An exploration of Turner as an artist-traveler, in relation to two important European harbor scenes This publication marks the return to the United Kingdom, for the first time in over a century, of two groundbreaking oil paintings by J. M. W. Turner (1775-1851), on loan from The Frick Collection in New York: Harbour of Dieppe: Changement de Domicile and Cologne, the Arrival of a Packet-Boat: Evening. They were acquired by wealthy American industrialist Henry Clay Frick in 1914 and have remained in the USA ever since. Painted in the mid-1820s, Dieppe and Cologne exemplify Turner's lifelong fascination with the subject of ports and harbors -past and present -as dynamic, transitional places. Exhibited at the Royal Academy in 1825 and 1826 respectively, they represent in powerfully visual terms the outcomes of Turner's regular sketching tours within Europe that were central to his fame as an artist-traveler, as well as his radical approach to color, light, and brushwork. This sumptuously illustrated publication examines Turner's creative process, and his use of sketchbooks and watercolors to capture his ideas as he traveled. Published by National Gallery Global/Distributed by Yale University Press Exhibition Schedule: The National Gallery, London November 3, 2022-February 19, 2023

This is the first major critical study of the art of Cornish painter Kurt Jackson. Jackson's landscapes have been exhibited widely, and are becoming more popular.

Eerily realistic virtual landscapes inspired by Grand Theft Auto V, exquisitely reproduced in duotone printing All the images in this work derive from wallpapers and screenshots taken by different users while playing Grand Theft Auto V -a videogame set in Los Santos, an "open world" scenario that closely resembles Los Angels and its surroundings. Thus, the city of the Studios, of Hollywood and film industry, becomes itself a staged set and a virtual replica, a duplicate of its original. This work explores whether is it possible to photograph a virtual place, what it means to do so, and the question of authorship. It is also intended as a tribute to a long series of great photographers who worked in Los Angeles widely throughout the second half of the past century. With their own perspectives, these artists all contributed to the creation of an image of a city that is still vivid and lasting - one that is mimicked, simulated, and photographed in this project. "Leafing through West of Here, the beautiful photographic book by Leonardo Magrelli just released for the American Yoffy Press - an elegant volume right from the color chosen for the cover (a Cool Gray 5 C Pantone that Martin Margiela would love) - one has like the impression of knowing what you are seeing and experiencing at that precise moment, but in reality that landscape with houses, cars, palm trees, beaches, lights and so on, shows that nothing is as it seems." - Huffington Post

'Think of this atlas as the beginning of a journey and a kind of island guidebook, a rough guide to far-flung places, a Baedeker of make-believe, and a new page waiting to be filled. The cycle of Crusoes continues' Huw Lewis-Jones A new atlas of imaginary islands conjured up by an international gathering of illustrators, including work by Coralie Bickford-Smith, Bill Bragg, Marion Deuchars, Chris Riddell, Maisie Paradise Shearring, Herve Tullet, Ausra Kiudulaite and more. Islomania is a recognized affliction. But what is it about islands that is so alluring, and why do so many people find these self-contained worlds completely irresistible? Utopia and Atlantis were islands, and islands have captured the imaginations of writers and artists for centuries. Venetian sailors were the first to make collections of them by drawing maps of those they visited in their isolari - literally the 'island books'. Then in 1719 Daniel Defoe published his tale of a castaway on a desert island, Robinson Crusoe, one of the first great novels in the history of literature and an instant bestseller. Defoe's tale combined the real and the imagined and transformed them into a compelling creative landscape, establishing a whole literary genre and unleashing the power of an island for storytelling. To celebrate the tercentenary of Robinson Crusoe's publication, a truly international range of leading illustrators imagine they too have been washed up on their own remote island. In a specially created map they visualize what it looks like, what it's called and what can be found on its mythical shores. In a panoply of astonishingly creative and often surprising responses, we are invited to explore a curious and fabulous archipelago of islands of invention that will beguile illustrators, cartographers and dreamers alike.

Less than thirty years after Lewis and Clark completed their epic journey, Prince Maximilian of Wied--a German naturalist--and his entourage set off on their own daring expedition across North America. Accompanying the prince on this 1832-34 voyage was Swiss artist Karl Bodmer, whose drawings and watercolors--designed to illustrate Maximilian's journals--now rank among the great treasures of nineteenth-century American art. This lavishly illustrated book juxtaposes Bodmer's landscape images with modern-day photographs of the same views, allowing readers to see what has changed, and what seems unchanged, since the time Maximilian and Bodmer made their storied trip up the Missouri River.

To discover how the areas Bodmer depicted have changed over time, photographer Robert M. Lindholm and anthropologist W. Raymond Wood made several trips over a period of years, from 1985 to 2002, to locate and record the same sites--all the way from Boston Harbor, where Maximilian and Bodmer began their journey, to Fort McKenzie, in modern-day western Montana. Pairing sixty-seven Bodmer works side by side with Lindholm's photographs of the same sites, this volume uses the comparison of old and new images to reveal alterations through time--and the encroachment of a built environment--across diverse landscapes.

"Karl Bodmer's America""Revisited" is at once a tribute to the artistic achievements of a premier landscape artist and a photographer who followed in his footsteps, and a valuable record of America's ever-changing environment.

