Veteran artist, illustrator, and teacher shows how simple and rewarding it can be to draw two of the most challenging of artistic subjects. 160 pages of figures; 25 halftones; 4 charts.

The first collection of Ms. Jensen's luscious ladies was greeted with such enthusiasm, we simply had to invite Barbara to create an entirely NEW gallery - which she did with abundant energy and precision Meet the even-hotter honeys from a truly gifted illustrator Yet another eye-popping collection of cuties - semi-clothed AND, as advertised - "Clothing Optional"

As a rule, artists find a comfortable, workable niche, and stay there for the rest of their lives. A designer, a painter, or a sculptor - rarely do you find someone who can literally do it all, and well! Daniel Horne is one of those irksome individuals, equally adept in practically any medium; his art is breathtaking in scope, imagination, and level of detail. Horne's career has reflected his love of fantasy and fable. The richness of these illustrations comes from a limitless imagination and a trained eye, but also hours and hours of detailed sketches, studies, research drawings. The Daniel Horne Sketchbook Volume One contains intricate break-downs, as well as many finished projects and personal pieces. See for yourself what makes Daniel Horne such a genuine talent, a masterful illustrator, and a true Renaissance man.

A fascinating look at how Elizabethan England was transformed by its interactions with cultures from around the world Challenging the myth of Elizabethan England as insular and xenophobic, this revelatory study sheds light on how the nation's growing global encounters-from the Caribbean to Asia-created an interest and curiosity in the wider world that resonated deeply throughout society. Matthew Dimmock reconstructs an extraordinary housewarming party thrown at the newly built Cecil House in London in 1602 for Elizabeth I where a stunning display of Chinese porcelain served as a physical manifestation of how global trade and diplomacy had led to a new appreciation of foreign cultures. This party was also the likely inspiration for Elizabeth's celebrated Rainbow Portrait, an image that Dimmock describes as a carefully orchestrated vision of England's emerging ambitions for its engagements with the rest of the world. Bringing together an eclectic variety of sources including play texts, inventories, and artifacts, this extensively researched volume presents a picture of early modern England as an outward-looking nation intoxicated by what the world had to offer. Distributed for the Paul Mellon Centre for Studies in British Art

This is an inspiring must-have resource for artists seeking new approaches to drawing the human figure. It features more than 20 fundamental figure drawing exercises. It empowers students and artists of all levels to make progress with the figure beyond their expectations. Throughout the history of art, figure drawing has been regarded as the very foundation of an artist's education and at the centre of the art-making process. In "Expressive Figure Drawing", innovative teacher and author, Bill Buchman, explores the idea that the way we draw is a direct expression of our emotions and perceptions. It includes 20 plus fundamental figure drawing exercises that are undertaken one step at a time so that students and artists of all levels are empowered to make progress with the figure beyond their expectations. Throughout the book, the author reveals his methods for developing proficiency using a variety of traditional media and the latest art materials available today.

Italian court culture of the fifteenth century was a golden age, gleaming with dazzling princes, splendid surfaces, and luminous images that separated the lords from the (literally) lackluster masses. In Brilliant Bodies, Timothy McCall describes and interprets the Renaissance glitterati-gorgeously dressed and adorned men-to reveal how charismatic bodies, in the palazzo and the piazza, seduced audiences and materialized power. Fifteenth-century Italian courts put men on display. Here, men were peacocks, attracting attention with scintillating brocades, shining armor, sparkling jewels, and glistening swords, spurs, and sequins. McCall's investigation of these spectacular masculinities challenges widely held assumptions about appropriate male display and adornment. Interpreting surviving objects, visual representations in a wide range of media, and a diverse array of primary textual sources, McCall argues that Renaissance masculine dress was a political phenomenon that fashioned power and patriarchal authority. Brilliant Bodies describes and recontextualizes the technical construction and cultural meanings of attire, casts a critical eye toward the complex and entangled relations between bodies and clothing, and explores the negotiations among makers, wearers, and materials. This groundbreaking study of masculinity makes an important intervention in the history of male ornamentation and fashion by examining a period when the public display of splendid men not only supported but also constituted authority. It will appeal to specialists in art history and fashion history as well as scholars working at the intersections of gender and politics in quattrocento Italy.

