This title is savage, relentless, cunning, and awe-inspiring. Throughout time, there have never been figures more admired or feared as the female fighters. Forced by fortune or foreign invader to give up the gentler role as sister, daughter, mother or lover and take up the sword to protect that which she holds most dear - her land, her people, her freedom! To this noble pantheon of women warriors, these daughters of bloody revolution, this sisterhood of steel, we offer up a gallery of glorious tribute in "Sword Song"! This title features a full colour showcase of paintings and illustrations that celebrate supple curves coupled with sharpened weapons to produce a force no man or army can hope to withstand! An equally awesome band of artists paint powerful portraits, and include the work of Daniel Horne, James Hottinger, Steve Fastner & Rich Larson, Blas Gallego, David Dunstan, to name just a few.

Hope Is a Silhouette is a body of intimate and introspective poetry with accompanying illustrations, both written and painted by Lana McDonagh. Observations on love, inner demons, lies, routine-the everyday facets and feelings of human experience that forever fascinate. This collection of sensitive poetry and captivating illustrations marks the exciting debut of a talented poet. Original artwork illustrates each poem. "Precise yet bursting with submerged emotion, Hope Is a Silhouette allows you into a deeply personal inner migration of beauty and bruised hope". - NICKY WIRE, Manic Street Preachers "The marriage of art and poetry has rarely been so gloriously exhibited in one unique debut volume. That the protagonist of both is one and the same person is both remarkable and utterly perfect, as it should be. Poems that tell of those magical and unforgettable moments of deep love and sensuality, of the joys and complexities of becoming a mother, the confusion despair and frustration of the uncaring world and the damage we sometimes seem unable to avoid inflicting on each other, are all addressed so succinctly and so elegantly that it is hard to fathom that this is Lana's first published work. Apart, each illustration, each poem, hits a nerve and tells a truth. Together they make for a deeply compelling experience. A major new talent." - SIMON RAYMONDE, Cocteau Twins & Bella Union Founder

Stefano Mazzotti and Vincenzo Silvestroni, that wild duo that put massive heat in the "Velvet Love" series, is back again with a new collection of blistering images and concepts! Tattoos are the subject - ink on girls to be more specific! A showcase of young ladies are illustrated, and then illustrated upon, each relating their own unique story as to the whys and where's (like which part of their most personal real estate is about to get a forever makeover!). Let's face it - tattoos are hot, and cute girls who want them are even hotter! The "Velvet Love" team is certainly up to the challenge of making all this happen - the resulting book is jaw-dropping perfection!

Three young and seemingly wholesome teachers do what they can to take care of their pupils, but school budgets being what they are, sometimes these ladies have to do much more for the student body! Artist/writer Enrique Villagran merrily trots back to school to learn a few more lessons concerning hands-on biology and hot-and-sticky 101! Third in the series, this professor of popular culture also tells the tale of two female students in search of forbidden romance, and a vacation to the tropics that turns out to be much steamier than was described by the travel agent! Mr. Villagran has a sly and rude sense of humor, and an eye for erotic detail second to none! The first two volumes of this series are constant best-sellers for SQP, so the third time is definitely the charm!

With every drawing, Pelaez is making more manic collectors of his meticulous and sensual portraits. Whether the subject matter is vampires, demons, warrior queens, mermaids, or jungle girls, Pelaez brings his unique style and eye for detail and creates pure magic! This new showcase of his works has been long overdue, and will help bring everyone up to speed on this intensely talented young man.

Blood-soaked bodies as far as the eye can see. Groans murmur from the not-quite-dead. The fog of war finally lifts, and a lone female form emerges from the shadow. Nice work, cutie! Here's an all-new collection of girls who love to get their kill-crazy on! Big, beefy barbarian boys have nothing on these lethal ladies! This title features Berserker babe artwork by Arantza, Bobillo, Ponce, Buci, Meriggi, Maraschi, Pelaez, and many others.

A fascinating look at the partnership of artist James McNeill Whistler and his chief model, Joanna Hiffernan, and the iconic works of art resulting from their life together "[A] lavish volume. . . . Illuminating. . . . MacDonald's deep research has . . . unearthed important new facts."-Gioia Diliberto, Wall Street Journal In 1860 James McNeill Whistler (1834-1903) and Joanna Hiffernan (1839-1886) met and began a significant professional and personal relationship. Hiffernan posed as a model for many of Whistler's works, including his controversial Symphony in White paintings, a trilogy that fascinated and challenged viewers with its complex associations with sex and morality, class and fashion, academic and realist art, Victorian popular fiction, aestheticism and spiritualism. This luxuriously illustrated volume provides the first comprehensive account of Hiffernan's partnership with Whistler throughout the 1860s and 1870s-a period when Whistler was forging a reputation as one of the most innovative and influential artists of his generation. A series of essays discusses how Hiffernan and Whistler overturned artistic conventions and sheds light on their interactions with contemporaries, including Gustave Courbet, for whom she also modeled. Packed with new insights into the creation, marketing, and cultural context of Whistler's iconic works, this study also traces their resonance for his fellow artists, including Dante Gabriel Rossetti, Edgar Degas, John Singer Sargent, and Gustav Klimt. Published in association with the National Gallery of Art, Washington Exhibition Schedule: Royal Academy of Arts, London (February 23-May 23, 2022) National Gallery of Art, Washington (July 3-October 10, 2022)

