Elizabeth Sutton, using a phenomenological approach, investigates how animals in art invite viewers to contemplate human relationships to the natural world. Using Rembrandt van Rijn's etching of The Presentation in the Temple (c. 1640), Joseph Beuys's social sculpture I Like America and America Likes Me (1974), archaic rock paintings at Horseshoe Canyon, Canyonlands National Park, and examples from contemporary art, this book demonstrates how artists across time and cultures employed animals to draw attention to the sensory experience of the composition and reflect upon the shared sensory awareness of the world.

This is a book made from stills from Nova Paul's 16mm film 'This is not Dying' (2010). RGB print processes were used in its design to echo the RGB optical process of the three-colour-separation film itself. 'Whakarongo Mai, ' played by Ben Tawhiti for 'This is not Dying', is reconfigured here on 7 LP

Explore the rich history and influence of Christian art from Antiquity to the present day. Michelle Brown traces the rich history of Christian art, crossing boundaries to explore how art has reflected and stimulated a response to the teachings of Christ, and to Christian thought and experience across the ages. Embracing much of the history of art in the West and parts of the Middle East, Africa, Asia, the Americas and Australasia, Michelle considers art of the earliest Christians to the modern day. Featuring articles by invited contributors on subjects including Icons; Renaissance Florence; Rubens and the Counter-Reformation; Religious Folk Art; Jewish Artists; Christian Themes; Making the St John's Bible, and Christianity and Contemporary Art in North America, Christian Art is an ideal survey of the subject for all those interested in the world's artistic heritage. * Comprehensive and authoritative text from the Early Christian period to the modern day * Wide international coverage * Feature articles on special subjects by a team of experts from around the world

Drawing on hundreds of tombstones from Rome, Italy and the Western provinces, this study assesses how parents visualised childhood. By considering the most popular funerary themes and iconographic models, it emphasises both the emotional and social investment placed in children, bringing to the fore many little-known examples. From Britannia to Dacia, Aquitania to Pannonia, it highlights the rich artistic diversity of the provinces and shows that not all trends were borrowed from the capital. With a wide range of social groups in evidence, including freedmen, soldiers and peregrini, it also considers the varying reasons which underlay child commemoration and demonstrates the importance of studying the material in context. Amply supported by a catalogue of examples and over a hundred images, it will be essential reading for anyone working on Roman childhood or family studies.

Portraits are everywhere. One finds them not only in museums and galleries, but also in newspapers and magazines, in the homes of people and in the boardrooms of companies, on stamps and coins, on millions of cell phones and computers. Despite its huge popularity, however, portraiture hasn't received much philosophical attention. While there are countless art historical studies of portraiture, contemporary philosophy has largely remained silent on the subject. This book aims to address that lacuna. It brings together philosophers (and philosophically minded historians) with different areas of expertise to discuss this enduring and continuously fascinating genre. The chapters in this collection are ranged under five broad themes. Part I examines the general nature of portraiture and what makes it distinctive as a genre. Part II looks at some of the subgenres of portraiture, such as double portraiture, and at some special cases, such as sport card portraits and portraits of people not present. How emotions are expressed and evoked by portraits is the central focus of Part III, while Part IV explores the relation between portraiture, fiction, and depiction more generally. Finally, in Part V, some of the ethical issues surrounding portraiture are addressed. The book closes with an epilogue about portraits of philosophers. Portraits and Philosophy tangles with deep questions about the nature and effects of portraiture in ways that will substantially advance the scholarly discussion of the genre. It will be of interest to scholars and students working in philosophy of art, history of art, and the visual arts.

The articles republished in this volume are ground-breaking studies that employ a large body of religious figural imagery of Byzantine lead seals ranging from the 6th to the 15th century. A number of the studies present tables, charts and graphs in their analysis of iconographic trends and changing popularity of saintly figures over time. And since many of the seals bear inscriptions that include the names, titles or offices of their owners, information often not given for the patrons of sacred images in other media, these diminutive objects permit an investigation into the social use of sacred imagery through the various sectors of Byzantine culture: the civil, ecclesiastical and military administrations. The religious figural imagery of the lead seals, accompanied by their owners' identifying inscriptions, offers a means of investigating both the broader visual piety of the Byzantine world and the intimate realm of their owners' personal devotions. Other studies in this volume are devoted to rare or previously unknown sacred images that demonstrate the value of the iconography of Byzantine lead seals for Byzantine studies in general. This volume includes studies dedicated to the image of Christ, primarily found on imperial seals, various images of the Virgin, and narrative or Christological scenes. A companion volume presents various articles focusing on sphragistic images of saints and on the religious imagery of Byzantine seals as a means of investigating the personal piety of seal owners, as well as the wider realm of the visual piety and religious devotions of Byzantine culture at all levels. (CS1085)

