Continuing the tradition of creating the next level of breathtaking pin-up girls in the modern world, internationally acclaimed photographer and pin-up artist Celeste Giuliano presents her classic style of pin-ups in stunning 3-D for the first time ever. The pin-up girl has been a staple of classic American culture since the 1920s. Featured on advertisements and novelty items, their coy smiles and flirtatious ways captivated millions while selling everything from colas to cars. During the 1950s, a whole new dimension of tease gained popularity once these timeless beauties were presented in 3-D. This book features all new images of the classic girl next door that tease both on and off the pages in breathtaking realism.

This title was first published in 2000: In their stunning simplicity, George Romney's portraits of eighteenth-century gentry and their children are among the most widely recognised creations of his age. A rival to Reynolds and Gainsborough, Romney was born in 1734 on the edge of the Lake District, the landscape of which never ceased to influence his eye for composition and colour. He moved in 1762 to London where there was an insatiable market for portraits of the landed gentry to fill the elegant picture galleries of their country houses. Romney's sitters included William Beckford and Emma Hart, later Lady Hamilton. An influential figure, one of the founding fathers of neo-classicism and a harbinger of romanticism, Romney yearned to develop his talents as a history painter. Countless drawings bear witness to ambitious projects on elemental themes which were rarely executed on canvas. Richly illustrated, this is the first biography of Romney to explore the full diversity of his oeuvre. David A. Cross portays a complex personality, prone to melancholy, who held himself aloof from London's Establishment and from the Royal Academy, of which Sir Joshua Reynolds was President, and chose instead to find his friends among that city's radical intelligentsia.

Throughout history flowers have been an integral part of human survival and culture - as food, for medicine, to express feelings, as symbols, to commemorate and celebrate, and to decorate. Their shapes, colours, scents and textures have always attracted us, as they do animals and insects. Flowers are used as luxury spices (saffron), and as colouring and flavouring agents - marigolds fed to chickens make eggs more yellow and lavender was Elizabeth I's favourite flavour of jam. Flowers are full of symbolic meaning: violets represent modesty, daises purity and daffodils unrequited love. And they have always played an important role in culture through myths and legends, literature and the decorative arts. This delightful new book brings together 100 of the world's flowers to tell their remarkable stories. Each flower is richly illustrated in colour and accompanied by facts about each species and what role it has played in our culture and history.

Learn how to paint adorable animals, flavorful fruits, lively plants, and more in this free-and-easy approach to watercolor. Artist Natalia Skatula has a beautiful, whimsical style that will charm you through 12 simple step-by-step projects and over 100 worked examples. Beginning with an overview on materials and equipment, Natalia then covers the general techniques needed to achieve the paintings, along with her top-10 personal tips for success. Projects include: A majestic whale An adorable sloth Elephants Pandas Dogs Llamas Bears Foxes Rabbits And more! This book also includes a range of presentation ideas to inspire you to put your finished work on display or gift it. The gallery of examples that follows includes plants, cats, beetles, birds, sealife, jungle creatures and fruits, giving you a treasure-trove of references for your painting. This book also makes the perfect gift for artists of all ages, especially plant and animal lovers. Find the inspiration and technique to start your watercoloring adventures with this beautiful guide!

Taking inspiration from artists of the Renaissance to Rococo periods, contemporary artist Arabella Proffer has re-imagined the mannerist portrait with a pop surrealist twist. After researching fashion history, heraldry, and peerage protocol, she went on to create her own world parallel to that of old world Europe. Concocting a family legacy -- ancestors that could belong to anyone it has become an impulse and a passion the artist continues to explore, adding characters and stories to her ever-growing private empire of punks, goths, and nobility behaving badly. Included are over 40 portraits created between 2000 and 2011, their stories, family trees, map and more, as well as a foreword by Josh Geiser of Creep Machine and Paper Devil.