This illustrated biography follows Nicholas Hilliard's long and remarkable life (c. 1547-1619) from the West Country to the heart of the Elizabethan and Jacobean courts. It showcases new archival research and stunning images, many reproduced in color for the first time. Hilliard's portraits-some no larger than a watch-face-have decisively shaped perceptions of the appearances and personalities of many key figures in one of the most exciting, if volatile, periods in British history. His sitters included Elizabeth I, James I, and Mary, Queen of Scots; explorers Sir Francis Drake and Sir Walter Raleigh; and members of the emerging middle class from which he himself hailed. Hilliard counted the Medici, the Valois, the Habsburgs, and the Bourbons among his Continental European patrons and admirers. Published to mark the 400th anniversary of Hilliard's death, this is the definitive biography of one of Britain's most notable artists. Published in association with the Paul Mellon Centre for Studies in British Art

The 18th-century painter Johan Zoffany (1733-1810) was an astute observer of the many social circles in which he functioned as an artist over the course of his long career. This catalogue investigates his sharp wit, shrewd political appraisal, and perceptive social commentary (including subtle allusions to illicit relationships)-all achieved while presenting his subjects as delightful and sophisticated members of polite society. A skilled networker, Zoffany established himself at the court of George III and Queen Charlotte soon after his arrival in England from his native Germany. At the same time, he befriended the leading actor David Garrick and through him became the foremost portrayer of Georgian theater. His brilliant effects and deft style were well suited to theatricality of all sorts, enabling him to secure patronage in England and on the continent. Following a prolonged visit to Italy he travelled to India, where he quickly became a popular and established member within the circle of Warren Hastings, the governor-general. Zoffany's Indian paintings are among his most spectacular and allowed him to return to England enriched and warmly welcomed. This volume provides a sparkling overview of his finest works. Published for the Yale Center for British Art and the Royal Academy Exhibition Schedule: Yale Center for British Art (10/27/11-02/12/12) Royal Academy (03/10/12-06/10/12)

"A fascinating collection of stunning nude photography" LFI, Leica Fotografie International "...the book brings together Rankin's most provocative photographs, which span a 25-year career that's always celebrated the female form." www.fashionbeans.com (UK) #NSFW is an Erotic Greatest Hits of photographer Rankin's nude photography. Throughout his 25 year career, he has returned time and again to photographing the female form. #NSFW presents the most daring shots. Unapologetic. Provocative. Beautiful. It elevates nude photography to the next level, brazen yet intimate. Always wanting to celebrate and empower women, Rankin has brought wit and humour to his nudes, creating playful images that challenge perceptions.

This is the latest volume in the acclaimed series that depicts medicine as depicted in art throughout history. This sumptuously illustrated volume offers a visual history of the depiction of illness and healing in Western culture, ranging from Egyptian wall carvings to medieval manuscripts and from paintings and sculpture by the great masters of the Renaissance to 20th century artists such as Matisse & Magritte. Thematic chapters cover the examination of patients and their maladies, healing and medical treatments, and the sufferings and hopes of patients awaiting cure and recovery. Psychological anguish, represented by Masaccio's The Expulsion of Adam and Eve, and Munch's The Scream, are also treated along with more obvious physical manifestations.

Ashley Longshore delivers exactly what her fans are clamoring for: a look at Ashley s big life, her audacious aphorisms, and of course her sumptuous, glittering art in sublime detail. Ashley Longshore s pop-art paintings are always daring; her art makes noise. On any given day, you may catch her in her New Orleans gallery painting with Blake Lively, talking art and fashion with Dapper Dan in New York, or on a remote island in Hawaii painting. A prolific artist, she has been compared to Andy Warhol for her passion with pop-culture figures; but it s her infectious personality and humorous real talk that has captured the hearts of and inspired her devoted fans. Ashley s story also peeks at her major blingy collaborations with brands such as Rolex; luxury cosmetics brand Cle de Peau; Veuve Clicquot; Chloe; Mark Cross; and Judith Leiber, to name only a few. Ashley Longshore: I Do Not Cook, I Do Not Clean, I Do Not Fly Commercial tells the stories of the self-proclaimed urban hippie in glorious color and detail and features her works, collaborations, and her singular and authentic personality.

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. -- .

