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Books > Arts & Architecture > Art forms, treatments & subjects > Art treatments & subjects > Iconography, subjects depicted in art > Human figures depicted in art
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Morpho
(Paperback)
Michel Lauricella
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R690
R654
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The essential, bestselling guide for all artists who draw the human
figure!In this book, Michel Lauricella presents both his artistic
and systematic methods for drawing the human body--with drawing
techniques from the ecorche (showing the musculature underneath the
skin) to sketches of models in action. In more than 1,000
illustrations, the human body is shown from a new perspective--from
bone structure to musculature, from anatomical detail to the body
in motion.Geared toward artists of all levels--from beginners
through professionals--this handy, pocket-sized book will help
spark your imagination and creativity. Whether your interest is in
figure drawing, fine arts, fashion design, game design, or creating
comic book or manga art, you will find this helpful book filled
with actionable insights. Morpho is a rich and fascinating book
that can go with you everywhere on your sketching journey. TABLE OF
CONTENTSForewordIntroductionHead and NeckTorsoRoots of the ArmUpper
LimbsLower LimbsOverviewsBibliography
Why does the Mona Lisa have an uneven smile? Was Picasso's
Demoiselles d'Avignon an exploration of Satanism? Why did
Michelangelo depict so many left-handed archers? Why did the
British Queen look so different when Annie Liebowitz lit her from
her left side in a recent official portrait? The answer to all
these questions lies in a hidden symbolic language in the visual
arts: that of the perceived differences between the left and right
sides of the body. It is a symbolism that has been interpreted by
artists through the centuries, and that can be uncovered in many of
our greatest masterpieces, but that has been long forgotten about
or misunderstood by those concerned with the history of art and the
human body. The Sinister Side reveals the key, and sheds new light
on some of the greatest art from before the Renaissance to the
present day. Traditionally, in almost every culture and religion,
the left side has been regarded as inferior - evil, weak, worldly,
feminine - while the right is good, strong, spiritual and male. But
starting in the Renaissance, this hierarchy was questioned and
visualised as never before. The left side, in part because of the
presence of the heart, became the side that represented authentic
human feelings, especially love. By the late nineteenth century,
with the rise of interest in the occult and in spiritualism, the
left side had become associated with the taboo and with the
unconscious. Exploring how works of art reflect our changing
cultural ideas about the natural world, human nature, and the mind,
James Halls'Sinister Side is the first book to detail the richness
and subtlety of left-right symbolism in art, and to show how it was
a catalyst for some of the greatest works of visual art from
Botticelli and Van Eyck to Vermeer and Dali.
Maternal bodies in the visual arts brings images of the maternal
and pregnant body into the centre of art-historical enquiry. By
exploring religious, secular and scientific traditions as well as
contemporary art practices, it shows the power of visual imagery in
framing our understanding of maternal bodies and affirming or
contesting prevailing maternal ideals. The book reassesses
historical models and, in drawing on original case studies, shows
how visual practices by artists may offer the means of
reconfiguring the maternal. It will appeal to students, academics
and researchers in art history, gender studies and cultural
studies, as well as to general readers interested in the maternal
and visual culture. -- .
In 1479, the Venetian painter Gentile Bellini arrived at the
Ottoman court in Istanbul, where he produced his celebrated
portrait of Sultan Mehmed II. An important moment of cultural
diplomacy, this was the first of many intriguing episodes in the
picture's history. Elizabeth Rodini traces Gentile's portrait from
Mehmed's court to the Venetian lagoon, from the railway stations of
war-torn Europe to the walls of London's National Gallery,
exploring its life as a painting and its afterlife as a famous,
often puzzling image. Rediscovered by the archaeologist Austen
Henry Layard at the height of Orientalist outlooks in Britain, the
picture was also the subject of a lawsuit over what defines a
"portrait"; it was claimed by Italians seeking to hold onto
national patrimony around 1900; and it starred in a solo exhibition
in Istanbul in 1999. Rodini's focused inquiry also ranges broadly,
considering the nature of historical evidence, the shifting status
of authenticity and verisimilitude, and the contemporary political
resonance of Old Master paintings. Told as an object biography and
imagined as an exploration of art historical methodologies, this
book situates Gentile's portrait in evolving dialogues between East
and West, uncovering the many and varied ways that objects
construct meaning.
Fleshing out surfaces is the first English-language book on skin
and flesh tones in art. It considers flesh and skin in art theory,
image making and medical discourse in seventeenth to
nineteenth-century France. Describing a gradual shift between the
early modern and the modern period, it argues that what artists
made when imitating human nakedness was not always the same.
Initially understood in terms of the body's substance, of flesh
tones and body colour, it became increasingly a matter of skin,
skin colour and surfaces. Each chapter is dedicated to a different
notion of skin and its colour, from flesh tones via a membrane
imbued with nervous energy to hermetic borderline. Looking in
particular at works by Fragonard, David, Girodet, Benoist and
Ingres, the focus is on portraits, as facial skin is a special
arena for testing painterly skills and a site where the body and
the image become equally expressive. -- .
This extensively illustrated book discusses the representation of
women in the art of the late Middle Ages in Northern Europe.
