"This book is as close as we can ever come to seeing the Moche people-- and to having a basis for understanding the society that produced such remarkable works of art." -- Craig Morris, Senior Vice President and Dean of Science, American Museum of Natural History

"By presenting the Moche artists and the people who have been portrayed by them, Donnan brings us to a level of understanding and proximity, so to speak, that I would have never considered possible just a few years ago. . . . Believe me, this book is going to be a bestseller." -- Steve Bourget, Assistant Professor of Art History, University of Texas at Austin

Of all the ancient civilizations that flourished in the Americas, only one perfected true portraiture of living people and produced it in quantity-- the Moche who inhabited the north coast of Peru between approximately AD 100 and 800. Using the medium of three-dimensional ceramic vessels that could have contained liquid, Moche artisans typically formed the heads of the individuals they wished to portray, though sometimes they presented full figures with realistic portrait faces. Depicting an astonishing range of physical types, these portraits now allow us to meet Moche people who lived more than 1,500 years ago and to sense the nuances of their individual personalities.

This pathfinding book presents the first wide-ranging, systematic study of the Moche portraits. Drawing on more than 900 examples from museums and private collections around the world-- some 300 of which are illustrated here in full color-- Christopher Donnan documents how the portrait tradition evolved, how the portraits were produced and distributed, who theyportrayed, why they were made, and how they were used in Moche society. His analysis is supported by extensive archaeological evidence, which provides the context for portraits found in Moche tombs and midden deposits, as well as useful information for identifying the headdresses and ornaments worn by the individuals portrayed.

The Ultimate Beginner's Guide to Drawing Figures! To draw an anatomical figure, you don't need a stack of weighty anatomy books. Just take it step by step! In How to Draw People, author Jeff Mellem teaches beginning artists how to draw the human figure, from stick figure to anatomically accurate person, in clear, easy-to-follow lessons. More than just a reference, this book provides the step-by-step instruction to teach you to draw the human figure and the anatomical knowledge to draw it realistically. In each chapter, called "levels," you'll learn core concepts for drawing the human figure. Each new chapter builds on the previous one to give you the skills you need to add complexity to your drawing. By the end of each chapter, you will be able to draw the figure with greater detail. By the end of Level 5, you will be able to draw an expressive figure with defined muscle groups in a variety of poses both real and imagined. Clear goals to progress from stick figure to anatomically correct Exercises and assignments to practice new skills Level-Up Checklists in each chapter to assess your skills before moving on With clear step-by-step demonstrations and check-ins along the way, How to Draw People is the beginner's guide to drawing realistic figures.

Drawing the Nude is an exciting approach to drawing the human body. Divided into three parts, on structure, anatomy and observation, it introduces a set of principles and develops a treasury of ideas for the artist to follow. Whilst recognizing the importance of observation, it focuses more on a conceptual understanding of the construction of the body in anatomical terms. In doing so, it encourages the cultivation of more informed observation and accommodates those who work from memory, imagination and invention.

Noted sculptor Ian Norbury gives woodcarvers a thorough, how-to guide to bringing out the beauty of a female face from a block of wood. Using hundreds of photographs and drawings, the author provides in-depth instruction on carving two different adult faces - one European and one Afro-Caribbean - and one child's face. Both beginning and advanced woodcarvers and sculptors will find expert guidance on tackling the unique challenges of carving a female face. Included are sections on the anatomy of the female face, taking photographs and producing patterns, step-by-step instructions, and a photographic gallery of finished carvings to provide inspiration.

Modern approaches to Roman imperialism have often characterized Romanzation as a benign or neutral process of cultural exchange between Roman and non-Roman, conqueror and conquered. Although supported by certain types of literary and archaeological evidence, this characterization is not reflected in the visual imagery of the Roman ruling elite. In official imperial art, Roman children are most often shown in depictions of peaceful public gatherings before the emperor, whereas non-Roman children appear only in scenes of submission, triumph, or violent military activity. Images of children, those images most fraught with potential in Roman art, underscore the contrast between Roman and non-Roman and as a group present a narrative of Roman identity. As Jeannine Diddle Uzzi argues in this 2005 study, the stark contrast between images of Roman and non-Roman children conveys the ruling elite's notions of what it meant to be Roman.