Religion, Art, and Visual Culture gathers together the most current scholarship on art, religion, visual culture, and cultural studies. The book approaches the study of world religions through the human, meaning-making activity of seeing. The essays move between specific visual subjects (painting, landscape gardens, calligraphy, architecture, mass media) and the broader theoretical discourses relevant to religion and the wider humanities today. Topics covered include art and perception; the iconicity of Jesus Christ; the relation of word and image in Islam and divine images in India.

LONGLISTED FOR THE 2020 BAILLIE GIFFORD PRIZE CHOSEN AS A BOOK OF THE YEAR BY THE GUARDIAN, OBSERVER, THE TIMES, SUNDAY TIMES, DAILY TELEGRAPH, MAIL ON SUNDAY, FINANCIAL TIMES, NEW STATESMAN, SPECTATOR THE SUNDAY TIMES ART BOOK OF THE YEAR 2020 'A dazzling tour de force' THE TIMES 'Does justice to Freud's pitiless genius as an artist' DAILY MAIL 'You can hear Freud's voice on the page' OBSERVER 'Mesmerising ... the ideal companion to Freud's work' GUARDIAN William Feaver, Lucian Freud's collaborator, curator and close friend, knew the unknowable artist better than most. Over many years, Freud narrated to him the story of his life, 'our novel'. Fame follows Freud at the height of his powers, painting the most iconic works of his career in a constant and dissatisfied pursuit of perfection, just outrunning his gambling debts and tailor's bills. Whether tattooing swallows at the base of Kate Moss's back or exacting a strange and horrible revenge on Jerry Hall and Mick Jagger, Freud's adventures were always perfectly characteristic. An enfant terrible till the end, even as he was commissioned to paint the Queen and attended his own retrospectives, what emerges is an artist wilfully oblivious to the glitter of the world around - and focussed instead on painting first and last.

From the visual and textual art of Anglo-Saxon England onwards, images held a surprising power in the Western Christian tradition. Not only did these artistic representations provide images through which to find God, they also held mystical potential, and likewise mystical writing, from the early medieval period onwards, is also filled with images of God that likewise refracts and reflects His glory. This collection of essays introduces the currents of thought and practice that underpin this artistic engagement with Western Christian mysticism, and explores the continued link between art and theology. The book features contributions from an international panel of leading academics, and is divided into four sections. The first section offers theoretical and philosophical considerations of mystical aesthetics and the interplay between mysticism and art. The final three sections investigate this interplay between the arts and mysticism from three key vantage points. The purpose of the volume is to explore this rarely considered yet crucial interface between art and mysticism. It is therefore an important and illuminating collection of scholarship that will appeal to scholars of theology and Christian mysticism as much as those who study literature, the arts and art history.

This book provides a framework by which a global audience might think theologically about contemporary films produced in mainland China by Chinese directors. Up to this point the academic discipline of Christian theology and film has focussed predominantly on Western cinema, and as a result, has missed out the potential insights offered by Chinese spirituality on film. Mainland Chinese films, produced within the nation's social structure, offer an excellent lingua franca of China. Illuminating the spiritual imagination of Chinese filmmakers and their yearning for transcendence, the book uses Richard A. Blake's concept of afterimage to analyse the potential theological implications of their films. It then brings Jurgen Moltmann's "immanent-transcendence" and Robert K. Johnston's "God's wider Presence" into conversation with Confucianist and Daoist ideas of there being, spirituality-speaking, "More in Life than Meets the Eye" than simply material existence. This all combines to move beyond film and allow for a Western audience to gain a new perspective on Chinese culture and traditions. One that uses familiar Western terms, while avoiding the imposition of a Western mindset. This is a new perspective on cinema, religion and Chinese culture that will be of keen interest to scholars of Religion and Film, Religious Studies, Theology, Sociology of Religion and Chinese Studies.

