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Books > Arts & Architecture > Art forms, treatments & subjects > Art treatments & subjects > Iconography, subjects depicted in art > Nature in art, still life, landscapes & seascapes > General
A book that debunks the popular myth that William Wordsworth was,
first and foremost, a poet of daffodils, Wordsworth's Gardens and
Flowers: The Spirit of Paradise provides a vivid account of
Wordsworth as a gardening poet who not only wrote about gardens and
flowers but also designed - and physically worked in - his gardens.
Wordsworth's Gardens and Flowers: The Spirit of Paradise is a book
of two halves. The first section focuses on the gardens that
Wordsworth made at Grasmere and Rydal in the English Lake District,
and also in Leicestershire, at Coleorton. The gardens are explored
via his poetry and prose and the journals of his sister, Dorothy
Wordsworth. In the second half of the book, the reader learns more
of Wordsworth's use of flowers in his poetry, exploring the vital
importance of British flowers and other 'unassuming things' to his
work, as well as their wider cultural, religious and political
meaning. Throughout, the engaging, accessible text is woven around
illustrations that bring Wordsworth's gardens and flowers to life,
including rare botanical prints, many reproduced here for the first
time in several decades.
Following on from Dinosaur Art, this new volume showcases 10
amazing artists whose work represents the cutting edge of paleoart.
Many are rising stars in the field; others have embraced digital
technology and continue to assert long-standing reputations as
leaders in the discipline. This volume also includes
state-of-the-art modellers, allowing the reader to explore
restoring prehistoric animals in three as well as two dimensions.
All accompanied by insights into the cutting of paleontological
researcher and the very latest discoveries, with commentaries by
respected scientists at the top of their fields.
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Visions
(Hardcover)
Shukar
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R906
R735
Discovery Miles 7 350
Save R171 (19%)
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Ships in 10 - 15 working days
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A brief movement after death by Caleb Cain Marcus explores the
release of energy from the body into the universe when we die. The
images were taken along the coasts of New York and California and
contain sky and ocean-immense bodies of space that we can lose
ourselves in; becoming part of their vastness. The inspiration for
the book came to the photographer from a personal experience. With
the birth of his daughter, his death suddenly felt very near. His
childhood questions about what happens when we die resurfaced and
Marcus began to think about how to visually represent what occurs
after death. The work represents the starting point of his new
practice that juxtaposes digital and hand-applied mediums to create
a hybrid surface, color and edge that challenges the medium of a
photograph and the way in which it is seen, understood and felt.
With the motion of a pendulum the grease pencil is swung by a
string to make tightly grouped marks that reference the finite
quantity of time in a lifespan and that move across the paper as if
in a formation of light leaving the earth.
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Visions
(Paperback)
Shukar
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R602
R488
Discovery Miles 4 880
Save R114 (19%)
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Where the windswept Patagonian steppe meets the Andes, and the
massive unclimbed south wall of Cerro San Lorenzo looks down on the
Lacteo Valley: Perito Moreno National Park is a stronghold of wild
nature. In a region so alluring that is has become synonymous with
beauty at the end of the Earth, Perito Moreno National Park is an
icon of Patagonia. Named in honor of revered early conservationist
Perito Moreno, the "John Muir of Argentina," this relatively little
visited park is a magnet for intrepid travelers and ambitious
alpinists. Legendary businessman and philanthropist Douglas
Tompkins (founder of The North Face) contributes the book's
foreword. In a book as grand as the natural area it celebrates,
"Perito Moreno National Park" presents a stunning collection of
images of the park by renowned landscape photographer Antonio
Vizcaino. With supporting essays from experts on the park's natural
and cultural history, this elegant volume offers an armchair tour
of one of the world's most scenic and unsullied landscapes. For all
of who dream of Patagonia, "Perito Moreno National Park" is a
ticket into the heart of the wild.
This is a fascinating volume that uses illustrated manuscripts to
gain a unique insight into the gardens of the Renaissance. Whether
part of a grand villa or an extension of a common kitchen, gardens
in the Renaissance were planted and treasured in all reaches of
society. Illuminated manuscripts of the period offer a glimpse into
how people at the time pictured, used, and enjoyed these idyllic
green spaces. Drawn from a wide range of works in the Getty
Museum's permanent collection, this gorgeously illustrated volume
explores gardens on many levels, from the literary Garden of Love
and the biblical Garden of Eden to courtly gardens of the nobility,
and reports on the many activities - both reputable and scandalous
- that took place there.
Ambiguity Revisited is concerned with the manner in which pictures
communicate with the spectator. Its focus lies in those fluid,
indeterminate spaces where our reading of images, in art and
photography, exercises and draws upon our imagination, memory, and
experience. Sir William Empsons seminal (1930) text: Seven Types of
Ambiguity is used as a springboard to discussion, towards a fresh
way of exploring ambiguity beyond English literature, and in a
broader framework to that contained in John Bergers (1989) Another
Way of Telling. The use of ambiguity in art and photography, as in
literature, is both a conscious and an unconscious act; and
ambiguity influences the way in which we respond to work, from
Leonardo da Vincis portraits to the photographer William Egglestons
engaging and idiosyncratic reflections on Americas Deep South. This
ambiguity is a force for good, or at least one to be reckoned with,
due to its participatory nature in actively engaging with, or
masking itself from, the viewer. Ambiguity is infrequently
discussed but is highly relevant as an expressive device. It holds
a position at the core of communication within the visual arts. As
society becomes influenced increasingly by communications delivered
in a visual form, so we, the consumers, require tools, more than
ever, to engage with the work.
Animals and Artists discusses a selection of modern and
contemporary artworks that challenge traditional representations of
nonhuman animals, and that expose human viewers to animal
otherness. It argues that the individuated and discrete human self
in possession of consciousness, rationality, empathy, a voice, and
a face, is open to challenge by nonhuman capacities such as
distributed cognition, gender ambiguity, metamorphosis, mimicry and
avian speech. In traditional philosophy, animals represent all that
is lacking in humankind. However, Animals and Artists argues that
just because humans frame 'the animal' as a negative term, their
binary opposite and everything that they are not, does not mean
that animals have no meaning in themselves. Rather, animals in
their very unknowability, mark the limits of human thinking. By
combining art analysis with poststructuralist, post humanist and
animal studies theories as well as scientific research, Elizabeth
decentres the human and establishes a new position where
differences are embraced. In our current moment of ecological
crisis, Animals and Artists brings readers into solidarity with
other animal species, among them spiders, silkworms, bees, parrots
and octopuses. The book raises empathy for other live forms,
drawing attention to the shared vulnerabilities of human and
nonhuman animals, and in so doing underlines the power of art to
bring about social change. Readers will include animal studies
scholars, artists, art historians, Jean Painleve scholars,
Surrealist enthusiasts, non-academics who are concerned about the
human-animal relationship, the environment or larger identity
politics issues.
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