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As negentienjarige ryloper in Spanje beland Frank Westerman toevallig in die dorpie Banyoles, waar ’n opgestopte “Kalahari-Boesman”, slegs bekend as El Negro, uitgestal word. Sy indrukke bly hom by – en wanneer hy dekades later weer van El Negro lees, die keer in ’n Franse koerant, is dit die begin van ’n ondersoeksreis wat belangrike vrae oor rasopvattings en die Westerse beskawing na vore bring. Wie was hierdie naamlose man? Wat se sy opgestopte “museumteenwoordigheid” oor Europese denke oor slawerny, rassisme en kolonialisme – en bied hy slegs ’n spieel op ’n vergange tyd, of ook op die hede?
Featuring cabaret costumes, scantily clad chorus girls and burlesque dancers, this calendar showcases the best dancers and actresses involved in the burlesque scene from the mid-twentieth century to the 1960s. Featuring photographs from some of the most exciting performances, this is a celebration of the flamboyant vintage burlesque. The datepad features previous and next month's views.
A 14 year-old Andrew Lloyd Webber chanced upon the painting of the Flaming June. He was a budding collector and his hobby was financed by his grandmother, who had just shelled out GBP50 for three huge, beautifully-illustrated volumes of Dugdale's History of Ancient Abbies and Monasteries. The boy described in detail the painting he fell in love with, but his grandmother was adamant: 'I will not have Victorian junk in my flat'. This comes near the opening of the real story of Ada Pullen (Dorothy Dene) who became the favourite model of Lord Leighton who was President of the Royal Academy. This book tells the story of Ada's life, success and Celebrity - and of the painting. Lloyd Webber's grandma was wrong. The current value of the painting is GBP14 million
In "Paint Made Flesh," expressive figuration is considered as a reflection of artists' responses to such topics as identity, sexuality, and mortality, and as a symptom of a broader spectrum of social and political attitudes shaping Western culture since World War II. It features art from the United States, Great Britain, and Germany, countries that have since the 1950s produced many artists who use paint as a metaphor for flesh in all its aspects. It will also consider contemporary artists whose works move from a national to a global stage in terms of meaning and style.
This visually stunning survey provides an in-depth look at Eileen Hogan's (b. 1946) working methods. Covering her entire career, it focuses particularly on two dominant themes in the artist's oeuvre-enclosed gardens and portraiture. Her depictions of gardens range from London's well-known Kew Gardens and Chelsea Physic Garden to Little Sparta, Ian Hamilton Finlay's garden in the Pentland Hills near Edinburgh. Her portraits include expressive sketches and paintings of veterans of the Second World War, and of HRH The Prince of Wales and HRH The Duchess of Cornwall. The book includes images from Hogan's sketchbooks, her studies, and finished paintings, accompanied by striking photographs of the artist at work. Essays by scholars and Hogan herself trace the artist's career from her student days at Camberwell School of Arts and Crafts through the present. This volume provides an unprecedented, intimate look at the life and work of one of the most interesting and evocative artists working today.
The disturbing, exciting, and defiantly avant-garde films of Jesus "Jess" Franco, director of such films as Vampyros Lesbos and Lilian the Perverted Virgin. Jesus "Jess" Franco is an iconic figure in world cinema. His sexually charged, fearlessly personal style of filmmaking has never been in vogue with mainstream critics, but for lovers of the strange and sado-erotic he is a magician, spinning his unique and disturbing dream worlds from the cheapest of budgets. In the world of Jess Franco freedom was the key, and he pushed at the boundaries of taste and censorship repeatedly, throughout an astonishingly varied career spanning sixty years. The director of more than 180 films, at his most prolific he worked in a supercharged frenzy that yielded as many as twelve titles per year, making him one of the most generative auteurs of all time. Franco's taste for the sexy and horrific, his lifelong obsession with the Marquis De Sade, and his roving hand-held camera style launched a whole new strain of erotic cinema. Disturbing, exciting, and defiantly avant-garde, films such as Necronomicon, Vampyros Lesbos, Virgin Among the Living Dead, and Venus in Furs are among the jewels of European horror, while a plethora of multiple versions, re-edits and echoes of earlier works turn the Franco experience into a dizzying hall of mirrors, further entrancing the viewer who dares enter Franco's domain. Stephen Thrower has devoted five years to examining each and every Franco film. This book-the second in a two-volume set-delves into the latter half of Franco's career, covering titles including Shining Sex, Barbed Wire Dolls, Swedish Nympho Slaves, and Lilian the Perverted Virgin. Assisted by the esteemed critic and researcher Julian Grainger, Thrower shines a light into the darkest corners of the Franco filmography and uncovers previously unknown and unsuspected facts about their casts, crews, and production histories. Unparalleled in scope and ambition, Flowers of Perversion brings Franco's career into focus with a landmark study that aims to provide the definitive assessment of Jess Franco's labyrinthine film universe.
