An important resource for scholars of contemporary art and architecture, this volume considers contemporary art that takes architecture as its subject. Concentrated on works made since 1990, Contemporary Art About Architecture: A Strange Utility is the first to take up this topic in a sustained and explicit manner and the first to advance the idea that contemporary art functions as a form of architectural history, theory, and analysis. Over the course of fourteen essays by both emerging and established scholars, this volume examines a diverse group of artists in conjunction with the vernacular, canonical, and fantastical structures engaged by their work. Inigo Manglano-Ovalle, Matthew Barney, Monika Sosnowska, Pipo Nguyen-duy, and Paul Pfeiffer are among those considered, as are the compelling questions of architecture's relationship to photography, the evolving legacy of Mies van der Rohe, the notion of an architectural unconscious, and the provocative concepts of the unbuilt and the unbuildable. Through a rigorous investigation of these issues, Contemporary Art About Architecture calls attention to the fact that art is now a vital form of architectural discourse. Indeed, this phenomenon is both pervasive and, in its individual incarnations, compelling - a reason to think again about the entangled histories of architecture and art.

In Watercolour Landscapes for the Absolute Beginner, artist and teacher Matthew Palmer guides beginners through their first steps in watercolour and shows what incredible landscapes can be achieved in this exciting medium. Step-by-step exercises, mini projects and six longer projects help you to build essential skills and allow you to produce a range of landscapes you will be proud of. Vital drawing skills are explained and demonstrated, along with key techniques such as how to use resists; colour mixing; painting natural-looking foliage; using the dry-brush technique to create intricate detail, and using scratch-out techniques to add sparkle and movement to water. The exercises are ideal for beginners and the main projects will also build skills for improving artists. Matthew has an accessible style, with plenty of tips and tricks for beginners to make things easier. A huge wealth of finished paintings provide ideas and inspiration for your own future watercolour landscapes. Full-size pull-out outlines are provided for the final projects. Includes material previously published in Matthew Palmer's Step-by-Step Guide to Watercolour Painting (2018), but with the addition of three brilliant new projects, many new illustrations and extensive textual revisions.

Fully illustrated in colour and black and white, Images of the Mother of God complements the successful exhibition catalogue of the 'Mother of God' exhibition at the Benaki Museum in Athens. It brings together the work of leading international authorities and younger scholars to provide a wide-ranging survey of how the Theotokos was perceived in the Byzantine world. It embraces the disciplines of art historians, archaeologists, traditional and feminist historians, as well as theologians, philologists and social anthropologists. Images of the Mother of God will appeal not just to those interested in Byzantine art and culture, but also to scholars of Western Europe in the Middle Ages who are looking for comparative materials in their own work.

Collecting 100 full-color pages and featuring 48 different Japanese manga and anime artists, Black Tights features some of the best illustrators in Japan. With stockings as their primary themes, WIDE focuses on thighs. Overseen by cover artist and art director, Yom, audiences have been captivated by their character designs in the 2019 anime short, Miru Tights.

In the view of Hegel and others, pagan art is the art of the beautiful and Christian art is the art of the sublime. Roger Homan provides a comprehensive and informative account of the course of Christian art, encompassing a re-evaluation of conventional aesthetics and its application to religious art. Homan argues that taste and aesthetics are fashioned by morality and belief, and that Christian art must be assessed not in terms of its place in the history of art but of its place in Christian faith. The narrative basis of Christian art is documented but religious art is also explored as the expression of the devout and as an element in the trappings of collective expression and personal quest. Sections in the book explore pilgrimage art, puritan art, the tension of Gothic and Classical, church architecture and the language of worship. Current areas of debate, including the relationship of ethics to the appreciation of art, are also discussed. An extensive range of examples of painting, architecture and decoration, most of which are of European origin, are discussed throughout, with a number of striking illustrations included within the text.

Overpass is about what it means to move through the landscape. Walking along a vast network of centuries-old footpaths through the English countryside, artist Sam Contis focuses on stiles, the simple structures that offer a means of passage over walls and fences and allow public access through privately owned land. In her immersive sequences of black-and-white photographs, they become repeating sculptural forms in the landscape, invitations to free movement on one hand and a reminder of the history of enclosure on the other. Made from wood and stone, each unique, they appear as markers pointing the way forward, or decaying and half-hidden by the undergrowth. An essay by writer Daisy Hildyard contextualizes this body of work within histories of the British landscape and contemporary ecological discourses. In an age of rising nationalism and a renewed insistence on borders, Overpass invites us to reflect on how we cross boundaries, who owns space, and the ways we have shaped the natural environment and how we might shape it in the future.