The articles republished in this volume are ground-breaking studies that employ a large body of religious figural imagery of Byzantine lead seals ranging from the 6th to the 15th century. A number of the studies present tables, charts and graphs in their analysis of iconographic trends and changing popularity of saintly figures over time. And since many of the seals bear inscriptions that include the names, titles or offices of their owners, information often not given for the patrons of sacred images in other media, these diminutive objects permit an investigation into the social use of sacred imagery through the various sectors of Byzantine culture: the civil, ecclesiastical and military administrations. The religious figural imagery of the lead seals, accompanied by their owners' identifying inscriptions, offers a means of investigating both the broader visual piety of the Byzantine world and the intimate realm of their owners' personal devotions. Other studies in the volume are devoted to rare or previously unknown sacred images that demonstrate the value of the iconography of Byzantine lead seals for Byzantine studies in general. This volume includes various articles focusing on sphragistic images of saints and on the religious imagery of Byzantine seals as a means of investigating the personal piety of seal owners, as well as the wider realm of the visual piety and religious devotions of Byzantine culture at all levels. A companion volume includes studies dedicated to the image of Christ, primarily found on imperial seals, various images of the Virgin, and narrative or Christological scenes. (CS1086).

The must-have guide for all artists who draw the human figure!This small, portable book presents a unique perspective on the human body for artists to study and implement in their drawing work. In this book, artist and teacher Michel Lauricella simplifies the human body into basic shapes and forms, offering profound insight for artists of all kinds, sparking the imagination and improving one's observational abilities. Rather than going the traditional route of memorizing a repertoire of poses, Lauricella instead stresses learning this small collection of forms, which can then be combined and shaped into the more complex and varied forms and postures we see in the living body.Geared toward artists of all levels--from beginners through professionals--this handy, pocket-sized book will help spark your imagination and creativity. Whether your interest is in figure drawing, fine arts, fashion design, game design, or creating comic book or manga art, you will find this helpful book filled with actionable insights.(Publisher's Note: This book features an "exposed" binding style. This is intentional, as it is designed to help the book lay flat as you draw.) TABLE OF CONTENTSForewordIntroductionHead and NeckTorsoUpper LimbsLower LimbsResources

In Building the Body of Christ, Daniel C. Cochran argues that monumental Christian art and architecture played a crucial role in the formation of individual and communal identities in late antique Italy. The ecclesiastical buildings and artistic programs that emerged during the fourth and fifth centuries not only reflected Christianity's changing status within the Roman Empire but also actively shaped those who used them. Emphasizing the importance of materiality and the body in early Christian thought and practice, Cochran shows how bishops and their supporters employed the visual arts to present a Christian identity rooted in the sacred past but expressed in the present through church unity and episcopal authority. He weaves together archaeological and textual evidence to contextualize case studies from Rome, Aquileia, and Ravenna, showing how these sites responded to the diversity of early Christianity as expressed through private rituals and the imperial appropriation of the saints. Cochran shows how these early ecclesiastical buildings and artistic programs worked in conjunction with the liturgy to persuade individuals to adopt alternative beliefs, practices, and values that contributed to the formation of institutional Christianity and the "Christianization" of late antique Italy.

Drawing on both textual and archaeological evidence, this study offers an integrated approach to scholarly debates on monasteries and guru relics in South India between the fourteenth and seventeenth centuries. This study analyzes the role of the guru in the development of Hindu monastic orders, from centers of education to institutions of traditional authority. Focusing on the complex socio-religious context of the whole-body icon, the author analyzes the relic as a nexus of contradictions surrounding sacredness and death.

Describes the nature of birds of prey (where they live, feed, and hunt), why these species are endangered, and what can be done to protect and preserve them.

Each book in the 'Essential Guide to Drawing' series provides an accessible introduction to the subject, backed up by clear examples.

This beautifully illustrated book is the first practical step-by-step guide to using coloured pencils in botanical painting and is written by Ann Swan, one of the top exponents of the genre. Water-soluble and oil-based coloured pencils are becoming increasingly popular for botanical painting as they are easier to use than traditional watercolour and are more forgiving, yet they produce the same stunning effects. They are especially suitable for the accuracy needed to paint in the botanical style of illustration. In this book Ann Swan gives helpful advice on all aspects of working with coloured pencils, including the techniques you will have to master - underpainting, layering and burnishing. She also demontrates how to mix and build up colour, and how to add those finishing touches that will complete your painting successfully. Several full step-by-step demonstrations are included to show how these techniques are put into practice. The book concludes with a gallery of coloured pencil works by the author, students of botanical painting and other professional botanical painters, providing a wonderful source of reference and inspiration.