The first in-depth investigation of Gauguin's portraits, revealing how the artist expanded the possibilities of the genre in new and exciting ways Paul Gauguin (1848-1903) broke with accepted conventions and challenged audiences to expand their understanding of visual expression. Nowhere is this phenomenon more evident than in his portraits, a genre he remained engaged with throughout all phases of his career. Bringing together more than 60 of Gauguin's portraits in a wide variety of media that includes painting, works on paper, and sculpture, this handsomely illustrated volume is the first focused investigation of the multifaceted ways the artist approached the subject. Essays by a group of international experts consider how the artist's conception of portraiture evolved as he moved between Brittany and Polynesia. They also examine how Gauguin infused his work with symbolic meaning by taking on different roles like the Christ figure and the savage in his self-portraits and by placing his models in suggestive settings with alluring attributes. This welcome addition to the scholarship on one of the 19th century's most innovative and controversial artists reveals fascinating insights into the crucial role that portraiture played in Gauguin's overall artistic practice.
This practical and inspirational guide, in a handy sketchbook format, is aimed at the practised beginner and shows how to achieve successful watercolour paintings of people in just 30 minutes - ideal for the busy amateur artist who doesn't have much time to paint. Many people think they don't have enough time to paint, but in this attractive guide Trevor Waugh encourages quick and simple painting. By working with just a few materials and focusing on the key techniques it is possible to achieve successful, realistic paintings of people in no more than half an hour. And for those artists who already have a little painting experience, learning to work more quickly enables them to free up their style and paint more spontaneously. All the key topics are covered, from watercolour techniques, colour and tone to learning about proportions, simple silhouettes, facial features, and backgrounds.
Julia Kay's Portrait Party is an international collaborative project in which artists all over the world make portraits of each other and share them online. After years of exchanging portraits, tips and techniques within the group, in Portrait Revolution these artists are now sharing their art, their words, and their inspiration with everyone who is interested in or would like to get started with portraiture. Here you can find information on using different media, how to handle difficult portrait issues, and more. Portrait Revolution showcases 450 portraits by 200 artists, in a wide variety of media from oil painting to iPad art, watercolour to ballpoint, linocut to mosaic. There are a range of styles from realistic to abstract and interpretations by multiple artists of the same subject.
Philip Alexius de Laszlo (1869-1937) was one of the most important portraitists of the early 20th century. Born in Hungary, he was trained in Munich and Paris and was soon receiving commissions from noble and royal families throughout Europe. Having married Lucy Guinness in 1900, in 1907 he moved from Vienna to England, where he had enormous success. Far less known are the wonderful portraits de Laszlo painted in the Netherlands over more than 30 years. By 1900 de Laszlo was renowned in the highest circles and his reputation inevitably reached the land of Rembrandt. De Laszszlo became very popular with Holland's cosmopolitan aristocratic and entrepreneurial families.Over the years, members of the Loudon and Deterding families, Cremer and Count Schimmelpenninck all sat to him. The portraits have remained in the families' private collections, and are here published for the first time.The book accompanies an exhibition of de Laszlo's Dutch portraits in the Van Loon house in the heart of Amsterdam, built in 1672, which was opened as a museum in 1973. It is a complete catalogue of de Laszlo's Dutch oeuvre as it is known today."
Simon Schama brings Britain to life through its portraits, as seen in the five-part BBC series The Face of Britain and the major National Portrait Gallery exhibition Churchill and his painter locked in a struggle of stares and glares; Gainsborough watching his daughters run after a butterfly; a black Othello in the nineteenth century; the poet-artist Rossetti trying to capture on canvas what he couldn't possess in life; a surgeon-artist making studies of wounded faces brought in from the Battle of the Somme; a naked John Lennon five hours before his death. In the age of the hasty glance and the selfie, Simon Schama has written a tour de force about the long exchange of looks from which British portraits have been made over the centuries: images of the modest and the mighty; of friends and lovers; heroes and working people. Each of them - the image-maker, the subject, and the rest of us who get to look at them - are brought unforgettably to life. Together they build into a collective picture of Britain, our past and our present, a look into the mirror of our identity at a moment when we are wondering just who we are. Combining his two great passions, British history and art history, for the first time, Schama's extraordinary storytelling reveals the truth behind the nation's most famous portrayals of power, love, fame, the self, and the people. Mesmerising in its breadth and its panache, and beautifully illustrated, with more than 150 images from the National Portrait Gallery, The Face of Britain will change the way we see our past - and ourselves.
