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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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Soledad
- #4
(Paperback)
Cosmotropia de Xam, Mater Suspiria Vision, Emily Clare Bryant
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R269
Discovery Miles 2 690
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Ships in 10 - 15 working days
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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.
Simon Schama brings Britain to life through its portraits, as seen
in the five-part BBC series The Face of Britain and the major
National Portrait Gallery exhibition Churchill and his painter
locked in a struggle of stares and glares; Gainsborough watching
his daughters run after a butterfly; a black Othello in the
nineteenth century; the poet-artist Rossetti trying to capture on
canvas what he couldn't possess in life; a surgeon-artist making
studies of wounded faces brought in from the Battle of the Somme; a
naked John Lennon five hours before his death. In the age of the
hasty glance and the selfie, Simon Schama has written a tour de
force about the long exchange of looks from which British portraits
have been made over the centuries: images of the modest and the
mighty; of friends and lovers; heroes and working people. Each of
them - the image-maker, the subject, and the rest of us who get to
look at them - are brought unforgettably to life. Together they
build into a collective picture of Britain, our past and our
present, a look into the mirror of our identity at a moment when we
are wondering just who we are. Combining his two great passions,
British history and art history, for the first time, Schama's
extraordinary storytelling reveals the truth behind the nation's
most famous portrayals of power, love, fame, the self, and the
people. Mesmerising in its breadth and its panache, and beautifully
illustrated, with more than 150 images from the National Portrait
Gallery, The Face of Britain will change the way we see our past -
and ourselves.
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
In this meditation/how-to guide on drawing as an ethnographic
method, Andrew Causey offers insights, inspiration, practical
techniques, and encouragement for social scientists interested in
exploring drawing as a way of translating what they "see" during
their research.
The great pin-up illustrators of the '30s through the '60s have
inspired a whole new generation of digital photographers. Replacing
the artist's palette with myriad photo editing tools, the modern
photographer has kept the pin-up tradition alive. This book is a
visual delight with more than 300 photos from 25 photographers
nationwide. The vintage images from cheesecake pin-up to Hollywood
glamour will surely take you back in time, as will classic military
nose art and authentic WWII bomber jackets. The pin-up models were
photographed in the most scenic locations in the United States.
This volume considers pictured and picturing women in Renaissance and Baroque Italy as the subjects, creators, patrons, and viewers of art. Women's experiences and needs (perceived by women themselves or defined by men on their behalf) are seen as important determinants in the production and consumption of visual culture. By using a variety of approaches the contributors demonstrate the importance of adopting an interdisciplinary approach when studying women in Italy from the fourteenth to the seventeenth centuries.
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.
Though portraits of old women mediate cultural preoccupations just
as effectively as those of younger women, the scant published
research on images of older women belies their significance within
early modern Italy. This study examines the remarkable flowering,
largely overlooked in portraiture scholarship to date, of portraits
of old women in Northern Italy and especially Bologna during the
second half of the sixteenth century, when, as a result of
religious reform, the lives of women and the family came under
increasing scrutiny. Old Women and Art in the Early Modern Italian
Domestic Interior draws on a wide range of primary visual sources,
including portraits, religious images, architectural views, prints
and drawings, as well as extant palazzi and case, furnishings, and
domestic objects created by the leading artists in Bologna,
including Lavinia Fontana, Bartolomeo Passerotti, Denys Calvaert,
and the Carracci. The study also draws on an array of historical
sources - including sixteenth-century theories of portraiture,
prescriptive writings on women and the family, philosophical and
practical treatises on the home economy, sumptuary legislation,
books of secrets, prescriptive writings on old age, and household
inventories - to provide new historical perspectives on the
domestic life of the propertied classes in Bologna during the
period. Author Erin Campbell contends that these images of
unidentified women are not only crucial to our understanding of the
cultural operations of art within the early modern world, but also,
by working from the margins to revise the center, provide an
opportunity to present new conceptual frameworks and question our
assumptions about old age, portraiture, and the domestic interior.
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