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

Master of portraiture Monte Zucker presents page after page of essential photographic lessons to enable photographers to achieve and exceed their financial and artistic goals. Providing instructions on how to conduct a well-crafted client consultation, readers will learn which angles of the face to photograph, how to pose the body, where to place the camera, and the proper positioning of lighting equipment in order to cultivate an emotional connection with clients to produce an ideal image. Chapters with expert advice on digital imaging cleanup and finishing techniques, clothing and makeup selection, and location and studio backdrop options to reinforce portrait concepts are also included.

What is a woman? What is a man? How do they--and how should they--relate to each other? Does our yearning for "wholeness" refer to something real, and if there is a Whole, what is it, and why do we feel so estranged from it? For centuries now, art and literature have increasingly valorized uniqueness and self-sufficiency. The theoreticians who loom so large within contemporary thought also privilege difference over similarity. Silverman reminds us that this is but half the story, and a dangerous half at that, for if we are all individuals, we are doomed to be rivals and enemies. A much older story, one that prevailed through the early modern era, held that likeness or resemblance was what organized the universe, and that everything emerges out of the same flesh. Silverman shows that analogy, so discredited by much of twentieth-century thought, offers a much more promising view of human relations. In the West, the emblematic story of turning away is that of Orpheus and Eurydice, and the heroes of Silverman's sweeping new reading of nineteenth- and twentieth-century culture, the modern heirs to the old, analogical view of the world, also gravitate to this myth. They embrace the correspondences that bind Orpheus to Eurydice and acknowledge their kinship with others past and present. The first half of this book assembles a cast of characters not usually brought together: Friedrich Nietzsche, Sigmund Freud, Marcel Proust, Lou-Andreas Salome, Romain Rolland, Rainer Maria Rilke, Wilhelm Jensen, and Paula Modersohn-Becker. The second half is devoted to three contemporary artists, whose works we see in a moving new light: Terrence Malick, James Coleman, and Gerhard Richter.

When considered as an object the photograph exists physically in the world, it belongs to someone; it gets held, it has weight, value. I've been interested in this concept for some time. It was this interest plus the recurrent use of my images online without my permission that motivated the creation of the series Little Romances. I have always made very personal work, my current emotional state and interests get translated directly into my images. Most all these images reflect questions and anxieties about being a woman, navigating what that means; what is expected of me as a mother, daughter, wife or lover versus what I'm capable of. In sharing my work online, sometimes it is treated with respect, but more often not. Not being asked for its use, and/or not being credited; it's upsetting being treated that way especially with such personal images. In Little Romances I photograph prints of my photographs and they become a physical object; my object. I surround them with elements from my garden or other personal items not to evoke nostalgia or sentimentality but to deepen my physical connection/claim to these images and distance them from the viewer. The object-image becomes obscured, repurposed, diverted, so that its original intent remains safe from viewing and at the same time it explores a new narrative.

The fundamentals of figure drawing--anatomy and perspective -- seldom receive a thorough treatment within the same book. This volume, written by an experienced teacher, covers both aspects and provides a basic understanding of how to convey the structure and functions of the human figure. Oliver discusses and illustrates the principles involved in figure drawing -- including its representation by such simple forms as the cube, the cylinder, and the sphere-- as well as anatomical features, from the trunk and limbs to the head and facial features.

Celebrated photographer Robert Mapplethorpe challenged the limits of censorship and conformity, com- bining technical and formal mastery with unexpected, often provocative content that secured his place in history. Mapplethorpe's artistic vision helped shape the social and cultural fabric of the 1970s and 80s and, following his death in 1989 from AIDS, informed the political landscape of the 1990s. His photographic works continue to resonate with audiences all over the world. Throughout his career, Mapplethorpe preserved studio files and art from every period and vein of his production, including student work, jewelry, sculptures, and commercial assignments. The resulting archive is fascinating and astonishing. With over four hundred illustrations, this volume surveys a virtually unknown resource that sheds new light on the artist's motivations, connections, business acumen, and tal- ent as a curator and collector.

