This handsome boxed set of notecards features art based on the wild and edible seaweeds of Ireland. The set contains six stunning designs, two of each. Rich colors and bold graphic shapes give a modern edge to a classic subject with timeless naturalist appeal. The box top is textured to evoke the printmaking paper of the original art.

A launching pad for your spiritual journey, this inspiring book provides clear, specific, and practical guidelines for becoming a Christian who lives like Christ. Christians today live in a world that is activity heavy and relationship light. The result is spiritual emptiness. We struggle to know what God wants from us and for us . . . and we're unsure what a real relationship with God really looks like. But that was never God's idea. HIS idea of faith is not about rules or religion-- it's about relationship. That's where God tells us to start. In Romans 12, God gives us a clear picture of what Christians should look like at the root level. If you're ready to move from "in" to "all in," then you're ready to become a Romans 12 Christian. The next steps of your journey toward true spirituality start here.

Modernism on Sea brings together writing by some of today's most exciting seaside critics, curators, filmmakers and scholars, and takes the reader on a journey around the coast of Britain to explore the rich artistic and cultural heritage that can be found there, from St Ives to Scarborough. The authors consider avant-garde art, architecture, film, literature and music, from the early twentieth century to the present, setting the arrival of modernism against the background of seaside tradition. From the cheeky postcards marvelled at by George Orwell to austere modernist buildings such as the De La Warr Pavilion; from the Camden Town Group's sojourn in Brighton to John Piper's 'Nautical Style'; from Paul Nash's surrealist benches on the promenade in Swanage to the influence of bunting and deckchairs on the Festival of Britain - Modernism on Sea is a sweeping tour de force which pays tribute to the role of the seaside in shaping British modernism.

This volume takes readers on a fascinating journey through the visual arts of Aotearoa New Zealand, Australia and the Pacific Islands, contemplating the multivocal dialogues that occur between these artistic media and the texts and traditions of the Bible. With their distinctively antipodean perspectives, contributors explore the innovative ways that both creators and beholders of Oceanic arts draw upon their contexts and cultures in order to open up creative engagements with the stories, themes and theologies of the biblical traditions. Various motifs weave their way throughout the volume, including antipodean landscapes and ecology, (post)colonialism, philosophy, Oceanic spiritualities and the often contested engagements between western and indigenous cultures. Within this weaving process, each essay invites readers to contemplate these various forms of visual culture through Oceanic eyes, and to appreciate the fresh insights that this process can bring to reading and interpreting the biblical traditions. The result is a rich and interdisciplinary array of conversations that will capture the attention of readers within the fields of biblical reception studies, cultural studies, theology and art history.

Anatomy for Artists is an extensive compendium of high quality, detailed photography and drawings, showing the human figure in a variety of shapes, sizes and poses that can be used as a solid foundation for all character art.This thorough and detailed library of visual resources will consist of stunning photography and comprehensive drawings showing the muscular structure of figures of varying body types. These male and female references will act as an invaluable starting point for artists trying to create art based on the human figure. Whether you're a traditional sculptor, oil painter or 3D digital artist, the resources within this book will prove to be useful and informative and will help you improve the quality and accuracy of your own art.

Undressed to impress. When it comes to pleasure, size doesn't matter, as we all know it's quality, not quantity, that counts. But let's admit it: a big penis is undeniably compelling. Big shoulders, big lapels, and big hair may come and go, but the big penis never goes out of fashion. With those possessing more than 8 inches (20 cm) making up less than 2 per cent of the world's population, this rare accessory will always fascinate (a word, coincidentally, derived from the Latin fascinum, meaning both phallus and magical spirit).In this companion volume to "The Big Book of Breasts", we explore the centuries-old fascination with the large phallus, a fascination common to men and women alike. This hefty book is profusely illustrated with over 400 historic photos of spectacular male endowments, including rare photos of the legendary John Holmes. The majority of the photographs are from the 1970s, when the sexual revolution first freed photographers to depict the male entirely nude. Photographers include Bob Mizer of Athletic Model Guild, David Hurles of Old Reliable, Colt, Falcon, Sierra Domino, Third World, and Champion Studios, with each of these iconic photographers interviewed or profiled, along with information about each of their models. And if this isn't enough, the book closes with a special surprise comparable to the Guinness Book of Records' - Norma Stitz featured in "The Big Book of Breasts"!