This book is one of a series of volumes resulting from the World Archaeological Congress, September 1986 which addressed world archaeology in its widest sense, investigating how people lived in the past and how and why changes took place to result in the forms of society and culture which exist now. The series brought together archaeologists and anthropologists from many parts of the world, academics from contingent disciplines, and also non-academics from a wide range of cultural backgrounds who could lend their own expertise to the discussions. This book is an exploration of the way in which the animal world features in the works of art of a variety of cultures of different times and places. Contributors have adopted a variety of perspectives for looking at the complex ways in which past and present humans have interrelated with beings they classify as animals. Some of the approaches are predominantly economic and ecological, some are symbolic and others philosophical or theological. All these different views are included in the interpretation of the artworks of the past, revealing some of the foci and inspirations of cultural attitudes to animals. Originally published 1989.

Dedicated to the topics of eroticism and sexuality in the visual production of the medieval and early modern Muslim world, this volume sheds light on the diverse socio-cultural milieus of erotic images, on the range of motivations that determined their production, and on the responses generated by their circulation. The articles revise what has been accepted as a truism in existing literature-that erotic motifs in the Islamic visual arts should be read metaphorically-offering, as an alternative, rigorous contextual and cultural analyses. Among the subjects discussed are male and female figures as sexualized objects; the spiritual dimensions of eroticism; licit versus illicit sexual practices; and the exotic and erotic 'others' as a source of sensual delight. As the first systematic study on these themes in the field of Islamic art history, this volume fills a considerable gap and contributes to the lively debates on the nature and function of erotic and sexual images that have featured prominently in broader art-historical discussions in recent decades.

From post-apocalyptic Earth to extraterrestrial civilizations, get ready to explore the farthest reaches of your imagination and evoke your own original sci-fi worlds. With Sci-Fi Fashion Art School you will learn to draw everything from scavenger-wear and exosuits to alien garb and space explorer uniforms. Starting with simple guidelines, you'll discover how to create distinct characters just by varying facial features, body mass and hair. Beyond the mechanics of drawing, you'll learn to make strategic creative choices by asking questions like: What drives your characters? Do they dress for survival or social status? What materials are at their disposal? The answers help you develop fashions, weapons and accessories uniquely suited to the environmental and cultural conditions of your particular world. The Sci-Fi genre has no limits. With the instruction and inspiration inside, neither will you.

Slavery, Geography and Empire in Nineteenth-Century Marine Landscapes of Montreal and Jamaica is among the first Slavery Studies books - and the first in Art History - to juxtapose temperate and tropical slavery. Charmaine A. Nelson explores the central role of geography and its racialized representation as landscape art in imperial conquest. One could easily assume that nineteenth-century Montreal and Jamaica were worlds apart, but through her astute examination of marine landscape art, the author re-connects these two significant British island colonies, sites of colonial ports with profound economic and military value. Through an analysis of prints, illustrated travel books, and maps, the author exposes the fallacy of their disconnection, arguing instead that the separation of these colonies was a retroactive fabrication designed in part to rid Canada of its deeply colonial history as an integral part of Britain's global trading network which enriched the motherland through extensive trade in crops produced by enslaved workers on tropical plantations. The first study to explore James Hakewill's Jamaican landscapes and William Clark's Antiguan genre studies in depth, it also examines the Montreal landscapes of artists including Thomas Davies, Robert Sproule, George Heriot and James Duncan. Breaking new ground, Nelson reveals how gender and race mediated the aesthetic and scientific access of such - mainly white, male - artists. She analyzes this moment of deep political crisis for British slave owners (between the end of the slave trade in 1807 and complete abolition in 1833) who employed visual culture to imagine spaces free of conflict and to alleviate their pervasive anxiety about slave resistance. Nelson explores how vision and cartographic knowledge translated into authority, which allowed colonizers to 'civilize' the terrains of the so-called New World, while belying the oppression of slavery and indigenous displacement.