Cabinet cards were America's main format for photographic portraiture throughout the last quarter of the nineteenth century. Standardized at 61/2 x 41/4 inches, they were just large enough to reveal extensive detail, leading to the incorporation of elaborate poses, backdrops, and props. Inexpensive and sold by the dozen, they transformed getting one's portrait made from a formal event taken up once or twice in a lifetime into a commonplace practice shared with friends. The cards reinforced middle-class Americans' sense of family. They allowed people to show off their material achievements and comforts, and the best cards projected an informal immediacy that encouraged viewers to feel emotionally connected with those portrayed. The experience even led sitters to act out before the camera. By making photographs an easygoing fact of life, the cards forecast the snapshot and today's ubiquitous photo sharing. Organized by senior curator John Rohrbach, Acting Out is the first ever in-depth examination of the cabinet card phenomena. Full-color plates include over 100 cards at full size, providing a highly entertaining collection of these early versions of the selfie and ultimately demonstrating how cabinet cards made photography modern. Published in association with the Amon Carter Museum of American Art. Exhibition dates: Amon Carter Museum of American Art: August 15-November 1, 2020 Los Angeles County Museum of Art (LACMA): August 8-November 7, 2021

This book provides a timely reappraisal of one of the most enduring subjects in the history of art - the naked body. Beginning with reflections on what denuding entails and means, the volume then shifts to a consideration of body politics in the context of Black political empowerment, disability, and queer and Indigenous politics of representation. Themes including the animal nude, the male nude, and nudity in childhood are also considered. The final section examines the nude from the perspective of the artist and the artist's model. The book will be of interest to scholars working in art history, comparative literature, cultural studies, gender studies, queer studies, screen studies, and trans studies.

Karen Chase examines old age as it was constructed in Victorian social and literary cultures. Beginning with the vexed relation between elderly people whose numbers and needs taxed the state which sought to identify, classify, and provide for them, she analyzes illuminating moments in narrative form, social policy, or cultural attitudes. The book considers the centrality of institutions and of the generational divide; it traces the power and powerlessness of age through a range of characters and individuals as distinct from one another as Dickens's inebriated nurse, Sairey Gamp, to the sober Queen Victoria; and it studies specific narrative forms for expressing heightened emotions attached to aging and the complexities of representing age in pictorial and statistical 'portraits'. Chapters are organized around major literary works set alongside episodes and artifacts, diaries and memoirs, images and inscriptions, that produced (and now illuminate) the construction of old age through Victoria's long reign.
The Victorians and Old Age shows that if old age became for the Victorians such a conspicuous public topic and problem, it also became an intensely private preoccupation. The social formation of old age created terms, images, and narratives that lone individuals used to fashion the stories of their lives. The book is intent to respect the specificity of aging: not only the wide diversities of circumstance (rich and poor, urban and rural, watched and forgotten, powerful and dispossessed) but also the distinct acts of representation by novelists, painters, journalists, sociologists, and diary-keepers.

John Berger, one of the world's most celebrated storytellers and writers on art, tells a personal history of art from the prehistoric paintings of the Chauvet caves to 21st century conceptual artists. Berger presents entirely new ways of thinking about artists both canonized and obscure, from Rembrandt to Henry Moore, Jackson Pollock to Picasso. Throughout, Berger maintains the essential connection between politics, art and the wider study of culture. The result is an illuminating walk through many centuries of visual culture, from one of the contemporary world's most incisive critical voices.

This study examines the forces that made the nude a contentious image in the early Third Republic. Analyzing the evolving relationship between the fine art nude, print culture, and censorship, Heather Dawkins explores how artists, art critics, politicians, bureaucrats, lawyers, and judges evaluated the nude. She reveals how spectatorship of the nude was refracted through the ideals of art, femininity, republican liberty, and public decency. Dawkins also investigates how women reshaped private perception of the nude to accommodate their own experience and subjectivity.