The forests comprising the Gila National Forest and Wilderness in southwest New Mexico is the largest in the contiguous U.S., the least visited or photographed, the one most wild in nature. It is nestled at the nexus of four great ecosystems. It lies at the end of the Rocky Mountains after they slide down the North American continent like a glacier before breaking up into an archipelago of small ranges floating in a sea of grasslands. A couple hundred miles to the south, the Sierra Madre Mountains rise up, serrating Mexico for another two thousand miles. To the west lies the Sonoran Desert with its giant saguaros, and to the east spreads the Chihuahuan Desert, a minimalist dream of small ranges and desert grasslands. In its present state, the Gila is a functioning, high-quality ecosystem of remote forests and canyons. The Gila River courses through this land, the last undammed river in New Mexico. The heart of the Gila is its unspoiled wilderness. Noted environmentalist Aldo Leopold conceived the modern concept of "wilderness" here. It was designated the world's first wilderness area in 1924, and became the cornerstone of the National Wilderness Preservation System when the Wilderness Act was signed into law in 1961. For more than thirty years, celebrated photographer Michael P. Berman has explored the vast Gila, fascinated by the land and how people use and value it. He has wandered deep into the forest with his large-format camera, searching for the untrammeled, scraggly, and complex ecosystems, allowing the Gila to reveal itself. In this two-volume slip-cased edition, the untouched specialness of the Gila is captured in Berman's photographs and explored in fifteen essays by noted writers, natural historians, and environmentalists.

A perfect marriage of wildlife photography and inspirational quotes In Animal Emotions, photographer Judith Hamilton is again capturing the soul of wildlife and delicately displaying it for readers to see. Her exceptional photography coupled with insightful quotes, emphasizing the emotions on display, will engage the hearts of animal lovers of all age groups. With quotes from an array of sources, ranging from Albert Einstein to Mae West, Animal Emotions is not only smart and compassionate, but also witty and uplifting. Inspired by Charles Darwin's The Expression of Emotions in Man and Animals, this book also includes fun facts to provide readers deeper insights into the lives of the animals. Animal Emotions is a beautiful reminder of the glory of the animal kingdom at a time when it has never been more threatened

Perfect for display or close observation, the posters in this elegantly produced collection of Ernst Haeckel's exquisite illustrations of natural forms demonstrate his exceptional artistry. Biologist, physician, philosopher, and artist, Ernst Haeckel was also a prescient observer of the natural world. His highly detailed and expertly rendered illustrations, first published at the turn of the 20th century, are not only beautiful works of art, but also have scientific underpinnings. Now available as a series of large format posters sumptuously printed and suitable for framing, Haeckel's most elaborate and captivating works illustrate his fundamental notion of the unity of all living things. From otherworldly radiolaria to psychedelic sea anemones, Haeckel's science and artistry continue to provide inspiration for 21st-century illustrators, architects, graphic designers, and anyone interested in exploring nature's perfect geometry.

This is a complete and innovative practical guide that offers artists simple solutions to common drawing problems in a unique question and answer format. Answers are presented through clearly annotated pictures and easy-to-follow technique demonstrations. It provides detailed solutions for all the most common drawing problems including rendering trees accurately, drawing figures from life and how to recreate animal fur and feathers. It focuses solely on graphite to provide clear and comprehensive answers for all the key drawing questions.

A beautifully illustrated look at the vogue for night landscapes amid the social, political, and technological changes of modern America The turn of the 20th century witnessed a surge in the creation and popularity of nocturnes and night landscapes in American art. In this original and thought-provoking book, Helene Valance investigates why artists and viewers of the era were so captivated by the night. Nocturne examines works by artists such as James McNeill Whistler, Childe Hassam, Winslow Homer, Frederic Remington, Edward Steichen, and Henry Ossawa Tanner through the lens of the scientific developments and social issues that dominated the period. Valance argues that the success of the genre is connected to the resonance between the night and the many forces that affected the era, including technological advances that expanded the realm of the visible, such as electric lighting and photography; Jim Crow-era race relations; America's closing frontier and imperialism abroad; and growing anxiety about identity and social values amid rapid urbanization. This absorbing study features 150 illustrations encompassing paintings, photographs, prints, scientific illustration, advertising, and popular media to explore the predilection for night imagery as a sign of the times.

The End of Landscape in Nineteenth-Century America examines the dissolution of landscape painting in the late nineteenth-century United States. Maggie M. Cao explores the pictorial practices that challenged, mourned, or revised the conventions of landscape painting, a major cultural project for nineteenth-century Americans. Through rich analysis of artworks at the genre's unsettling limits-landscapes that self-destruct, masquerade as currency, or even take flight-Cao shows that experiments in landscape played a crucial role in the American encounter with modernity. Landscape is the genre through which American art most urgently sought to come to terms with the modern world.

Jarred by the 9/11 attacks, photographer Jack Spencer set out in 2003 "in hopes of making a few 'sketches' of America in order to gain some clarity on what it meant to be living in this nation at this moment in time." Across thirteen years, forty-eight states, and eighty thousand miles of driving, Spencer created a vast, encompassing portrait of the American landscape that is both contemporary and timeless. This Land presents some one hundred and forty photographs that span the nation, from Key West to Death Valley and Texas to Montana. From the monochromatic and distressed black-and-white images that began the series to the oversaturated color of more recent years, these photographs present a startlingly fresh perspective on America. The breadth of imagery in This Land brings to mind the works of such American masters as Edward Hopper, Grant Wood, Mark Rothko, and Albert Bierstadt, while also evoking the sense of the open roads traveled by Woody Guthrie and Jack Kerouac. Spencer's pictorialist vision embraces the sweeping variety of American landscapes-coasts, deltas, forests, deserts, mountain ranges, and prairies-and iconic places such as Mount Rushmore and Wounded Knee. Jon Meacham writes in the foreword that Spencer's "most surprising images are of a country that I suspect many of us believed had disappeared. The fading churches, the roaming bison, the running horses: Spencer has found a mythical world, except it is real, and it is now, and it is ours."