"Any landscape architect worth their soil should pick up The Architecture of Trees, an all-encompassing atlas of all things tree-related."-The Architect's Newspaper A 2019 Oprah's Favorite Things Pick A gorgeous, large format volume that shows each hand-drawn illustration in stunning detail. The Architecture of Trees is the result of over twenty years of dedicated study by landscape architects Cesare Leonardi and Franca Stagi. This new edition preserves the original magnificent illustrations and text, translated into English for the first time. Features more than 550 exquisite quill-pen drawings of trees. Each of the 212 tree species are drawn to a scale of 1:100, with and without foliage. Complete with tables of seasonal color variation and projections of shadows cast during the hours of daylight and season by season, no other tree book contains such detailed and scientific drawings. A legendary and unsurpassed botanical masterwork. Considered a standard in many landscape architecture firms, the drawings, essays, and detailed charts are essential for large scale landscaping projects and a helpful tool for backyard renovations. Landscape designers will think in new ways about the effect of seasons and the time of day on trees, and anyone interested in nature and trees will be captivated by the stunning illustrations. "This book could be considered the Bible for tree lovers."-Western Art & Architecture An incredible book for anyone interested in trees: * An oversized, captivating coffee table book for lovers of art and nature illustrations * A helpful tree identification book with accurate drawings of trees and detailed looks at branches, leaves, and fruit * A reference for students of landscape architecture, botany, dendrology, architecture, and illustration

In the last decade of his life, Anthony van Dyck (1599-1641) undertook a printmaking project that changed the conventions of portraiture. In a series later named the Iconography, he portrayed artists alongside kings, courtiers, and diplomats-a radical departure from preexisting conventions. He also depicted his subjects in novel ways, focusing on their facial features often to the exclusion of symbolic costumes or props. In addition to illustrating approximately 60 works by Van Dyck and other artists from his era-particularly Rembrandt-this catalogue traces the artist's influence over hundreds of years. Showcasing both 17th century portraits in a variety of media and portrait prints by a wide range of artists spanning the 16th through the 20th centuries-including Albrecht Durer, Hendrick Goltzius, Francisco de Goya, Edgar Degas, and Jim Dine-the book demonstrates the indelible mark that Van Dyck left on the genre. Distributed for the Art Institute of Chicago Exhibition Schedule: Art Institute of Chicago (03/05/16-08/07/16)

Artist, writer, musician, film-maker, Star Wars mega-fan - Matt Busch goes by many titles. "The Detroit Real Press" called him, 'The Rock Star of Illustration', and given his legion of genuine rockers who dig his work, that's a pretty good description of this multi-talented artist. Much beloved for his "Star Wars" paintings and comic work, this particular collection of full colour illustrations focus on another great love of Matt's life - portraits of pretty girls in various states of undress! Get to see the hotter side of Busch's amazing work, including the artist's personal favourites (paintings and the models who pose for him!). Also a nice little step-by-step feature shows Matt's process for all you would-be artists-in-training!

'Angel Song' does for halos and wings what it did for all those forest cuties in Fairy Song - show them off in all their radiant glory! "Angel Song" features an international cast of artists who depict these heavenly messengers in loving detail. From Renaissance classic to pin-up pretty, and every style in-between, these paintings reflect the varied natures of man's relationship with these winged wonders! The volume includes the artwork of Dave Nestler, Pelaez, Arantza, Maraschi, Sosa, and many more! Get to see why heaven is such a beautiful place, and why people are just dying to get there!

Offering a corrective to the common scholarly characterization of seventeenth-century Dutch landscape painting as modern, realistic and secularized, Boudewijn Bakker here explores the long history and purpose of landscape in Netherlandish painting. In Bakker's view, early Netherlandish as well as seventeenth-century Dutch painting can be understood only in the context of the intellectual climate of the day. Concentrating on landscape painting as the careful depiction of the visible world, Bakker's analysis takes in the thought of figures seldom consulted by traditional art historians, such as the fifteenth-century philosopher Dionysius the Carthusian, the sixteenth-century religious reformer John Calvin, the geographer Abraham Ortelius and the seventeenth-century poet Constantijn Huygens. Probing their conception of nature as 'the first Book of God' and art as its representation, Bakker identifies a world view that has its roots in the traditional Christian perceptions of God and creation. Landscape and Religion from Van Eyck to Rembrandt imposes a new layer of interpretation on the richly varied landscapes of the great masters. In so doing it adds a new dimension to the insights offered by modern art-historical research. Further, Bakker's explorations of early modern art and literature provide essential background for any student of European intellectual history.

