"[A] fascinating and indispensable book."-Christopher Knight, Los Angeles Times Best Books of 2018-The Guardian Gold Medal for Contribution to Publishing, 2019 California Book Awards Carleton Watkins (1829-1916) is widely considered the greatest American photographer of the nineteenth century and arguably the most influential artist of his era. He is best known for his pictures of Yosemite Valley and the nearby Mariposa Grove of giant sequoias. Watkins made his first trip to Yosemite Valley and Mariposa Grove in 1861 just as the Civil War was beginning. His photographs of Yosemite were exhibited in New York for the first time in 1862, as news of the Union's disastrous defeat at Fredericksburg was landing in newspapers and while the Matthew Brady Studio's horrific photographs of Antietam were on view. Watkins's work tied the West to Northern cultural traditions and played a key role in pledging the once-wavering West to Union. Motivated by Watkins's pictures, Congress would pass legislation, signed by Abraham Lincoln, that preserved Yosemite as the prototypical "national park," the first such act of landscape preservation in the world. Carleton Watkins: Making the West American includes the first history of the birth of the national park concept since pioneering environmental historian Hans Huth's landmark 1948 "Yosemite: The Story of an Idea." Watkins's photographs helped shape America's idea of the West, and helped make the West a full participant in the nation. His pictures of California, Oregon, and Nevada, as well as modern-day Washington, Utah, and Arizona, not only introduced entire landscapes to America but were important to the development of American business, finance, agriculture, government policy, and science. Watkins's clients, customers, and friends were a veritable "who's who" of America's Gilded Age, and his connections with notable figures such as Collis P. Huntington, John and Jessie Benton Fremont, Eadweard Muybridge, Frederick Billings, John Muir, Albert Bierstadt, and Asa Gray reveal how the Gilded Age helped make today's America. Drawing on recent scholarship and fresh archival discoveries, Tyler Green reveals how an artist didn't just reflect his time, but acted as an agent of influence. This telling of Watkins's story will fascinate anyone interested in American history; the West; and how art and artists impacted the development of American ideas, industry, landscape, conservation, and politics.

Depicting more than 220 African species, the stunning large-scale mural African Menagerie is artist Brian Jarvi s masterwork. Lavishly reproduced in an oversize format with a gatefold, this book brings this landscape masterpiece to the conservationist, lover of Africa, and fan of wildlife art. In oversized colour reproductions, the book African Menagerie offers readers a look at the finer details of the realist renderings of the animals and birds across the seven panels and thirty feet. There are also reproductions of the animal studies Jarvi created in the seventeen years leading up to the final work. Measuring 28 feet across and a full one-story tall, and connected via seven interlocking panels, Brian Jarvi s painting includes more than 200 different African wildlife species, presented as if they are looking at us, the human viewers, seemingly challenging us to save this planet. Many of the species featured in Jarvi s painting are, according to experts, expected to be extinct in the wild by the middle of this century unless humankind takes bold action to ensure their continued existence. In oversized colour reproductions, African Menagerie brings the masterpiece home in an accessible manner. The studies offer a glimpse into the work and mind of a creative genius. In addition, the book tells the story of the work, and tracks the evolution and unlikely journey of Jarvi from once being a Duck Stamp artist to becoming one of the most notable wildlife painter of this generation.

Evil Children in Religion, Literature and Art explores the genesis, development, and religious significance of a literary and iconographic motif, involving a gang of urchins, usually male, who mock or assault a holy or eccentric person, typically an adult. Originating in the biblical tale of Elisha's mockery ( Kings 2.23-24), this motif recurs in literature, hagiography, and art, from antiquity up to our own time, strikingly defying the conventional Judeo-Christian and Romantic image of the child as a symbol of innocence.

Woodland Imagery in Northern Art reconnects us with the woodland scenery that abounds in Western painting, from Albrecht Durer's intense studies of verdant trees, to the works of many other Northern European artists who captured 'the truth of vegetation' in their work. These incidents of remarkable scenery in the visual arts have received little attention in the history of art, until now. Prosperetti brings together a set of essays which are devoted to the poetics of the woodlands in the work of the great masters, including Claude Lorrain, Jan van Eyck, Jacob van Ruisdael, Peter Paul Rubens, Rembrandt and Leonardo da Vinci, amongst others. Through an examination of aesthetics and eco-poetics, this book draws attention to the idea of lyrical naturalism as a conceptual bridge that unites the power of poetry with the allurement of the natural world. Engagingly written and beautifully illustrated throughout, Woodland Imagery in Northern Art strives to stimulate the return of the woodlands to the places where they belong - in people's minds and close to home.