Text in English & German. Sean McCall lives and works in Los Angeles. A professional fashion and advertising photographer looks back at a career spanning three decades in the industry. His work has appeared in numerous magazines, including Allure, Bazaar, Glamour, GQ, Mademoiselle, Sunset, Vogue and several books. He has worked together with fashion designers Gaultier, Dior, Tommy Hilfiger and Hudson. Many sports stars and screen legends have posed for him, including Ali McGraw, Angelina Jolie, Art Link Etter, Bo Derek, Caprice Bourret, Charlton Heston, Chris Farley, Dita Von Teese, Erwin "Magic" Johnson, Gary Busey, James Coburn, Muhammed Ali, Steve Guttenberg and Tommy Chong. Like many photographers, McCall has an impressive back catalogue; there are enough erotic photos of Dita Von Teese, among others, to fill an entire library. Together with the artist, we perused the archive and made a selection we have called "LA Nudes Confidential". It gives insight into some "hot" photo sessions.

For much of early modern history, the opportunity to be immortalized in a portrait was explicitly tied to social class: only landed elite and royalty had the money and power to commission such an endeavor. But in the second half of the 16th century, access began to widen to the urban middle class, including merchants, lawyers, physicians, clergy, writers, and musicians. As portraiture proliferated in English cities and towns, the middle class gained social visibility-not just for themselves as individuals, but for their entire class or industry. In Citizen Portrait, Tarnya Cooper examines the patronage and production of portraits in Tudor and Jacobean England, focusing on the motivations of those who chose to be painted and the impact of the resulting images. Highlighting the opposing, yet common, themes of piety and self-promotion, Cooper has revealed a fresh area of interest for scholars of early modern British art. Published for the Paul Mellon Centre for Studies in British Art

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.

Featuring the work of Berlin along with images by Tom of Finland, Robert Mapplethorpe, and Andy Warhol, Peter Berlin: Icon pays tribute to the man who in the early to mid-1970s revolutionized the landscape of gay male eroticism and became an international sensation. His self-portrait photography graced the covers of gay magazines, and defined a look that re-imagined a new masculinity among gay men and an emerging gay male culture. Peter Berlin was a self-created. Tailoring his own clothes to accentuate an already naturally defined physique, every part of his anatomy became showcased. Cruising was his career, and with a background in photography, Peter embarked on recording thousands of self-portraits. The book is edited by Michael Bullock is a writer and publisher of BUTT, Pin-Up, Fantastic Man, Gentlewoman, and Apartamento magazines.

Presents a collection of seventeen essays that explores the dramatic changes in Western conceptions of the body, encompassing the cultural shifts that occurred across Empire, religion and science, from antiquity to the eighteenth century.

This is the first book to concentrate on Dutch Golden Age painter Frans Hals's highly innovative approach to male portraiture. Frans Hals is one of the greatest portrait painters of all time and, together with Rembrandt, is one of the most eminent seventeenth-century Dutch artists. Published to coincide with the Wallace Collection's exhibition of the same name, Frans Hals: The Male Portrait explores the artist's highly innovative approach to male portraiture, from the beginning of his career in the 1610s until the end of his life in 1666. Through pose, expression and virtuosic painterly technique, Hals revolutionised the male portrait into something entirely new and fresh, capturing and revealing his sitters' characters like no one else before him. This book includes the first in-depth study of Hals's great masterpiece, The Laughing Cavalier, from 1624. The extravagantly dressed young man, confidently posed with his left arm akimbo in the extreme foreground of the picture and seemingly penetrating into the viewer's space, has been charming audiences for over a century. Richly illustrated, Frans Hals: The Male Portrait situates The Laughing Cavalier within the artist's larger oeuvre and demonstrates how, at a relatively early point in his career, Hals was able to achieve this great masterpiece.

William Hunter and the Anatomy of the Modern Museum accompanies a groundbreaking exhibition organized by the Hunterian at the University of Glasgow, in collaboration with the Yale Center for British Art, to celebrate the 2018 tercentenary of The Hunterian's founder, Dr. William Hunter (1718-1783). This publication is the first in 150 years to assess the contribution made by Hunter, the Scottish-born obstetrician, anatomist, and collector, to the development of the modern museum as a public institution. Essays examine how Hunter gathered his collection to be used as a source of knowledge and instruction, encompassing outstanding paintings and works on paper, coins and medals, and anatomical and zoological specimens. Hunter also possessed ethnographic artifacts from Spain, the Middle East, China, and the South Pacific, and was an avid collector of medieval manuscripts and incunabula; these were all located within one of the most important "working" libraries of eighteenth-century London. Published by the Yale Center for British Art in association with The Hunterian Exhibition Schedule: The Hunterian, Glasgow (09/28/18-01/06/19) Yale Center for British Art (02/14/19-05/20/19)