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

Drawing the Head for Artists is the definitive modern guide to drawing the human head and portrait, featuring the classic mediums and methods of the Old Masters. Written by celebrated portrait artist and veteran studio instructor Oliver Sin, this richly informative and beautifully illustrated volume leads readers step-by-step through his method, from establishing a point of view to applying the timeless principles for creating an accurate and expressive likeness. Among the topics covered: Essential Materials & Techniques:Learn about necessary supplies and basic drawing techniques, including hatching, various stroke styles, and blending. Applying the Essentials: Explore how the concepts of sight-sizing, value, negative space/shapes, and plane changes factor into a portrait's underlying structure. Techniques for Creating Depth & Dimension:Investigate how contrasting shapes, overlapping forms, and linear and atmospheric perspective are used to enhance depth. Creating the Illusion of Three Dimensions: Examine how edges-contours as well as changes in value-are used to convey three-dimensional form. Brimming with striking images that document all the phases and details of the author's process, Drawing the Head for Artists inspires and informs all artists, from aspiring to accomplished, on how to successfully portray the physical subtleties and emotional eloquence of the human face. The For Artists series expertly guides and instructs artists at all skill levels who want to develop their classical drawing and painting skills and create realistic and representational art.

In the late sixteenth and early seventeenth centuries there was one art form in which English artists excelled above all their continental European counterparts: the painting of miniatures. This fascinating book explores the genre with special reference to two of its most accomplished practitioners, Nicholas Hilliard and Isaac Oliver, whose astounding skill brought them international fame and admiration. Four centuries ago, England was famous primarily for its literary culture - the dram a of Shakespeare and Ben Jonson and the works of the great lyrical and metaphysical poets. When it came to the production of visual art, the country was seen as something of a backwater. However, there was one art form for which English artists of this period were renowned: portrait miniature painting, or as it was known at the time, limning. Growing from roots in manuscript illumination, it was brought to astonishing heights of skill by two artists in particular: Nicholas Hilliard (1547-1619) and Isaac Oliver (c .1565-1617). In addition to exhibiting the exquisite technique of the artists, portrait miniatures express in a unique way many of the most distinctive and fascinating aspects of court life in this period: ostentatious secrecy, games of courtly love, arcane symbolism, a love of intricacy and decoration. Bedecked in elaborate lace, encrusted in jewellery and sprinkled with flowers, court ladies smile enigmatically at the viewer; their male counterparts rest on grassy banks or lean against trees, sighing over thwarted love, or more modestly express their hopes in Latin epigrams inscribed around their heads. Often set in richly enamelled and jewelled gold lockets, or beautifully turned ivory or ebony boxes, such miniatures could be concealed or revealed, exchanged or kept, as part of elaborate processes of friendship, love, patronage and diplomacy at the courts of Elizabeth I and James I /VI. This richly illustrated book, like the exhibition it accompanies, explores what the portrait miniature reveals about identity, society and visual culture in Elizabethan and Jacobean England.

"The Nude" explores some of the principal ways that paintings of the nude function in the conflicted terrain of culture and society in Europe and America from the fifteenth through twentieth centuries, as set against questions about human sexuality that emerge around differences of class, gender, age, and race. Author Richard Leppert relates the visual history of how the naked body intersects with the foundational characteristics of what it is to be human, measured against a range of basic emotions (happiness, delight, and desire; fear, anxiety, and abjection) and read in the context of changing social and cultural realities. The bodies comprising the Western nude are variously pleasured or tormented, ecstatic or bored, pleased or horrified. In short, as this volume amply demonstrates, the nude in Western art is a terrain on whose surface is written a summation of Western history: its glory but also its degradation.

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.

A unique visual encyclopedia for artists and illustrators

Like its acclaimed predecessor, the Second Edition of this outstanding photographic reference offers illustrators, fine artists, and animators immediate access to the human form in deep perspective, that is, foreshortened. With all-new photographs, the Atlas of Foreshortening features:

• Over 530 high-quality photographs
• Both male and female nudes
• Poses with slight, moderate, and marked foreshortening
• Detail shots and full-body photographs
• Many poses shot from multiple angles