For Japan the existence of the 20th century was announced apocalyptically by the atomic bomb at Hiroshima. Whatever clothes the Emperor wore that day, they were useless to him now. And no sooner had the revelation of Western civilisation been so awesomely visited upon the Rising Sun than came the 21st century, gizmoid and insensible, surreal and plastic. In Reflex, 40 urban young artists and performers realise the manifestations of modern Japan through their own unique brand of self-portraiture. Superficially many of them seem simply weird - two gay Sumo wrestlers fighting in a bathhouse, for instance, thereby subverting the parameters of traditional, male-orientated Manga culture, or amateur photography of Geishas and phallic steam trains. But they are more than that. By identifying six distinct Japanese reflexes to the 21st century, namely the Kid Reflex, Naked Reflex, Manga Reflex, Group Reflex, Amateur Reflex and the Imaged Reflex, these artists have provided, in a myriad of self-representations, the concerns of young Japan, shocking to anyone ignorant of the pressures at work in their society. The amateur auteur seeking to explain; the group methodology seeking to conform; the liberated innocence of nakedness at odds with nudity; the mass-market phenomenon of a strictured teenage audience; the professional artist and above all, the powerful Manga culture - these are bewildering and fantastic concepts, illustrated by images both sublime and confusing. Reflex is a compilation by 40 contemporary Japanese artists, professional and amateur photographers, Manga illustrators and renegade artists in Japan. It is co-edited by Mark Sanders (Senior Editor for Another Magazine), KyoichiTsuzuki (artist and editor of the award-winning Roadside Japan), and Fumiya Sawa (consultant and co-curator on the Barbican Gallery's exhibition JAM: Tokyo - London).

Artists can master a shorthand way to capture the movement and attitudes of birds--not always the most cooperative of models Birds have been featured in art for many thousands of years, but they pose a challenge to paint. By understanding their anatomy and recognizing their type, the artist can learn to capture movement and attitude. With technique and color mastered, style develops, and a special scene can be captured uniquely forever. This artists' resource explains bird types, and how identifying specific similarities can help the artist. It advises on painting in the field, using photographs, and working in the studio; describes how to paint plumage and birds in flight; and demonstrates how to compose a painting with emphasis on the birds' habitat. Thirty leading artists give their insights into painting birds, along with illustrations of their work, including John Busby--the author of "Drawing Birds"--Ontario's Robert Bateman, and Charles Tunnicliffe.

The studies in this volume all deal with images and texts that relate to the veneration of the saints in Byzantium after the 9th century. Some papers are devoted to the church calendar and the annual commemorations of hundreds of saints through liturgical poetry and sequences of isolated images in fresco, icon painting and illuminated manuscripts. Others are concerned with the longer and rarer, narrative cycles devoted to the life of a single saint, cycles found mainly in fresco and on the so-called vita icons that first appear in the East in the late 12th century. Additional studies deal with the developing role of icons in liturgical ceremonies, and with images of a saint being approached by a supplicant or patron. A final section is devoted to places made holy by the saints, and to their holy relics.

'This is botanical illustration at the highest level.' - The Artist Christabel King is the foremost botanical artist at the Royal Botanical Gardens at Kew, world leaders in the study and preservation of plant species. Here she shares her passion for depicting plants, both in scientific illustrations and in looser botanical art. This inspiring guide covers everything you need to know: choose a subject and create a vibrant composition; accurately sketch, shade and colour leaves, flowers, cacti and more; finally, press and preserve your own treasured specimens. A chapter on travel drawing gives a flavour of the author's worldwide experience, and there are many of her beautiful plates from the prestigious Curtis's Botanical Magazine. There is a helpful section on suitable subjects for beginners and a glossary of terms, to get you started in the beautiful art of botanical illustration.

