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Books > Arts & Architecture > Art forms, treatments & subjects > Art treatments & subjects > Iconography, subjects depicted in art > Human figures depicted in art
We owe a great debt to Jean Baptiste Marc Bourgery (1797-1849) for
his Atlas of Anatomy, which was not only a massive event in medical
history, but also remains one of the most comprehensive and
beautifully illustrated anatomical treatises ever published.
Bourgery began work on his magnificent atlas in 1830 in cooperation
with illustrator Nicolas Henri Jacob (1782-1871), a student of the
French painter Jacques Louis David. The first volumes were
published the following year, but completion of the treatise
required nearly two decades of dedication; Bourgery lived just long
enough to finish his labor of love, but the last of the treatise's
eight volumes was not published in its entirety until five years
after his death. The eight volumes of Bourgery's treatise cover
descriptive anatomy, surgical anatomy and techniques (exploring in
detail nearly all the major operations that were performed during
the first half of the 19th century), general anatomy and
embryology, and microscopic anatomy. Jacob's spectacular
hand-colored lithographs are remarkable for their clarity, color,
and aesthetic appeal, reflecting a combination of direct laboratory
observation and illustrative research. Unsurpassed to this day, the
images offer exceptional anatomical insight, not only for those in
the medical field but also for artists, students, and anyone
interested in the workings and wonder of the human body.
Despite his posthumous fame as a painter of flowers, still-lifes,
gardens, landscapes and city scenes, during his lifetime Vincent
van Gogh believed that his portraits constituted his most important
works. Although as an artist he was `touched by so many different
things', he was nevertheless committed to the art of portraiture -
a quality that distinguished him from his contemporaries. Van Gogh
was passionate in his avoidance of bland, photographic
resemblances, in the hope of capturing the essential character of
his models by means of expressive colour and brushwork. Showcasing
a dramatic set of portraits created during Van Gogh's ten-year
career, this book reflects the strong visual impact with which the
artist captured the diversity of contemporary life. In his many
portraits, we can discern the artist's desire to record
expressively a number of themes, from the plight of the
agricultural workers in his native Brabant and the destitution of
prostitutes and their children in urban Europe, to the lives of his
cosmopolitan acquaintances in Paris, including cafe owners and art
dealers. It was here that he began his remarkable sequence of
self-portraits. With reference to Van Gogh's extensive
correspondence, Skea elaborates how the artist perceived his chosen
subjects as would a writer, and how he felt that his portraits
should somehow evoke what he considered to be the spiritual
underpinning of human existence
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Wet & Wild!
(Paperback)
Sal Quartuccio, Mitch Byrd, Brian Leblanc
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R249
R228
Discovery Miles 2 280
Save R21 (8%)
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Ships in 12 - 17 working days
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Moist fun. Sudsy joy. Slippery when amused. You put any combination
of H2O and females frolicking, and you are going to have a good
time! In the latest Gallery Girl collection, we assembled a swim
team of artists who know their way around the hot tub, the pool,
the beach, the riverbank, the bath -- well, you get the idea! Girls
galore -- just add water! Illustrations by Mitch Byrd, Maraschi,
Cirulli, Perez, Guida, Brian LeBlanc, and many more! This will be a
VERY Adult Swim! Don't forget your snorkel!
Godefridus Schalcken: A Late 17th-century Dutch Painter in Pursuit
of Fame and Fortune is the first book in English dedicated to the
entire artistic output of seventeenth-century Dutch artist
Godefridus Schalcken (1643-1706). It examines the artist's
paintings and career trajectory against the background of his
ceaseless pursuit of fame and fortune. Combining a comprehensive
analysis of Schalcken's artistic development and style with our
increasing biographical knowledge, it provides an authoritative
overview of Schalcken's ample production as an artist. It also
integrates his art into the circumstances of his life in relation
to his ambitious career aspirations, exploring how economic
conditions, a concomitantly oversaturated art market, talent and
ambition, demographics, and even sheer luck all played a role in
Schalcken's great professional success. Since Schalcken's art, like
that of all Dutch painters, provides a plethora of information
about seventeenth-century culture-its predilections, its
prejudices, indeed, its very mind-set-the book inevitably links his
work to the broader socio-cultural contexts in which it was
created.
As scholars debate the most appropriate way to teach evolutionary
theory, Constance Areson Clark provides an intriguing reflection on
similar debates in the not-too-distant past. Set against the
backdrop of the Jazz Age, God-or Gorilla explores the efforts of
biologists to explain evolution to a confused and conflicted public
during the 1920s. Focusing on the use of images and popularization,
Clark shows how scientists and anti-evolutionists deployed
schematics, cartoons, photographs, sculptures, and paintings to win
the battle for public acceptance. She uses representative
illustrations and popular media accounts of the struggle to reveal
how concepts of evolutionary theory changed as they were presented
to, and absorbed into, popular culture. Engagingly written and
deftly argued, God-or Gorilla offers original insights into the
role of images in communicating-and miscommunicating-scientific
ideas to the lay public.