After 1500, as Catholic Europe fragmented into warring sects, evidence of a pagan past came newly into view, and travelers to distant places encountered deeply unfamiliar visual cultures, it became ever more pressing to distinguish between the sacred image and its opposite, the 'idol'. Historians and philosophers have long attended to Reformation charges of idolatry - the premise for image-breaking - but only very recently have scholars begun to consider the ways that the idol occasioned the making no less than the destruction. The present book focuses on how idols and ideas about them matter for the history of early modern objects produced around the globe, especially those created in the context of an exchange or confrontation between an 'us' and a 'them'. Ranging widely within the early modern period, the volume contributes to the project of globalizing the study of European art, bringing the continent's commercial, colonial, antiquarian, and religious histories into dialogue. Its studies of crosses, statues on columns, wax ex-votos, ivories, prints, maps, manuscripts, fountains, banners, and New World gold all frame Western 'art' simultaneously as an idea and as a collection of real things, arguing that it was through the idol that object-makers and writers came to terms with what it was that art should be, and do.

This book reveals how art and sex promoted the desire for the genetically perfect body. Its eight chapters demonstrate that before eugenics was stigmatized by the Holocaust and Western histories were sanitized of its prevalence, a vast array of Western politicians, physicians, eugenic societies, family leagues, health associations, laboratories and museums advocated, through verbal and visual cultures, the breeding of 'the master race'. Each chapter illustrates the uncanny resemblances between models of sexual management and the perfect eugenic body in America, Britain, France, Communist Russia and Nazi Germany both before and after the Second World War. Traced back to the eighteenth-century anatomy lesson, the perfect eugenic body is revealed as athletic, hygienic, 'pure-blooded' and sexually potent. This paradigm is shown to have persisted as much during the Bolshevik sexual revolution, as in democratic nations and fascist regimes. Consistently posed naked, these images were unashamedly exhibitionist and voyeuristic. Despite stringent legislation against obscenity, not only were these images commended for soliciting the spectator's gaze but also for motivating the spectator to act out their desire. An examination of the counter-archives of Maori and African Americans also exposes how biologically racist eugenics could be equally challenged by art. Ultimately this book establishes that art inculcated procreative sex with the Corpus Delecti - the delectable body, healthy, wholesome and sanctioned by eugenicists for improving the Western race.

Perceptions of the Body and Sacred Space in Late Antiquity and Byzantium seeks to reveal Christian understanding of the body and sacred space in the medieval Mediterranean. Case studies examine encounters with the holy through the perspective of the human body and sensory dimensions of sacred space, and discuss the dynamics of perception when experiencing what was constructed, represented, and understood as sacred. The comparative analysis investigates viewers' recognitions of the sacred in specific locations or segments of space with an emphasis on the experiential and conceptual relationships between sacred spaces and human bodies. This volume thus reassesses the empowering aspects of space, time, and human agency in religious contexts. By focusing on investigations of human endeavors towards experiential and visual expressions that shape perceptions of holiness, this study ultimately aims to present a better understanding of the corporeality of sacred art and architecture. The research points to how early Christians and Byzantines teleologically viewed the divine source of the sacred in terms of its ability to bring together - but never fully dissolve - the distinctions between the human and divine realms. The revealed mechanisms of iconic perception and noetic contemplation have the potential to shape knowledge of the meanings of the sacred as well as to improve our understanding of the liminality of the profane and the sacred.

The face of John Wesley (1703-91), the Methodist leader, became one of the most familiar images in the English-speaking and transatlantic worlds through the late eighteenth and nineteenth centuries. After the dozen or so painted portraits made during his lifetime came numbers of posthumous portraits and moralising 'scene paintings', and hundreds of variations of prints. It was calculated that six million copies were produced of one print alone - an 1827 portrait by John Jackson R.A. as frontispiece for a hymn book. Illustrated by nearly one hundred images, many in colour, with a comprehensive appendix listing known Wesley images, this book offers a much-needed comprehensive and critical survey of one of the most influential religious and public figures of eighteenth-century Britain. Besides chapters on portraits from the life and after, scene paintings and prints, it explores aspects of Wesley's (and Methodism's) attitudes to art, and the personality cult which gathered around Wesley as Methodism expanded globally. It will be of interest to art historians as a treatment of an individual sitter and subject, as well as to scholars engaged in Wesley and Methodist studies. It is also significant for the field of material studies, given the spread and use of the image, on artefacts as well as on paper.