In the thirteenth century, sculptures of Synagoga and Ecclesia paired female personifications of the Synagogue defeated and the Church triumphant became a favored motif on cathedral facades in France and Germany. Throughout the centuries leading up to this era, the Jews of northern Europe prospered financially and intellectually, a trend that ran counter to the long-standing Christian conception of Jews as relics of the pre-history of the Church. In The Jew, the Cathedral and the Medieval City, Nina Rowe examines the sculptures as defining elements in the urban Jewish-Christian encounter. She locates the roots of the Synagoga-Ecclesia motif in antiquity and explores the theme s public manifestations at the cathedrals of Reims, Bamberg, and Strasbourg, considering each example in relation to local politics and culture. Ultimately, she demonstrates that royal and ecclesiastical policies to restrain the religious, social, and economic lives of Jews in the early thirteenth century found a material analog in lovely renderings of a downtrodden Synagoga, placed in the public arena of the city square."

For thousands of years, our ancestors held a close connection with the landscapes they lived in. They imbued it with meaning: stone monuments, sacred groves, places of pilgrimage. In our modern world we have rather lost that enchantment and intimate knowledge of place. James Canton takes us on a journey through England seeking to see through more ancient eyes, to understand what landscape meant to those that came before us. We visit stone circles, the West Kennet long barrow, a Crusader round church and sites of religious visions. We meet the Dagenham Idol and the intricately carved Lion Man figure. We find artefacts buried in farmers' fields. There is history and meaning encoded into the lands and places we live in, if only we take the time to look. Our natural world has never been under more threat. If we relocate our sense of wonder, veneration and awe in the landscapes we live in, we might just be better at saving it.

Featuring 200 meticulous and anatomically accurate drawings that capture each magnificent owl in multiple poses and from every angle, this reference provides wildlife artists with the tools to draw, paint, sculpt, carve, and study these majestic birds. The comprehensive drawings and color graphs capture the essence of the owls' watchful and predatory nature, and scaled charts allow carvers to create their desired dimensions without sacrificing proportion. With the combination of in-flight and still photographs, everyone from wildlife artists and bird watchers to nature enthusiasts can create these formidable nighttime hunters in minute detail--down to the stripes, speckles, and streaks of their feathers.

Focusing on the period between the Wycliffite critique of images and Reformation iconoclasm, Shannon Gayk investigates the sometimes complementary and sometimes fraught relationship between vernacular devotional writing and the religious image. She examines how a set of fifteenth-century writers, including Lollard authors, John Lydgate, Thomas Hoccleve, John Capgrave, and Reginald Pecock, translated complex clerical debates about the pedagogical and spiritual efficacy of images and texts into vernacular settings and literary forms. These authors found vernacular discourse to be a powerful medium for explaining and reforming contemporary understandings of visual experience. In its survey of the function of literary images and imagination, the epistemology of vision, the semiotics of idols, and the authority of written texts, this study reveals a fifteenth century that was as much an age of religious and literary exploration, experimentation, and reform as it was an age of regulation.

Cognitive linguists and biblical and patristic scholars have recently given more attention to the presence of conceptual blends in early Christian texts, yet there has been so far no comprehensive study of the general role of conceptual blending as a generator of novel meanings in early Christianity as a religious system with its own identity. This monograph points in that direction and is a cognitive linguistic exploration of pastoral metaphors in a wide range of patristic texts, presenting them as variants of THE CHURCH IS A FLOCK network. Such metaphors or blends, rooted in the Bible, were used by Patristic writers to conceptualize a great number of particular notions that were constitutive for the early church, including the responsibilities of the clergy and the laity, morality and penance, church unity, baptism and soteriology. This study shows how these blends became indispensable building blocks of a new religious system and explains the role of conceptual blending in this process. The book is addressed to biblical and patristic scholars interested in a new, unifying perspective for various strands of early Christian thought and to cognitive linguists interested in the role of conceptual integration in religious language. Produced with the support of the Faculty of Philology, Jagiellonian University in Krakow, Poland.