Can we reconstruct Roman body language? Was it the same as ours? Does body language express and reinforce gender differences and the relative positions of men and women (dominant/subordinate) in society? Can analysis of the postures and gestures of Roman statues add to our understanding of gender in the Roman world? In this book, Glenys Davies explores these questions. Using studies on body language in modern Western societies, Roman literary sources, as well as her own analysis of statues of Roman men and women in an array of guises - nude, draped, standing, seated and represented together - she offers a nuanced and complex picture of gender relations. Her study shows that gender relations in the notoriously patriarchal society of Ancient Rome were not so different from what we experience today. Her book will be of interest to scholars of the classical world, gender history, art history, and body language in its social context.

A startlingly powerful collaboration reimagines female beauty What is beauty without pain? Compromise is what our culture offers women: cinching, pinching, cutting, shaving, scraping, starving, and, of course, lifting and separating, all in service of one sharply circumscribed model purported to be pleasing-but not to most, if any, women. This extraordinary book reimagines beauty at its most provocative and fetishized locus: the female breast. Artist, writer, and scholar Joanna Frueh scrutinizes ideals of beauty and sensuality, often motivated by her experiences with breast cancer. Frances Murray, her friend and collaborator for more than thirty years, documents Frueh's journey of unapologetic beauty in a series of intimate, dazzlingly original photographs before and after her bilateral mastectomy and chemotherapy. Reflecting with insight, directness, and humor-and with contributions from a breast surgeon, an oncologist, and artists and scholars who have had breast cancer-Frueh arrives at a new, liberating view of beauty and of the sensual pleasure found in transformative self-acceptance. Central to this reckoning is her documentation and critique of the notion of hyperbeauty (the flash of flesh appeal, hyperthin, hyperfeminine, hyperbosomy, hypersexy, and hyperyoung sold at the global 24/7 beauty bazaar) and her playful, inventive presentation of tools for remaking minds and hearts disfigured by self-denying ideals. In its bracing critique, passionate argument, and compelling narrative-all illustrative of its own unapologetic beauty-this collaboration is a performance of startling power, stirring to consider and a pleasure to behold.

This beautifully illustrated and exquisitely designed volume of paintings, sculpture, medals, and drawings celebrates the extraordinary flowering of female portraiture, mainly in Florence, beginning in the latter half of the fifteenth century. Included are many of the finest portraits of women (and a few of men) by Filippo Lippi, Domenico Ghirlandaio, Antonio Pollaiuolo, Botticelli, Verrocchio, and Leonardo da Vinci--whose remarkable double-sided portrait of Ginevra de' Benci, which departs notably from tradition, is the focus of special attention.

It was in Florence during this period that portraiture expanded beyond the realm of rulers and their consorts to encompass women of the merchant class. This phenomenon, long known to scholars, is here presented to a larger audience for the first time. The catalogue, which accompanies an exhibition at the National Gallery of Art, traces how the humanist praise of women influenced and enlivened their depiction. It also considers how meaningful costumes and settings were chosen. Works from outside Florence by such masters as Pisanello, Rogier van der Weyden, and Ercole Roberti shed additional light on the evolution of female portraiture during the century from c. 1440 to c. 1540.

An introduction by editor and exhibition organizer David Alan Brown and four engaging essays by other experts on Renaissance art--Dale Kent, Joanna Woods-Marsden, Mary Westerman Bulgarella and Roberta Orsi Landini, and Victoria Kirkham--perfectly complement the more than one hundred illustrations, which include ninety-seven full-color plates. The catalogue entries are concise while revealing the key aspects of each portrait--from style and sources to ongoing scholarly debates. This elegant, enlightening book is itself a telling portrait not only of the art but also of the broader issues of women's freedom, responsibility, and individuality in a most exceptional era.

EXHIBITION SCHEDULE

National Gallery of Art, Washington, D.C.
September 30, 2001-January 6, 2002

The architect is at all times also an artist. How otherwise would he be able to tame the three-dimensionality of space and subdue the urges of physics and structural mechanics with the creations of his fantasy? This creativity is however mostly restricted purely to its own field. Rob Krier is an exception. For years, he has seen his love of art as a vocation -- one which he nurtures parallel to his work in construction. Fine art should stand in dialogue with architecture and it is Krier's ambition to have iconographic themes brought into the latter, so that they might speak equally to both the occupants of a building and to bystanders, moving them to thoughtful reflection. In his contribution to the European Embankment project in St Petersburg, Krier recently demonstrated the power of architecture and fine art to cross-fertilise. The architects in charge of the urban development of this district are Sergei Tchoban and Evgeny Gerasimov. Krier designed the facade for a 132-metres long building on the Newa riverbank one that looks across the water onto the rear facade of the Hermitage. The vibrancy of the architecture is enhanced by its sculptural ornamentation based on the Balzac theme, 'The Human Comedy'. In this regard, Krier modelled over 50 figures in white clay, as well as around 65 linear metres of reliefs. The short poems that comment on the sculptures also centre on the theme of mankind and its interrelationships in society.