Focusing on three celebrated northern European still life painters"Jan Brueghel, Daniel Seghers, and Jan Davidsz. de Heem"this book examines the emergence of the first garland painting in 1607-1608, and its subsequent transformation into a widely collected type of devotional image, curiosity, and decorative form. The first sustained study of the garland paintings, the book uses contextual and formal analysis to achieve two goals. One, it demonstrates how and why the paintings flourished in a number of contexts, ranging from an ecclesiastical center in Milan, to a Jesuit chapter house and private collections in Antwerp, to the Habsburg court in Vienna. Two, the book shows that when viewed over the course of the century, the images produced by Brueghel, Seghers and de Heem share important similarities, including an interest in self-referentiality and the exploration of pictorial form and materials. Using a range of evidence (inventories, period response, the paintings themselves), Susan Merriam shows how the pictures reconfigured the terms in which the devotional image was understood, and asked the viewer to consider in new ways how pictures are made and experienced.

A social history of reception, this study focuses on sacred art and Catholicism in Rome during the late sixteenth and seventeenth centuries. The five altarpieces examined here were painted by artists who are admired today - Caravaggio, Guercino, and Guido Reni - and by the less renowned but once influential Tommaso Laureti and Andrea Commodi. By shifting attention from artistic intentionality to reception, Pamela Jones reintegrates these altarpieces into the urban fabric of early modern Rome, allowing us to see the five paintings anew through the eyes of their original audiences, both women and men, rich and poor, pious and impious. Because Italian churchmen relied, after the Council of Trent, on public altarpieces more than any other type of contemporary painting in their attempts to reform and inspire Catholic society, it is on altarpieces that Pamela Jones centers her inquiry. Through detailed study of evidence in many genres - including not only painting, prints, and art criticism, but also cheap pamphlets, drama, sermons, devotional tracts, rules of religious orders, pilgrimages, rituals, diaries, and letters - Jones shows how various beholders made meaning of the altarpieces in their aesthetic, devotional, social, and charitable dimensions. This study presents early modern Catholicism and its art in an entirely new light by addressing the responses of members of all social classes - not just elites - to art created for the public. It also provides a more accurate view of the range of religious ideas that circulated in early modern Rome by bringing to bear both officially sanctioned religious art and literature and unauthorized but widely disseminated cheap pamphlets and prints that were published without the mandatory religious permission. On this basis, Jones helps to illuminate further the insurmountable problems churchmen faced when attempting to channel the power of sacred art to elicit orthodox responses.

A vibrant critical exchange between contemporary art and Christianity is being increasingly prompted by an expanding programme of art installations and commissions for ecclesiastical spaces. Rather than 'religious art' reflecting Christian ideology, current practices frequently initiate projects that question the values and traditions of the host space, or present objects and events that challenge its visual conventions. In the light of these developments, this book asks what conditions are favourable to enhancing and expanding the possibilities of church-based art, and how can these conditions be addressed? What viable language or strategies can be formulated to understand and analyse art's role within the church? Focusing on concepts drawn from anthropology, comparative religion, art theory, theology and philosophy, this book formulates a lexicon of terms built around the notion of encounter in order to review the effective uses and experience of contemporary art in churches. The author concludes with the prognosis that art for the church has reached a critical and decisive phase in its history, testing the assumption that contemporary art should be a taken-for-granted element of modern church life. Art and the Church: A Fractious Embrace uniquely combines conceptual analysis, critical case studies and practical application in a rigorous and inventive manner, dealing specifically with contemporary art of the past twenty-five years, and the most recent developments in the church's policies for the arts.

Although mastery of the representation of the human figure was central to art making as early as the fifteenth century in Europe, in the nineteenth-century French imagination the artist's model became identified as a distinct social type and cultural trope. This study of the artist's model in Paris between 1830 and 1870 incorporates three histories: a social history of professional models, a cultural history of models as social types, and an art history of representations of the model in elite and popular visual culture. It takes as its starting point the artist-model transaction: demonstrating that stereotypes of 'the model' that figured in the public imagination were framed both by gender and ethnicity, the book develops a nuanced typology of different types of models. Interwoven with the analysis of the constructed identities of models are accounts of the lives of particular models and the histories of the urban population groups from which they emerged. The Invention of the Model: Artists and Models in Paris, 1830-1870 is an adept exploration of a major issue in nineteenth-century art which will be of interest not only to art historians, but also to social and French cultural historians.