Corvids play an outsize role in the human imagination. We keep ravens in towers, emblazon rooks on banners, find crows in the constellations and make sure to salute solitary magpies. We also see our own behaviour mirrored in this diverse family of birds, who are tricksters and thieves as well as problem-solvers and gift-givers. This beautifully designed book showcases the visual and literary life of the corvid, from Norse legends to Game of Thrones. It includes beautiful and darkly seductive photographs and paintings as well as texts and poems in which they play a starring role and information about the traits that make them so intriguing to us.

-- Sunken treasure, prison ships, Nazi submarines, the Bermuda triangle
-- Stories of thirty of the most interesting of the thousands of Florida shipwrecks
-- Each shipwreck story has a map pinpointing its location and a full-color painting by renowned artist William L. Trotter

Kempe offers a radical revaluation of the life, work and reputation of Charles Eamer Kempe (1837-1907), one of the most remarkable and influential figures in late Victorian and Edwardian church art. Kempe's name became synonymous with a distinctive style of stained glass, furnishing and decoration deriving from late mediaeval and early Renaissance models. To this day, his hand can be seen in churches and cathedrals worldwide. Drawing on newly available archive material, Adrian Barlow evaluates Kempe's achievement in creating a Studio or School of artists and craftsmen who interpreted his designs and remained fiercely loyal to his aesthetic and religious ideals. He assesses his legacy and reputation today, as well as exploring his networks of patrons and influence, which stretched from the Royal Family and the Church of England hierarchy to the literary and artistic beau monde. These networks intersected at Kempe's stunning Sussex country house, Old Place, his 'Palace of Art'. Created to embody his ideals of beauty and history, it holds the key to understanding his contradictory personality, his public and private faces. This book will appeal to everyone interested in Victorian art in general and stained glass in particular. Detailed and wide-ranging, Kempe tells a compelling story.

Hey, let's face facts - it's cold up at the North Pole. If you think hot chocolate and Mrs. Claus in a flannel nightie is all Santa has to keep himself warm - think again! Ol' St Nick keeps those handy lists of who's naughty and nice, but there's a special scrool of the very naughty that he keeps in a secret spot in his sock drawer! No wonder the fat ol' guy's so damned jolly! Ho, ho, ho indeed - here's an-all collection of Christmas-time cuties that might put the X in Xmas and keep it there! Eye-popping gifts of spicy holiday illustrations by such evil elves as Pelaez, Buci, Maraschi, Flores, Danilo, Lencina, and many other Gallery Girl faves! With a cover painting by Dave Nestler, another theory about ice-caps melting might be in order!

The human figure in sculpture is a powerful form, capable of great expression and depth. Sculpting the figure in any medium is a rewarding practice, but one that presents special challenges for the maker. Tanya Russell, founder and principal of the Art Academy in London, details the whole creative process for sculpting the figure, from the fundamental conceptual and practical considerations through to the finished and presented work. She covers essential tools and equipment, methods for building armatures, and the processes for creating not only realistic, but also abstract and expressive figures, in a variety of styles and materials. Techniques are supported by practical exercises with step-by-step instructions and images. The book is filled with the inspiring works of contemporary sculptors, all of whom are tutors, students, or alumni of the Art Academy. Modelling and Sculpting the Figure is an essential companion for beginners and established artists alike.

Guns, knives, swords, bare-handed or bare-assed -- these ladies are lovely and VERY lethal. A cunning collection of deadly divas being showcased by artists Paco Diaz, Rafa Lopez, and Jose Manuel. Non-stop beat-downs and furious fighting, all while looking good doing it is the hallmark of these honeys, with a blending of those two American favourites -- sex and violence in perfect harmony! If you like your blood sport served up raw and delicious, this is the gallery of guns and gals for you! Kick-ass cover art by Dave Dunstan.