Featuring the delightful and informative illustrations of artist Oana Befort and the inspiring expertise of conservation educator Maggie Reinbold, Drawing Wild Animals guides artists at all skill levels as they learn to draw-and learn about-a diverse array of mammals, amphibians, and reptiles from around the world. To feed your curiosity, you'll learn the characteristics, behaviors, and habitats of animals from categories like predators, burrowers, grazers, marsupials, frogs and toads, and lizards and snakes. To nurture the artist, you'll get more than 25 step-by-step instructions that show how to develop each animal from simple shapes into richly detailed drawings. Armed with a deeper understanding of animals, you'll be better able to capture their stunning beauty and enchanting attributes in your artwork. Some of the intriguing animals you'll encounter: Bengal tiger Yellow mongoose African bush elephant European hedgehog Black flying fox Ring-tailed lemur Blue poison frog Gold dust day gecko Russian tortoise With Drawing Wild Animals, you'll learn to see-and draw-animals in a whole new light!

The work of the artist couple Christo (1935-2020) and Jeanne-Claude (1935-2009) resists categorization. It is a hybrid of art, urban planning, architecture, and engineering, but above all an aesthetic uniquely their own: surreal and ethereal environmental interventions that have graced monuments, public parks, and centers of power alike. This compact book spans the complete career of the couple who were born on the very same day, met in Paris, fell in love, and became a creative team like no other. With rich illustration, it spans Christo and Jeanne-Claude's earliest projects in the 1950s right through to The Floating Piers, installed at Lake Iseo, Italy, in 2016. The book celebrates all of the couple's most famous environmental interventions, such as The Gates in New York's Central Park and the Wrapped Reichstag in Berlin, while also featuring early drawings and family photos unknown to the wider public. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

The contributors to this 1992 book examine various aspects of the relationship among Christianity and the visual arts, architecture and music in Russia. Within this broad area the book concentrates on specific topics rather than attempting a broad survey. Nonetheless, the range of material extends from the earliest stages of the introduction of Byzantine art forms in Kievan Russia to the relation between Christian and folk decorative/iconographic motifs to the use of religious imagery in the work of contemporary filmmaker Andrei Tarkovskii. The related interests of the contributors create a concentration of topics in certain periods such as the late nineteenth and early twentieth centuries. Some of the chapters are academically specialized, others are easily accessible to a general audience; but all are based on thorough and careful scholarship. Christianity and the Arts in Russia is based on, but not limited to, a symposium held at the Library of Congress in 1988 to mark the millennium of Russian Christianity.

The northern Chinese mountain range of Mount Wutai has been a preeminent site of international pilgrimage for over a millennium. Home to more than one hundred temples, the entire range is considered a Buddhist paradise on earth, and has received visitors ranging from emperors to monastic and lay devotees. Mount Wutai explores how Qing Buddhist rulers and clerics from Inner Asia, including Manchus, Tibetans, and Mongols, reimagined the mountain as their own during the eighteenth and nineteenth centuries. Wen-Shing Chou examines a wealth of original source materials in multiple languages and media--many never before published or translated-such as temple replicas, pilgrimage guides, hagiographic representations, and panoramic maps. She shows how literary, artistic, and architectural depictions of the mountain permanently transformed the site's religious landscape and redefined Inner Asia's relations with China. Chou addresses the pivotal but previously unacknowledged history of artistic and intellectual exchange between the varying religious, linguistic, and cultural traditions of the region. The reimagining of Mount Wutai was a fluid endeavor that proved central to the cosmopolitanism of the Qing Empire, and the mountain range became a unique site of shared diplomacy, trade, and religious devotion between different constituents, as well as a spiritual bridge between China and Tibet. A compelling exploration of the changing meaning and significance of one of the world's great religious sites, Mount Wutai offers an important new framework for understanding Buddhist sacred geography.

While much has been written about how photography serves architecture, this book looks at how fine-art photographers frame constructed space - from cities to single anonymous rooms. It analyses various techniques used and reveals resonances and rhythms found in the photographs as they occur at different scales, times and settings. Photographs become vehicles for thinking about the co-existence between individuals and social groups and their surroundings spaces and settings in the city and the landscape. By considering questions of technique and practice on the one hand, and the formal and aesthetic qualities of photographs on the other, the book opens up new ways of looking at and thinking about architecture and how we relate to our environment.