Born like Venus on the half shell from the centuries-long tradition of the nude in painting, the nude first appeared as a subject matter in photography with the introduction of the medium itself, between 1837 and 1840, and has continued as an ever-evolving theme through changing technical developments and cultural mores to the present day. This volume surveys the subject of nudity from the earliest surviving photographs of Greek and Roman sculpture through studies of living nude models for aesthetic or scientific purposes to the burgeoning practice of exploring the human body as pure form. The seventy-eight works, selected from the extensive collection of the J. Paul Getty Museum and further contextualized here in the essay Masterworks of the Nude, span the entire arc of the history of photography in a manner that is both fresh and illuminating. Among the sixty-four photographers included are nineteenth-century masters Julia Margaret Cameron, Edgar Degas, and Thomas Eakins; early-twentieth-century artists Man Ray, Alfred Stieglitz, and Edward Weston; mid-twentieth-century innovators Bill Brandt, Harry Callahan, and Minor White; late-twentieth-century image makers Diane Arbus, Robert Mapplethorpe, and Herb Ritts; and contemporary artists Chuck Close, Timothy Greenfield-Sanders, and Mona Kuhn.

From Renaissance fresco painters to contemporary graphic novel artists, the ability to draw clothed figures from one's imagination has always been crucial to artists - and exceptionally difficult to attain. With over 220 illustrations, The Art of Drawing Folds: An Illustrator's Guide to Drawing the Clothed Figure reveals the logic and patterns in folds, enabling the reader to more easily predict the behavior of cloth when creating folds in their own drawings and paintings. Addressing folds in clothing systematically, the author provides a clear, concise approach to the analysis, classification and visualization of convincingly naturalistic folds. Starting with the nature of fabric and its geometry, this book methodically explores the reasons for fold behavior based on the construction of clothing and the shapes and actions of the human figure. An essential guide and reference for animators, illustrators, storyboard artists, comic-book artists, 3D modelers, sculptors, fashion designers and students, The Art of Drawing Folds simplifies one of the most complex and important aspects of drawing the clothed figure.

All artists are tired of persuading their nearest and dearest to look sad...look glad...look mad...madder...no, even madder...okay, hold it. For those artists (and their long-suffering friends), here is the best book ever. FACIAL EXPRESSIONS includes more than 3,500 photographs of fifty faces, men and women of a variety of ages, shapes, sizes, and ethnicities, each demonstrating a wide range of emotions and shown from multiple angles. Who can use this book? Oh, only every artist on the planet, including art students, illustrators, fine artists, animators, story boarders, and comic-book artists. But wait, there's more! Additional photos focus on people wearing hats and couples kissing. while illustrations show skull anatomy and facial musculature. Still not enough? How about a one-of-a-kind series of photos of lips pronouncing the phonemes used in human speech? Animators will swoon--and artists will show a range of facial expressions from happy to happiest to ecstatic.

Using clear and concise language and in-depth, step-by-step demonstrations, author and renowned artist Mary Whyte guides beginning and intermediate watercolorists through the entire painting process, from selecting materials to fundamental techniques to working with models. Going beyond the practical application of techniques, Whyte helps new artists capture not just the model's physical likeness, but their unique personality and spirit. Richly illustrated, the book features Mary Whyte's vibrant empathetic watercolors and works by such masters of watercolor as Mary Cassatt, Thomas Eakins, Winslow Homer, John Singer Sargent, and Georgia O'Keeffe.

It's the old story. When TASCHEN released the first limited edition of Crumb Sketchbooks 1982-2011, fans drooled over the gorgeous packaging of this six-volume boxed set, the artist's thoughtful editing, the hand-written introduction, marbleized page edges, and signed Crumb-colored art print. Not all, however, could afford the steep price. So they whined and coveted, with the wail growing louder when the second boxed set, 1964-1982, was released the next year. Covet no more. Robert Crumb. Sketchbook, Vol. 1: June 1964 - Sept. 1968 combines the two earliest volumes from the limited editions, produced directly from the original artworks now belonging to an ardent French collector, into one fat 440-page Crumb feast, selling for an irresistible price. This book contains hundreds of sketches, including early color drawings from the master of underground comic art, cover roughs for the legendary Zap and Head comics, the original Keep On Truckin' sketches, the first appearance of Mr. Natural, plus his evolution and refinement, Fritz The Cat, the Old Pooperoo, and many, many voluptuous Crumb girls, all wrapped up in a quality hard cover featuring an illustration newly hand-colored by Crumb himself.