Th is book, like the exhibition it accompanies, looks at the special pictorial and thematic characteristics of Cezanne's portraiture practice, including his creation of complementary pairs and multiple versions of the same subject . The chronological development of the artist's portraiture is also explored , with an examinat ion of the changes that occurred with respect to his style and method, on the one hand, and his understanding of resemblance and identity, on the other . Th e extent to which particular sitters inflected the characteristics and development of his practice is also considered . Cezanne Portraits features works that mutually inform each other to reveal arguably the most personal , and therefore most human, aspect of his art, and one that has hitherto received surprisingly little attention. They range from Cezanne's earliest surviving self - portraits , dating from the 1860s, through to his final portraits of Vallier, the gardener at his hou se near Aix - en - Provence, made shortly before the artist's death in 1906. Exhibition curator John Elderfield contributes an illuminating introductory essay on Cezanne's portraiture, while the artist's biographer, the late Alex Danchev, provides an informative dramatis personae on the sitters featured . The catalogue texts are by John Elderfi eld, Mary Morton and Xavier Rey , and a chronology by Jayne Warman sets the artist's work in the context of his life.
Kenneth Clark's 1969 BBC series Civilisation (note the singular) is perhaps the most celebrated documentary series ever made, except that it was entirely of its time: patrician to the exclusion of women and western to the exclusion of all other cultures. Spring 2018 sees an ambitious BBC re-make, presented by Britain's foremost historians, embracing global civilisations and exploring different themes in the universal histories of art and culture.
In Civilisations, Mary Beard investigates two aspects of what it means to be human. In Part I, How Do We Look, she focuses on some of the earliest human figures in art - from the Olmec heads of pre-historic Mexico to the first nudes of the ancient Greek world, asking what were these images for, how they were understood by people in the past and why were they sometimes so dangerous and unsettling. Why have cultures all over the world invested so heavily in images of the body?
In Part II, The Eye of Faith, Beard shows how for millennia art has inspired religion as much as religion has inspired art. Together, across different cultures, they have given us some of the most famous and breath-taking images ever made. Yet there are fundamental problems, which all religions share, in making God visible in the human world. Ranging from Angkor Wat to Ravenna, from idolatry to iconoclasm, Mary Beard explores the often problematic interface between art and religion.
Students and professionals alike will benefit from this focus on
the figure in the overall composition of a sketch or drawing. Its
solid instruction and many fine examples make it a particularly
valuable tool for intermediate artists.
The act of drawing has long been considered the foundation of an artistic education, and the life class essential to the formation of an artist's style and technique. Yet in the contemporary art world drawing is increasingly regarded as a medium in its own right, and the figure as a subject for ongoing exploration well beyond the sketchbook. Drawing People is a thoughtful and beautifully illustrated survey of the most compelling and inventive drawings of the human form being produced today. An introduction places the medium of drawing in its historical context, discussing its intersection with photography, painting, collage and illustration. Five chapters - Body, Self, Personal Lives, Social Reality and Fictions - include short introductions outlining each theme, followed by commentaries on individual artists exploring their style, ideas and techniques, accompanied by finely reproduced images of their recent work.
There was a time in America when two men pictured with their arms wrapped around each other, or perhaps holding hands, weren't necessarily seen as sexually involved - a time when such gestures could be seen simply as those of intimate friendship rather than homoeroticism. Such is the time John Ibson evokes in "Picturing Men", a striking visual record of changes in attitudes about relationships between gentlemen, soldiers, cowboys, students, lumberjacks, sailors, and practical jokers. Spanning from 1850 to 1950, the 142 everyday photographs that richly illustrate "Picturing Men" radiate playfulness, humor, and warmth. They portray a lost world for American men: a time when their relationships with each other were more intimate than they commonly are today, regardless of sexual orientation. "Picturing Men" starkly contrasts the calm affection displayed in earlier photographs with the absence of intimacy in photos from the mid-1950s on. In doing so, this lively, accessible book makes a significant contribution to American history and cultural studies, gender studies, and the history of photography.
"I've always been fascinated by sex, the diversity of practices, the will and perseverance of people to realize their fantasies," says Paris photographer Laurent Benaim. "These moments of pleasure captivate me in all their forms: the beautiful, the ugly. I have no criteria for aesthetic selection, only the expression of human desire interests me." That said, Monsieur Benaim seldom photographs simple desire or simple sex acts. His models, he insists, run the show, bringing their uncommon interests to his studio; he acts only as witness and documentarian, offering his creative encouragement and nonjudgmental camera. He shoots only amateurs, people whose lives range from button-down white collar to transient to circus sideshow. They are young and old, straight, gay and transgender, able bodied, ample bodied and oddly bodied. They have been coming to Benaim's large commercial studio in the Parisian suburb of Montreuil since 1999, first a trickle, then a flood, as word spread that their quirks and obsessions would not just be embraced, but transformed into art, through a painstaking 19th-century print technique little used in the last 100 years. Benaim earned his photographic degree in 1982. He set up shop as a conventional photographer, but at heart was a pictorialist, always searching for ways to defeat photographic realism. In 1991 he saw an antique photo with just the look he sought, and through trial and much error taught himself the gum dichromate process. It's tedious, smelly, and probably poisonous, but Benaim has used it exclusively since 1996, giving his startling sex photos the look of oversized French postcards, printed, perhaps, in the damp cellar of a Belle Epoque whorehouse. The technique softens the extremity of his subject, leading to gallery shows in Paris, Berlin, Milan, Luxembourg, Zurich and, fittingly, at the Kinsey Institute for sexual research in Bloomington, Indiana.Laurent Benaim presents 300 of the photographer's 1,000+ photos in what will be among TASCHEN's most transgressive-and talked about-titles, with an introduction by editor Dian Hanson.