Ernst Haeckel (1834-1919) was a German-born biologist, naturalist, evolutionist, artist, philosopher, and doctor who spent his life researching flora and fauna from the highest mountaintops to the deepest ocean. A vociferous supporter and developer of Darwin's theories of evolution, he denounced religious dogma, authored philosophical treatises, gained a doctorate in zoology, and coined scientific terms which have passed into common usage, including ecology, phylum, and stem cell. At the heart of Haeckel's colossal legacy was the motivation not only to discover but also to explain. To do this, he created hundreds of detailed drawings, watercolors, and sketches of his findings which he published in successive volumes, including several marine organism collections and the majestic Kunstformen der Natur (Art Forms in Nature), which could serve as the cornerstone of Haeckel's entire life project. Like a meticulous visual encyclopedia of living things, Haeckel's work was as remarkable for its graphic precision and meticulous shading as for its understanding of organic evolution. From bats to the box jellyfish, lizards to lichen, and spider legs to sea anemones, Haeckel emphasized the essential symmetries and order of nature, and found biological beauty in even the most unlikely of creatures. In this book, we celebrate the scientific, artistic, and environmental importance of Haeckel's work, with a collection of 300 of his finest prints from several of his most important tomes, including Die Radiolarien, Monographie der Medusen, Die Kalkschwamme, and Kunstformen der Natur. At a time when biodiversity is increasingly threatened by human activities, the book is at once a visual masterwork, an underwater exploration, and a vivid reminder of the precious variety of life. About the series TASCHEN is 40! Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible publishing, helping bookworms around the world curate their own library of art, anthropology, and aphrodisia at an unbeatable price. Today we celebrate 40 years of incredible books by staying true to our company credo. The 40 series presents new editions of some of the stars of our program-now more compact, friendly in price, and still realized with the same commitment to impeccable production.

To study a plant in detail is to make a fascinating journey of discovery. Even plants we think we know well will often surprise us as we look at the intricacy of their structure and how they are put together. This fascinating guide explains what flowering plants are and their relationship to other groups of plants. With drawings, paintings and photographs throughout, it advises on how to carry out a botanical study and will prove essential reading for botanical artists, photographers and all those wishing to gain a greater understanding of flowering plants.

From #1 bestselling author Justin Blaney: I love telling stories. I've been earning a living-though sometimes it's been hard to call it that-from storytelling since I was sixteen years old selling vacuum cleaners door to door. Funnily enough, some of the stories I told back then were more fictional than the novels I write today. Over the years, the mediums I've used have changed, but for me, it's always been about the story. Through blogging and songwriting and photography and speaking and design and sales, I've learned that the power of story is universal. Today, I apply my passion to writing novels and producing films for nonprofits and businesses. Sometimes I'm trying to affect change in the world through fictional characters and magical adventures. Other times, I'm showing the world how my nonprofit and business clients are heroes in the lives of the people they serve. I'm often surprised to find that the real stories are even more magical than the fiction. And that is why I created Fast Wide Open. I realized many of the true stories that have inspired me over the last fifteen years were being held captive on my computer's hard drives. Whenever I see these images, I remember the way I felt when they were taken. I think of the people who allowed me to share for a small time the richness of their lives, the people who live or worship or play or learn in these places, the people who work these machines. This book is not about pictures. It's about the fairytales inside the pictures. These pictures are mere snapshots of real lives, but the snapshots give us a window through which we can dream for a short time that we are inside the fairytale. That we are someone else. And sometimes, every so often, a little bit of that dream rubs off on us, and when we wake, we find we're just a tiny bit changed. I hope these stories inspire you as much as they inspire me. About Fast Wide Open: This collection of photos from Justin Blaney provides a panorama of the inspiration for his anthology of post-modern fairytales, exploring character, architecture, setting, texture and visual storytelling. Praise for Justin Blaney's work: "Justin Blaneycreates a wonderful world of intrigue, mischief, and magic that comes alive through vivid storytelling." - Kari Skinner - "Dark, but amazing." - Silverine - "Unique and rustic and wonderful" - JoJo's Corner - "Waaaay outside the box " - Bless their hearts mom - "Absolutely awesome." - Renee Chaw - "Freaking amazing upside down, side ways and back again" - Hope to Read - "Griping" - Susan Stalker - "Magical, mystical, imaginative and compelling." - L. Stronjny - "Wickedly complex" - Mary Weber - "Appeals to the aesthetic value of everyday mundane things" - Nerdzy - "Justin Blaney has his finger on the pulse of artistic current." - Kat in Kentucky -

Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin, 1886-1949 examines the depiction of Dublin by artists from the late-nineteenth to the mid-twentieth century. Artists' representations of the city have long been markers of civic pride and identity, yet in Ireland such artworks have been overlooked in favour of the rural and pastoral. Framed by the shift from city of empire to capital of an independent republic, this book examines artworks by Walter Osborne, Rose Barton, Jack B. Yeats, Harry Kernoff, Estella Solomons and Flora Mitchell, encompassing a variety of urban views and artistic themes. While Dublin is already renowned for its representation in literature, this book will demonstrate the many attractions it held for Ireland's artists, offering a vivid visualisation of the city's streets and inhabitants at a crucial time in its history. -- .