The subjects of her recent art are a logical continuation of the larger narrative of Benjamin's body of work: She works to excavate the female human experience as she knows it. Benjamin muses on intimacy, sexuality, self-perception, body dysmorphia, and trauma through her avatars. Her work is diaristic, approaching her subjects through the lens of her own personal experience; each piece can easily feel like a self-portrait. Her women are simultaneously self-assured and crumbled, standing defiantly on their own two hairy legs, yet seeking the shoulder of an empathetic viewer to cry on. Benjamin uses her art to sort through her own trauma and self-analysis, and seeks to give faces, bodies, and narratives to the different facets of her own womanhood.

A new collection of never-before-published paintings by renowned artist Pablo Amaringo
- With written contributions by Graham Hancock, Jeremy Narby, Robert Venosa, Dennis McKenna, Stephan Beyer, and Jan Kounen
- Contains 47 color plates of Amaringo's latest works, with detailed narratives of the rich Amazonian mythology underlying each painting
- Shares Amaringo's personal stories behind the artistic visions
Recognized as one of the world's great visionary artists, Pablo Amaringo was renowned for his intricate, colorful paintings inspired by his shamanic visions. A master communicator of the ayahuasca experience--where snakes, jaguars, subterranean beings, celestial palaces, aliens, and spacecraft all converge--Amaringo's art presents a doorway to the transcendent worlds of ayahuasca intended for contemplation, meditation, and inspiration.
Illustrating the evolution of his intricate and colorful art, this book contains 47 full-color reproductions of Amaringo's latest works with detailed explorations of the rich Amazonian mythology underlying each painting. Through their longstanding relationship with Amaringo, coauthors Charing and Cloudsley are able to share the personal stories behind his visions and experiences with Amazonian people and folklore, capturing Amaringo's powerful ecological and spiritual message through his art and words. With contributions by Graham Hancock, Jeremy Narby, Robert Venosa, Dennis McKenna, Stephan Beyer, and Jan Kounen, this book brings the ayahuasca experience to life as we travel on Amaringo's visionary brush and palette.

Rich in symbolism and metaphor, and blessed with its own varied and dramatic palette, the garden has proved to be an extremely fertile source of artistic inspiration. In The Garden in Art, acclaimed art historian Debra N. Mancoff reveals the many different ways in which artists from all periods of history - from ancient Egypt to the present day - have employed the motif of the garden. Featuring more than 200 illustrations of both renowned and lesser-known works, the book approaches its subject thematically, exploring such topics as working gardens, the garden through the seasons and artists' gardens. Complete with a detailed timeline and a suggested list of gardens to visit, The Garden in Art is an absorbing and highly rewarding examination of the meaning and significance of the depiction of the garden.

Should Christians even bother with the modern wing at the art museum? After all, modern art and artists are often caricatured as rabidly opposed to God, the church-indeed, to faith of any kind. But is that all there is to the story? In this Studies in Theology and the Arts volume, coeditors Cameron J. Anderson and G. Walter Hansen gather the reflections of artists, art historians, and theologians who collectively offer a more complicated narrative of the history of modern art and its place in the Christian life. Here, readers will find insights on the work and faith of artists including Marc Chagall, Jackson Pollock, Mark Rothko, Andy Warhol, and more. For those willing to look with eyes of faith, they may just find that God is present in the modern wing too. The Studies in Theology and the Arts series encourages Christians to thoughtfully engage with the relationship between their faith and artistic expression, with contributions from both theologians and artists on a range of artistic media including visual art, music, poetry, literature, film, and more.

The fifteenth-century Italian artist Piero della Francesca painted a familiar world. Roads wind through hilly landscapes, run past farms, sheds, barns, and villages. This is the world in which Piero lived. At the same time, Piero's paintings depict a world that is distant. The subjects of his pictures are often Christian and that means that their setting is the Holy Land, a place Piero had never visited. The Realism of Piero della Francesca studies this paradoxical aspect of Piero's art. It tells the story of an artist who could think of the local churches, palaces, and landscapes in and around his hometown of Sansepolcro as miraculously built replicas of the monuments of Jerusalem. Piero's application of perspective, to which he devoted a long treatise, was meant to convince his contemporaries that his paintings report on things that Piero actually observed. Piero's methodical way of painting seems to have offered no room for his own fantasy. His art looks deliberately styleless. This book uncovers a world in which painting needed to validate itself by cultivating the illusion that it reported on things observed instead of things imagined by the artist. Piero's painting claimed truth in a world of increasing uncertainties.

This is a comparative study of the national significance of the classical revival which marked English and French art during the second half of the nineteenth century. It argues that the main focus of artists' interest in classical Greece, was the body of the Greek athlete. It explains this interest, first, by artists' contact with the art of Pheidias and Polycletus which portrayed it; and second, by the claim, made by physical anthropologists, that the classical body typified the race of the European nations.