifelong personal and artistic interest in nonhuman life. With this book, Anthony E. Grudin offers an engaging new overview of the iconic artist through the lens of animal and plant studies, showing that Warhol and his collaborators wondered over the same questions that absorb these fields: What qualities do humans share with other life forms? How might the vulnerability of life and the unpredictability of desire link them together? Why has the human/animal/plant hierarchy been so rigidly, violently enforced? Nonhuman life impassioned every area of Warhol's practice, beginning with his juvenilia and an unusually close creative collaboration with his mother, Julia Warhola. The pair codeveloped a transgressive animality that permeated Warhol's prolific career, from his commercial illustration and erotica to his writing and, of course, his painting, installation, photography, and film. Grudin shows that Warhol disputed the traditional claim that culture and creativity distinguish the human from the merely animal and vegetal, instead exploring the possibility of art as an earthy and organic force, imbued with appetite and desire at every node. Ultimately, by arguing that nonhuman life is central to Warhol's work in ways that mirror and anticipate influential texts by Toni Morrison and Ocean Vuong, Like a Little Dog opens an entirely unexplored field in Warhol scholarship.

The life and art of the 18th-century naturalist Mark Catesby, and his pioneering work depicting the flora and fauna of North America, are explored in vibrant detail This book explores the life and work of the celebrated eighteenth-century English naturalist, explorer, artist and author Mark Catesby (1683-1749). During Catesby's lifetime, science was poised to shift from a world of amateur virtuosi to one of professional experts. Working against a backdrop of global travel that incorporated collecting and direct observation of nature, Catesby spent two prolonged periods in the New World - in Virginia (1712-19) and South Carolina and the Bahamas (1722-6). In his majestic two-volume Natural History of Carolina, Florida and the Bahama Islands (1731-43), esteemed by his contemporary John Bartram as 'an ornament for the finest library in the world', he reflected the excitement, drama and beauty of the natural world. Interweaving elements of art history, history of science, natural history illustration, painting materials, book history, paper studies, garden history and colonial history, this meticulously researched volume brings together a wealth of unpublished images as well as newly discovered letters by Catesby, which, with their first-hand accounts of his collecting and encounters in the wild, bring the story of this extraordinary pioneer naturalist vividly to life. Distributed for the Paul Mellon Centre for Studies in British Art

The role of the visual arts in the assertion of European colonial power has been the subject of much recent investigation and redefinition. This book takes as a ground for discussion the representation of Indian scenery and architecture by British artists in the late eighteenth and early nineteenth centuries. It includes the work of a diversity of artists from the Daniells to Edward Lear, but central to the study is a particular focus on William Hodges, a pioneer in the field who enjoyed a close association with Britain's first Governor General in India, Warren Hastings, and whose impressive body of work as draughtsman, painter and writer formed a crucial legacy for later artists. The book includes many of his paintings and drawings rarely or never previously published, and analyses his art and writing in relation to the intellectual and aesthetic ideas of his time. The paintings and drawings discussed here are shown to be complex objects, standing in a necessarily complex relationship with historical events and ideas. This relationship is explored and defined fully, to present a new intervention in post-colonial cultural theory.

This book is one of a series of volumes resulting from the World Archaeological Congress, September 1986 which addressed world archaeology in its widest sense, investigating how people lived in the past and how and why changes took place to result in the forms of society and culture which exist now. The series brought together archaeologists and anthropologists from many parts of the world, academics from contingent disciplines, and also non-academics from a wide range of cultural backgrounds who could lend their own expertise to the discussions. This book is an exploration of the way in which the animal world features in the works of art of a variety of cultures of different times and places. Contributors have adopted a variety of perspectives for looking at the complex ways in which past and present humans have interrelated with beings they classify as animals. Some of the approaches are predominantly economic and ecological, some are symbolic and others philosophical or theological. All these different views are included in the interpretation of the artworks of the past, revealing some of the foci and inspirations of cultural attitudes to animals. Originally published 1989.

Animals were everywhere in the early modern period and they impacted, at least in some way, the lives of every kind of early modern person, from the humblest peasant to the greatest prince. Artists made careers based on depicting them. English gentry impoverished themselves spending money on them. Humanists exercised their scholarship writing about them. Pastors saved souls delivering sermons on them. Nobles forged alliances competing with them. Foreigners and indigenes negotiated with one another through trading them. The nexus between animal-human relationships and early modern identity is illuminated in this volume by the latest research of international scholars working on the history of art, literature, and of sixteenth- and seventeenth-century Germany, France, England, Spain, and South Africa. Collectively, these essays investigate how animals - horses, dogs, pigs, hogs, fish, cattle, sheep, birds, rhinoceroses, even sea-monsters and other creatures - served people in Europe, England, the Americas, and Africa to defend, contest or transcend the boundaries of early modern identities. Developments in the methodologies employed by scholars to interrogate the past have opened up an intellectual and discursive space for - and a concomitant recognition of - the study of animals as a topic that significantly elucidates past and present histories. Relevant to a considerable array of disciplines, the study of animals also provides a means to surmount traditional disciplinary boundaries through processes of dynamic interchange and cross-fertilization.

The secrets to creating stunning landscapes are at your fingertips with Digital Mayhem 3D Landscapes Techniques. Compiled by Duncan Evans, launch Editor of 3D Artist Magazine, Digital Mayhem features a variety of beautiful art from some of the finest digital artists working today. Inspiration and technique meet here as you learn how to create every type of landscape from harsh desert savannahs to icy tundra. Using a blend of showcase images, step-by-step and long-form tutorials, you will be guided through the featured artist's process so you can incorporate their techniques and workflow into your own projects. Not just another button-pushing manual or coffee table book, Digital Mayhem will help develop your critical eye for composition, choice of camera lens, lighting, rendering, and post production, allowing you to work more intuitively. With insight from some of the best digital artists in the world, Digital Mayhem will have you creating your own masterpiece in no time! Unique coverage on a variety of software allows you to hone your skills across different platforms. Illustrious and colorful artwork coupled with artist insight will both inspire and inform your creative decisions. Comprehensive companion website offers additional resources for you to further expand your skillset.

Rain Later, Good is the award winning story of Peter Collyer's extraordinary journey around the Shipping Forecast areas. The Shipping Forecast is a national institution, relied upon by mariners but also strangely comforting and poetic to landlubbers. Published in 1998 to great acclaim, Rain Later, Good was chosen by the RNLI to celebrate their 175th anniversary, and has since sold over 25,000 copies. Fifteen years later, this gorgeous book will be available in paperback for the first time, completely revised and updated, with several new paintings. Peter Collyer's brilliant and detailed paintings offer a series of images which help conjure up the most mythical locations, whilst his delightful idiosyncratic text provides a wealth of fascinating insights. He introduces us to the people who live and work in these areas, and passes on snippets of tantalising information to give a powerful impression of the place and convey a real feeling of being there. The beautiful paintings from his travels truly capture the spirit of these wild and isolated spots, and this new edition includes new paintings, sketches and up to date text. This is a much-loved book celebrating an iconic broadcast, and its reissue will be welcomed by Peter's many admirers. 'A very remarkable painter. His work is simply stunning with an observed intensity which makes him very special indeed.' Chris Beetles in The Daily Telegraph 'The most delightful and unexpected book I've encountered this year... a wonderful book.' John Naughton, The Times 'He is not only a marvellous, delicate draughtsman and watercolourist...but a drily observant writer and amateur naturalist.' Libby Purves