A gorgeously illustrated volume devoted to the natural history drawings and watercolors of Leonardo da Vinci and other outstanding artists of the Age of Discovery From the fifteenth century onwards, as European explorers sailed forth on grand voyages of discovery, their encounters with exotic plants and animals fanned intense scientific interest. Scholars began to examine nature with fresh eyes, and pioneering artists transformed the way nature was seen and understood. In Amazing Rare Things, renowned naturalist and documentary-maker David Attenborough joins with expert colleagues to explore how artists portrayed the natural world during this era of burgeoning scientific interest. The book focuses on an exquisite selection of natural history drawings and watercolors by Leonardo da Vinci, Alexander Marshal, Maria Sibylla Merian, and Mark Catesby, and from the collection of Cassiano dal Pozzo-works all held in the Royal Library at Windsor Castle. Attenborough and his coauthors offer lucid commentary on topics ranging from the 30,000-year history of human drawings of the natural world, to Leonardo's fascination with natural processes, to Catesby's groundbreaking studies that introduced Europeans to the plants and animals of North America. With 160 full color illustrations, this beautiful book will appeal to readers with interests that extend from art and science to history and nature.

The Sister Chapel (1974-78) was an important collaborative installation that materialized at the height of the women's art movement. Conceived as a nonhierarchical, secular commemoration of female role models, The Sister Chapel consisted of an eighteen-foot abstract ceiling that hung above a circular arrangement of eleven monumental canvases, each depicting the standing figure of a heroic woman. The choice of subject was left entirely to the creator of each work. As a result, the paintings formed a visually cohesive group without compromising the individuality of the artists. Contemporary and historical women, deities, and conceptual figures were portrayed by distinguished New York painters-Alice Neel, May Stevens, and Sylvia Sleigh-as well as their accomplished but less prominent colleagues. Among the role models depicted were Artemisia Gentileschi, Frida Kahlo, Betty Friedan, Joan of Arc, and a female incarnation of God. Although last exhibited in 1980, The Sister Chapel has lingered in the minds of art historians who continue to note its significance as an exemplar of feminist collaboration. Based on previously-unpublished archival materials and featuring dozens of rarely-seen works of art, this comprehensive study details the fascinating history of The Sister Chapel, its constituent paintings, and its ambitious creators.

This volume completes Part II of Series A of the Paper Museum. Together with the first volume, it reflects an unusual aspect of Cassiano's interests, but a particularly relevant one for modern scholars: the material remains of post-classical culture in Rome and the psychical inheritance from the earliest centuries of Christianity. Catalogued here is a diverse and fascinating range of antiquities: reliefs, inscriptions, sarcophagi, sculpture, manuscript illuminations, gold-glass, gems, ivories, lamps, metalwork and 'instruments of martyrdom'. The drawings were mainly collected by Carlo Antonio dal Pozzo, Cassiano's brother, in the later seventeeth century and include some of the finest examples of archaeological draughtsmanship of the period. Catalogued here is a diverse and fascinating range of antiquities, mainly collected in the later seventeeth century: reliefs, inscriptions, sarcophagi, sculpture, manuscript illuminations, gold-glass, gems, ivories, lamps, metalwork and 'instruments of martyrdom'.

Drawing and Painting People - A Fresh Approach is about confident and defiant art. Written by a practising artist and tutor, it contains inspiring examples, thought-provoking insights and practical advice about how to become more expressive and adventurous with your work. It is a book for people who are serious about painting and want to develop work that is personal and exceptional in quality. An unpretentious, non-academic approach to painting and drawing Avoiding 'painting by numbers' Strategies for independent working, building confidence and taking risks Examples from notable artists The body as an inspiring muse

The Royal Botanic Garden Edinburgh is one of Scotland's most visited tourist attractions and has been cultivating and studying plants for over three centuries. Across its four garden sites, the Royal Botanic Garden's living plant collection contains over 13,500 species from 156 countries, including some that are extinct in the wild and others new to science. The ever-growing Herbarium currently contains over three million dried specimens and the Library houses Scotland's national collection of botanical and horticultural literature, including manuscripts dating back to the fifteenth century. The highlights illustrated in this book provide a personal insight into one of the world's greatest botanic gardens and reveals the invaluable contribution that it makes to the ongoing documentation and conservation of the world's diverse plant life.