Award-winning artist Hashim Akib's striking portraits are at the
heart of this inspirational book. The subject of portraiture is
seen by many as the zenith of art, and Hash's easygoing,
unpretentious style puts fantastic results within the reach of
hobby artists and aspiring professionals alike. Assuming nothing
and starting from the basics - making it suitable even for the
enthusiastic beginner - this book includes six step-by-step
projects to follow; along with friendly but in-depth advice on
colour palettes; skintone; composition; working from photographs
and models; markmaking; lighting; atmosphere and much more. The
book covers many types of portraiture - from the self-portrait to
full-length portraits - all presented in Hash's striking, free and
contemporary style.
Apart from a handful of art historians no one has ever heard of the
Brussels painter Hendrick De Clerck (1560-1630). Nevertheless, De
Clerck was a contemporary of Peter Paul Rubens, the latter having
gone down in history as an artistic trailblazer and painting
powerhouse, while Hendrick De Clerck has quietly faded into
oblivion. Yet the subtly coded, vibrantly coloured pictures that De
Clerck painted for Archduke Albert of Austria and his wife Isabella
are political propaganda of the highest order. In creating a mode
of archducal representation that could help to gain an empire, the
sky is quite literally the limit. De Clerck represents Isabella as
wise Minerva, chaste Diana, the Virgin Mary. And that's nothing
compared to her husband, for in De Clerck's paintings Albert is
transformed into the sun god Apollo or even into Jesus Christ
himself. Hendrick De Clerck's mastery of ingenious pictorial
strategy made him a leading player in one of the most ambitious
projects history has ever seen. For those who know how to read
them, his paintings tell a story of power, political promises, and
grandiose ambition. Most of all, they are supreme examples of
image-building; for as the Archdukes were well aware, even as a
monarch you're only as important as you make yourself.
To the eye of some viewers, Renoir's "Great Bathers" are the very
picture of female sensuality and beauty. To others, they embody a
whole tradition of masculine mastery and feminine display. Yet
others find in the bathers a feminine fantasy of bodily liberation.
The points of view are many, various, occasionally startling--and
through them, Linda Nochlin explores the contradictions and
dissonances that mark experience as well as art. Her book--about
art, the body, beauty, and ways of viewing--confronts the issues
posed in representations particularly of the female body in the art
of impressionists, modern masters, and contemporary realists and
post-modernists.
Nochlin begins by focusing on the painterly preoccupation with
bathing, whether at the beach, in lakes and rivers, in public
swimming pools, or in bathtubs. In discussions of Renoir, Manet,
Cezanne, Bonnard, and Picasso, of late-twentieth-century and
contemporary artists such as Philip Pearlstein, Alice Neel, and
Jenny Saville, of grotesque imagery, the concept of beauty, and the
body in realism, she develops an interpretive collage incorporating
the readings of differing, strong-willed, female viewpoints. Among
these is, of course, Nochlin's own, a vantage point subtly charted
here through a longtime engagement with art, art history, and
artists.
In many ways a personal book, "Bathers, Bodies, Beauty" brings
to bear a lifetime of looking at, teaching, talking about,
wrestling with, loving, and hating art to reveal and complicate the
lived and felt--the visceral--experience of art.
A stunning tribute to our eternal fascination with the human body – and the latest in the bestselling 'Explorer' Collection
Anatomy: Exploring the Human Body is a visually compelling survey of more than 5,000 years of image-making. Through 300 remarkable works, selected and curated by an international panel of anatomists, curators, academics, and specialists, the book chronicles the intriguing visual history of human anatomy, showcasing its amazing complexity and our ongoing fascination with the systems and functions of our bodies. Exploring individual parts of the human body from head to toe, and revealing the intricate functions of body systems, such as the nerves, muscles, organs, digestive system, brain, and senses, this authoritative book presents iconic examples alongside rarely seen, breathtaking works. The 300 entries are arranged with juxtapositions of contrasting and complementary illustrations to allow for thought-provoking, lively, and stimulating reading.
Ceramics are an unparalleled resource for women's lives in ancient Greece, since they show a huge number of female types and activities. Yet it can be difficult to interpret the meanings of these images, especially when they seem to conflict with literary sources. This much-needed study shows that it is vital to see the vases as archaeology as well as art, since context is the key to understanding which images can stand as evidence for the real lives of women, and which should be reassessed. Sian Lewis considers the full range of female existence in classical Greece - childhood and old age, unfree and foreign status, and the ageless woman characteristic of Athenian red-figure painting.