As one of the first books to treat portraits of early modern women as a discrete subject, this volume considers the possibilities and limits of agency and identity for women in history and, with particular attention to gender, as categories of analysis for women's images. Its nine original essays on Italy, the Low Countries, Germany, France, and England deepen the usefulness of these analytical tools for portraiture. Among the book's broad contributions: it dispels false assumptions about agency's possibilities and limits, showing how agency can be located outside of conventional understanding, and, conversely, how it can be stretched too far. It demonstrates that agency is compatible with relational gender analysis, especially when alternative agencies such as spectatorship are taken into account. It also makes evident the importance of aesthetics for the study of identity and agency. The individual essays reveal, among other things, how portraits broadened the traditional parameters of portraiture, explored transvestism and same-sex eroticism, appropriated aspects of male portraiture to claim those values for their sitters, and, as sites for gender negotiation, resistance, and debate, invoked considerable relational anxiety. Richly layered in method, the book offers an array of provocative insights into its subject.

When your name becomes a way to describe a style of pin-up, you know you're arrived! Dave Nestler's unique portraits of stunning young ladies in perfect poses has made this former commericial artist a colossal success! Taking the plunge from steady/safe work in advertising, Dave's approach and appeal in the art market has made him a bit of a rock-star, complete with an adoring fan base and a delightful collection of top-flight models/muses! In this latest showcase of Dave's work, we get a gallery viewing of his latest pencils, studies, and most delightfully - his full color paintings. His airbrushed angels fairly float off the page - fantasy never looked this real! Nestler Girls 1 is a deluxe oversized presentation.

Artistic representations of landscape are studied widely in areas ranging from art history to geography to sociology, yet there has been little consensus about how to understand the relationship between landscape and art. This book brings together more than fifty scholars from these multiple disciplines to establish new ways of thinking about landscape in art.

A significant publication of original writing on Lucian Freud, including interviews with leading contemporary artists, marking the 100th anniversary of his birth Lucian Freud (1922-2011) was one of the greatest figurative painters of the twentieth century. With an unflinching eye and an uncompromising commitment to his work, he created masterpieces that continue to inspire contemporary artists to the present day. Spanning nearly 70 years, Freud's career has often been overshadowed by his biography and celebrity. This book re-examines his paintings through a broad series of original approaches. Texts by a variety of rising and established international writers explore topics ranging from the compositional echoes of old master paintings in Freud's works, to the contextualization of his practice within the class struggles of 1980s Britain. Throughout the book, leading contemporary painters such as Tracey Emin and Chantal Joffe give insightful testimony to the relevance of Freud today. Marking the 100th anniversary of Freud's birth, this publication accompanies the first major exhibition of his work in 10 years. Presenting fresh perspectives on his paintings, it introduces Freud to a new generation of scholars and enthusiasts - demonstrating his lasting international importance. Published by National Gallery Global/Distributed by Yale University Press Exhibition Schedule: The National Gallery, London October 1, 2022-January 22, 2023 Thyssen-Bornemisza Museum, Madrid February 14-June 18, 2023

Catalogue and iconography of the extraordinary wealth of images of Sir Isaac Newton, both before and after his death. Sir Isaac Newton [1642-1727] is rare among figures of the past for the number of authentic paintings, engravings and images of him which survive. He was painted by some nine different artists in the latter part of his life, and after his death both portraits and sculptures continued to proliferate, the amazing demand for representations of his image demonstrating his immense fame. This iconography, lavishly illustrated in both colour and black and white, and involving the disciplines of History of Art and History of Science, catalogues 231 icons in two sections, and is thus an invaluable guide to the images. Part I contains 122 portraits and Part II 109 sculptures, about fifty of which were produced before his death, the rest from then until 1800.

The rise of the mendicant orders in the later Middle Ages coincided with rapid and dramatic shifts in the visual arts. The mendicants were prolific patrons, relying on artworks to instruct and impress their diverse lay congregations. Churches and chapels were built, and new images and iconographies developed to propagate mendicant cults. But how should the two phenomena be related? How much were these orders actively responsible for artistic change, and how much did they simply benefit from it? To explore these questions, Art and the Augustinian Order in Early Renaissance Italy looks at art in the formative period of the Augustinian Hermits, an order with a particularly difficult relation to art. As a first detailed study of visual culture in the Augustinian order, this book will be a basic resource, making available previously inaccessible material, discussing both well-known and more neglected artworks, and engaging with fundamental methodological questions for pre-modern art and church history, from the creation of religious iconographies to the role of gender in art.