Drawing on a wide range of different media, but making particular
use of the rich plethora of woodcuts, the author charts how the
images of women changed during the period and proposes two basic
categories - the Virgin and Eve, good and evil. Within these,
however, we discover attitudes to sinful, foolish, married and
unmarried women and the style and use of these images exposes the
full extent of the misogyny entrenched in medieval society.
Interesting too is the variety of 'good' women and how they were
used to confirm the social position of women throughout different
classes. We also learn how women fought back: starting in the
margins of manuscripts and them emerging in misericords, we find
images of women making fools of men; love triangles; and unequal
couples, where the women 'wear the trousers'. With the advent of
printing, a whole genre of satirical prints about women snowballed,
and the views they express became available for mass consumption.
This fascinating and rich study charts this process in a lively and
readable way.
Drawing on a panorama of materials from 1930s France, Eroticism and
Photography in 1930s French Magazines takes a new approach to
studying a certain type of image from a certain time. Previously
untapped by historians, magazines such as Paris Magazine, Paris Sex
Appeal, Pages Folles, Pour lire a deux, and Scandale are inscribed
in the context of the interwar years. They reflect that context
through a bawdy style, an audacious and multifaceted aesthetic -
from kitsch to modern - and permeability to reproducibility. With a
focus on the photographs as components of the magazines' layout,
Alix Agret critically examines their interrelations with texts and
graphics without neglecting the history surrounding them, which
forms a backdrop to the analyses of this previously unstudied
source material. The first study of its kind, this is a timely
scholarly contribution to the field of the history of photographs.
This book will be of interest to scholars in the field of history
of photography, French history, and twentieth-century art history.
Undressed to impress. When it comes to pleasure, size doesn't
matter, as we all know it's quality, not quantity, that counts. But
let's admit it: a big penis is undeniably compelling. Big
shoulders, big lapels, and big hair may come and go, but the big
penis never goes out of fashion. With those possessing more than 8
inches (20 cm) making up less than 2 per cent of the world's
population, this rare accessory will always fascinate (a word,
coincidentally, derived from the Latin fascinum, meaning both
phallus and magical spirit).In this companion volume to "The Big
Book of Breasts", we explore the centuries-old fascination with the
large phallus, a fascination common to men and women alike. This
hefty book is profusely illustrated with over 400 historic photos
of spectacular male endowments, including rare photos of the
legendary John Holmes. The majority of the photographs are from the
1970s, when the sexual revolution first freed photographers to
depict the male entirely nude. Photographers include Bob Mizer of
Athletic Model Guild, David Hurles of Old Reliable, Colt, Falcon,
Sierra Domino, Third World, and Champion Studios, with each of
these iconic photographers interviewed or profiled, along with
information about each of their models. And if this isn't enough,
the book closes with a special surprise comparable to the Guinness
Book of Records' - Norma Stitz featured in "The Big Book of
Breasts"!
As we approach the bicentennial, in 2017, of the birth of Henry
David Thoreau, there is considerable debate and confusion as to
what he may, or may not have, contributed to American life and
culture. Almost every American has heard of Thoreau, but only a few
are aware that he was deeply engaged with most of the important
issues of his day, from slavery to "Manifest Destiny" and the
rights of the individual in a democratic society. Many of these
issues are still affecting us today, as we move toward the second
quarter of the twenty-first century. By studying how various
American artists have chosen to portray Thoreau over the years
since the publication of Walden in 1854, we can gain a clear
understanding of how he has been interpreted (or misinterpreted)
throughout the years since his death in 1862. But along the way, we
might also find something useful, for our times, in the insights
that Thoreau gained as he wrestled with the most urgent problems
being experienced by American society in his day.
This book examines Theodore Gericault's images of black men, women
and children who suffered slavery's trans-Atlantic passage in the
late eighteenth and early nineteenth centuries, including his 1819
painting The Raft of the Medusa. The book focuses on Gericault's
depiction of black people, his approach towards slavery, and the
voices that advanced or denigrated them. By turning to documents,
essays and critiques, both before and after Waterloo (1815), and,
most importantly, Gericault's own oeuvre, this study explores the
fetters of slavery that Gericault challenged-alongside a growing
number of abolitionists-overtly or covertly. This book will be of
interest to scholars in art history, race and ethnic studies and
students of modernism.
Illuminating reflections on painting and drawing from one of the
most revered artists of the twentieth century 'Thank God for yellow
ochre, cadmium red medium, and permanent green light' How does a
painter see the world? Philip Guston, one of the most influential
artists of the twentieth century, spoke about art with unparalleled
candour and commitment. Touching on work from across his career as
well as that of his fellow artists and Renaissance heroes, this
selection of his writings, talks and interviews draws together some
of his most incisive reflections on iconography and abstraction,
metaphysics and mysticism, and, above all, the nature of painting
and drawing. 'Among the most important, powerful and influential
American painters of the last 100 years ... he's an art world hero'
Jerry Saltz, New York Magazine 'Guston's paintings make us think
hard' Aindrea Emelife, Guardian
Portraits are everywhere. One finds them not only in museums and
galleries, but also in newspapers and magazines, in the homes of
people and in the boardrooms of companies, on stamps and coins, on
millions of cell phones and computers. Despite its huge popularity,
however, portraiture hasn't received much philosophical attention.