First World War Poets by Alan Judd and David Crane. This collection of short biographies of those remarkable men who sought to record and convey the horrors of the Great War in poetry draws on letters, memoirs and portraits in a variety of media. Key poems by each of the poets are reproduced in full, and familiar images of Rupert Brooke, Wilfred Owen and Siegfried Sassoon are presented along with the haunting faces of lesser-known poets such as Isaac Rosenberg and Ivor Gurney to provide a new approach to one of the most devastating events of the last century. Published to coincide with the centenary of the start of the Great War.
Statuesque actress, stuntwoman, martial artist, bodybuilder, bodyguard, dominatrix. For over 15 years Mistress Xena has helped bring thousands of twisted fantasies to life. Submitted allows you to become a fly on the wall of her dungeon as she reveals her story and the private fantasies of her anonymous clients. These incredible dreams are revealed for the first time - outrageous to some, but for Xena it's just another day at the office. These letters take the reader on an often hilarious and provocative journey through the secret minds and desires of Xena's slaves.
This richly diverse exploration of female artists and self-portraits is a brilliant and poignant demonstration of originality in works of haunting variety. The two earliest self-portraits come from 12th-century illuminated manuscripts in which nuns gaze at us across eight centuries. In 16th-century Italy, Sofonisba Anguissola paints one of the longest series of self-portraits, spanning adolescence to old age. In 17th-century Holland, Judith Leyster shows herself at the easel as a relaxed, self-assured professional. In the 18th century, artists from Elisabeth Vigee-Lebrun to Angelica Kauffman express both passion for their craft and the idea of femininity; and in the 19th the salons and art schools at last open their doors to a host of talented women artists, including Berthe Morisot, ushering in a new and resonant self-confidence. The modern period demolishes taboos: Alice Neel painting herself nude at eighty, Frida Kahlo rendering physical pain, Cindy Sherman exploring identity, Marlene Dumas dispensing with all boundaries. The full verve of Frances Borzello's enthralling text, and the hypnotic intensity of the accompanying self-portraits, is revealed to the full in this inspiring book.
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.
Between 1987 and 2001, Dian Hanson, then editor of Leg Show magazine, and photographer Roy Stuart collaborated on over 100 fetish photo shoots. It was critical to Stuart's taboo-busting philosophy that any sex portrayed in these photos be authentic, and he often included female masturbation, always to climax. To Stuart it seemed absurd that so many young women didn't know how to reliably give themselves orgasms. It smacked of male/female inequality. He therefore kept a number of high-powered vibrators in his studio and encouraged prospective models, during the often weeks-long educational process leading up to a photo shoot, to experiment with these machines to learn what pleased them best. When he and Hanson would confer on a shoot he might ask if masturbation would be appropriate; she came to understand this meant the model had acquired the necessary skill and wanted to demonstrate it. The answer, therefore, was always "yes". The volume Getting Off, second in the Embrace Your Fantasies series, represents the best of these photo sessions, accompanied by original Leg Show text by Hanson. All images are from the original transparencies, rescued from the Leg Show archives before the magazine ceased publishing in 2012. Join us once again for an exploration of 1990s sexual freedom, and a unique celebration of female empowerment.
Photographer Marc Lagrange had a gift for illuminating intoxicating beauty and communicating timeless elegance. Filled with longing and sensuality, his photographs are a celebration of fantasy and desire. In the early 1990s, Lagrange began to work quite intensively with Polaroid film, and his nude portraiture found a more dramatic and touching look. As a medium, Polaroid film corresponded perfectly to his aesthetic and artistic vision and it rapidly became a valid means of expression for him. The Belgian artist particularly fell for the unique quality and cool-brown tone coloration of the rare Polaroid 100 Chocolate, one of the last types of film ever to be produced before the Polaroid factory closed down permanently in 2009. Chocolate contains an enticing series of carefully selected and mostly unpublished works shot by Marc Lagrange on Polaroid 100 Chocolate film. More than just preliminary studies of his sophisticated image compositions, the photographs impress with their warm colors, rough textures, and painterly aesthetic. His sensual Polaroids are a powerful example of his craft, as well as his attention to detail.
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