What is it about the characters we see in our favorite books,
animated films, and games that make us laugh, cry, and respond to
them? How do character designers develop ideas that are unique,
memorable, and captivate us as an audience? This book answers these
questions and more, taking a comprehensive, visual, and analytical
approach to discover just what it is that makes a character
appealing. Understand key principles like shape language,
proportion, and exaggeration, and learn from talented professionals
who share industry secrets for getting the most out of anatomy,
gesture, expression, and costume. Uncover ways to convey
relationships and interaction between multiple characters, and how
narrative fuels authentic and engaging characterization. With
hundreds of lively illustrations to inspire and study, and tricks
of the trade from celebrated artists, this thorough and insightful
volume is an essential library addition for anyone interested in
character design.
Henry James Framed is a cultural history of Henry James as a work
of art. Throughout his life, James demonstrated an abiding interest
in-some would say an obsession with-the visual arts. In his most
influential testaments about the art of fiction, James frequently
invoked a deeply felt analogy between imaginative writing and
painting. At a time when having a photographic carte de visite was
an expected social commonplace, James detested the necessity of
replenishing his supply or of distributing his autographed image to
well-wishing friends and imploring readers. Yet for a man who set
the highest premium on personal privacy, James seems to have had
few reservations about serving as a model for artists in other
media and sat for his portrait a remarkable number of twenty-four
times. Surprisingly few James scholars have brought into primary
focus those occasions when the author was not writing about art but
instead became art himself, through the creative expression of
another's talent. To better understand the twenty-four occasions he
sat for others to represent him, Michael Anesko reconstructs the
specific contexts for these works' coming into being, assesses
James's relationships with his artists and patrons, documents his
judgments concerning the objects produced, and, insofar as
possible, traces the later provenance of each of them. James's
long-established intimacy with the studio world deepened his
understanding of the complex relationship between the artist and
his sitter. James insisted above all that a portrait was a
revelation of two realities: the man whom it was the artist's
conscious effort to reveal and the artist, or interpreter,
expressed in the very quality and temper of that effort. The
product offered a double vision-the strongest dose of life that art
could give, and the strongest dose of art that life could give.
Newton's collection of portraits from the worlds of film, fashion,
politics, and culture can be considered a pantheon of VIPs. But his
work is a lot more besides. From his portraits, one can see that he
would have most liked to be a Roman paparazzo--as he once admitted.
Anyone who had a portrait made by him knew what the result would
by, and by the 1980s there were absolutely no 'beautiful people' in
this world who did not want to be photographed by him! In front of
his camera, both men and women peeled off their covers--literally
as well as figuratively. His brilliant staged creations celebrate
the attractiveness and prominence of his models as well as their
vanity and imperfections. Newton's top-quality work for major
fashion journals and elitist art magazines is likewise first-class
erotic art. This collection was first published by us in 1985.
From post-apocalyptic Earth to extraterrestrial civilizations, get
ready to explore the farthest reaches of your imagination and evoke
your own original sci-fi worlds. With Sci-Fi Fashion Art School you
will learn to draw everything from scavenger-wear and exosuits to
alien garb and space explorer uniforms. Starting with simple
guidelines, you'll discover how to create distinct characters just
by varying facial features, body mass and hair. Beyond the
mechanics of drawing, you'll learn to make strategic creative
choices by asking questions like: What drives your characters? Do
they dress for survival or social status? What materials are at
their disposal? The answers help you develop fashions, weapons and
accessories uniquely suited to the environmental and cultural
conditions of your particular world. The Sci-Fi genre has no
limits. With the instruction and inspiration inside, neither will
you.
Newly revised and expanded, this second edition of Timon Screech's
definitive "Sex and the Floating World" offers a real assessment of
the genre of Japanese paintings and prints today known as shunga.
Changes in Japanese law in the 1990s enabled erotic images to be
published without fear of prosecution, and many shunga
picture-books have since appeared. There has, however, been very
little attempt to situate the imagery within the contexts of
sexuality, gender or power. Questions of aesthetics, and of whether
shunga deserve a place in the official history of Japanese art,
have dominated, and the question of the use of these images has
been avoided. Timon Screech seeks to re-establish shunga in a
proper historical frame of culture and creativity. Shunga prints
are not like any other form of picture for the simple fact that
they are overtly about sex. And once we begin to examine them first
and foremost as sexual apparatus, then we must be prepared for some
surprises. The author opens up for us the strange world of sexual
fantasy in the Edo culture of eighteenth-century Japan, and
investigates the tensions in class and gender of those that made
and made use of shunga.
Affect is an essentially indefinable, largely non-conscious quality
that correlates to the experience of diverse emotional and
physiological states. This exciting book examines the idea of
affect in art. Drawing from an international cadre of contemporary
artists working in a variety of media, this book addresses the
question of how bodies are affected by intimate relationships with
and through objects. The book investigates the kinds of intimate
relationships we form with art; explores how art acts as a vehicle
for affective engagement or transactions of desire; what role
gender plays in affect; and how we experience this force in works
of art.
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