While there are countless art historical studies of portraiture,
contemporary philosophy has largely remained silent on the subject.
This book aims to address that lacuna. It brings together
philosophers (and philosophically minded historians) with different
areas of expertise to discuss this enduring and continuously
fascinating genre. The chapters in this collection are ranged under
five broad themes. Part I examines the general nature of
portraiture and what makes it distinctive as a genre. Part II looks
at some of the subgenres of portraiture, such as double
portraiture, and at some special cases, such as sport card
portraits and portraits of people not present. How emotions are
expressed and evoked by portraits is the central focus of Part III,
while Part IV explores the relation between portraiture, fiction,
and depiction more generally. Finally, in Part V, some of the
ethical issues surrounding portraiture are addressed. The book
closes with an epilogue about portraits of philosophers. Portraits
and Philosophy tangles with deep questions about the nature and
effects of portraiture in ways that will substantially advance the
scholarly discussion of the genre. It will be of interest to
scholars and students working in philosophy of art, history of art,
and the visual arts.
Best known in the States for his work on the Warren icon,
Vampirella, Sanjulian has been rightly called 'an artist's artist'
for his brilliant sense of composition and use of colour - it's the
kind of thing civilians just enjoy, while fellow illustrators make
furious mental notes for future reference. Now, for the first time,
we get to see the planning, the research, and the magic that goes
into Sanjulian's flawless creations. It also features a full colour
gallery of Sanjulian's favourite paintings, as well as an
introduction by the equally legendary Jim Warren.
Tom's taste for police officers and felons-and for sexual tension
between the two-developed late in his career. "I've never been to
prison," he told a class at the California Institute of the Arts in
1985, "but I hear it's a closed world where there are different
roles and people behave different from when they walk free. It
fascinates me. It is another subject I come back to again and
again." By which he meant fantasized about again and again, since
only those subjects that aroused him sexually made it into his art.
The uniforms of the California Highway Patrol motorcyclists were
his favorite: tan and tight, with high boots and soft black leather
gauntlet gloves. He created his own uniform variants as well, a
cross between military and civilian police gear, and invented
suitably butch criminals for his cops to apprehend, though once
apprehended the power struggle could go either way. Tom was
determined to show top and bottom as equally masculine roles, and
his cops were as likely to end up happily speared by criminal cock
as delivering corrective coitus. Though criticized by some for what
appeared to be a glorification of power, Tom was always quick to
remind that the world he created was a fantasy world, where
anything was possible, and everything was consensual-even in
prison. The Little Book of Tom: Cops & Robbers explores Tom's
fascination with criminal justice through a mixture of multi-panel
comics and single-panel drawings and paintings, all in a compact
and affordable 192 pages. Historic film stills and posters,
personal photos of Tom, sketches, and Tom's own reference photos
make this far more than another Tom's Comics re-tread.
Self-portraiture shows no sign of losing its ability to capture the
public imagination. Given our current proclivity to snap and share
'selfies' in seconds, it is unsurprising to find a renewed interest
in the genre among general audiences and students. Self-portraits
have the power to illuminate a range of universal concerns, from
identity, purpose and authenticity, to frailty, futility and
mortality. In this volume, curator Natalie Rudd expertly casts
fresh light on the self-portrait and its international appeal,
exploring the historical contexts within which self-portraits have
proliferated and considering the meanings they hold today. With
commentaries on works by artists ranging from Jan van Eyck and
Artemisia Gentileschi to Francisco Goya, Pablo Picasso, Frida Kahlo
and Jenny Saville, the book explores the emotive and expressive
potential of self-portraiture, and its capacities to distance or to
demystify. Can self-portraits offer windows into artistic process?
Is there ever a singular identity to be captured? Is it necessary
for a self-portrait to depict the human form? In her vibrant and
timely discussion, Rudd dissects these and other important
questions, revealing the shifting faces of individuality and
selfhood in an age where we are interrogating notions of personal
identity more than ever before. With 97 illustrations in colour
"Sirs" begins the missive from our imaginary correspondent. "It's
not that I don't love your original Big Penis Book, but that,
perhaps, I love it too much. I now become anxious leaving the house
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at it, could you make it highly affordable, since my pockets are as
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over 150 massively endowed models from the 1940s through the '90s,
including photos by Bob Mizer of AMG, David Hurles of Old Reliable,
Rip Colt of Colt Studio, Craig Calvin Anderson of Sierra Domino,
Hal Roth of Filmco, Jim Jaeger of Third World Studios, Falcon
Studios, Mike Arlen, Fred Bisonnes, Carlos Quiroz, and Charles
Hovland in a compact and inexpensive format. Photos come not just
from the original overstuffed 384-page edition, but from subsequent
Big Penis Calendars, meaning that 30% of the content is unique to
this edition. Add a reduced text to make more room for the stunning
black-and-white and color photos and how could anyone-big, small,
or just right-ask for a better deal?
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