Fleshing out surfaces is the first English-language book on skin and flesh tones in art. It considers flesh and skin in art theory, image making and medical discourse in seventeenth to nineteenth-century France. Describing a gradual shift between the early modern and the modern period, it argues that what artists made when imitating human nakedness was not always the same. Initially understood in terms of the body's substance, of flesh tones and body colour, it became increasingly a matter of skin, skin colour and surfaces. Each chapter is dedicated to a different notion of skin and its colour, from flesh tones via a membrane imbued with nervous energy to hermetic borderline. Looking in particular at works by Fragonard, David, Girodet, Benoist and Ingres, the focus is on portraits, as facial skin is a special arena for testing painterly skills and a site where the body and the image become equally expressive. -- .

Brimming with over 300 botanical motifs, this wonderful resource will provide inspiration and instructions for embroidery artists and flower ladies everywhere. This collection features designs including flowers, ferns, succulents, leaves, bees and garden scenes. The books includes basic embroidery instruction for stitches and transferring designs onto fabric. Original designs and clear instructions make this book a must have for any embroidery enthusiast's library.

This is a sumptuous catalog of regional landscape paintings and the talented, living artists who create them, including Robert J. Barber, Denise Dumont, Michael Godfrey, Hai-Ou Hou, Abigail McBride, and Sam Robinson. It is packed with over 400 eye-catching color reproductions of work by some of today's finest plein air artists, including spectacular beach scenes, pastorals, cityscapes, and harbor scenes. This informative volume also includes a concise history of landscape painting in Pennsylvania, New Jersey, Maryland, Delaware, and Virginia, showing examples of great art of the past by some outstanding Mid-Atlantic painters, including the Pennsylvania Impressionists, the New Jersey Manasquan Art Colony, the Egelis, and much more. This volume fills an empty niche in the rich history of American art. It is an ideal book for anyone, who loves plein air landscape painting, and a wonderful introduction to traditional art of the region. It will appeal to art historians, dealers, and collectors alike.

"The double question we must always ask is, 'How does faith inform art?' and 'How can art animate faith?'"

Imagination, appreciation of beauty, creativity: all of these qualities have been given to us by God. For the Christian artist, the drive to create something wonderful is also a means to glorify and better understand our Lord. Using excerpts from her own works as well as those of writers who have gone before her--Emily Dickinson, Annie Dillard, C.S. Lewis, and others--poet and writer Luci Shaw proves that symbolism and metaphor provide ways for humans to experience God in new and powerful ways.

Shaw offers a rich and thought-provoking exploration of art, creativity, and faith. Believing that art emanates from God, she shows how imagination and spirituality "work in tandem, each feeding on and nourishing the other." Faith informs art and art enhances faith. They both, for each other, are "breath for the bones."

Provocative, enlightening, and above all, inspiring, "Breath for the Bones" will help readers discover the artist within, and bring them further along the path to God Himself.

Include s Discussion Questions and Writing Exercises

Draw Like an Artist: 100 Flowers and Plants is a must-have visual reference for student artists, botanical illustrators, urban sketchers, and anyone seeking to improve their realistic drawing skills. This comprehensive book features 600-plus step-by-step sketches depicting a vast array of beautiful botanicals, florals, plant structures, and more. Each begins with simple shapes and lines and builds on those forms, adding details like flower centers, leaf veins, and petal shading, and ending with a finished drawing. Helpful drawing tips are also included. Designed as a contemporary guidebook for artists who want to draw botanical forms, Draw Like an Artist: 100 Flowers and Plants shows flower blossoms, leaves, and plants from a variety of perspectives. By following the guides, artists will become more skilled and confident in their ability to draw any flower or greenery. Among the botanicals featured are: Tropical florals such as plumeria, protea, and African violet Hanging and vine blooms, including wisteria and morning glory Birch, white oak, gingko, and maple leaves Plants with interesting shapes, such as cactus, zebra grass, and bamboo Author Melissa Washburn is a skilled illustrator whose clear and elegant drawing style will make this a go-to sourcebook for years to come. The books in the Draw Like an Artist series are richly visual references for learning how to draw classic subjects realistically through hundreds of step-by-step images created by expert artists and illustrators.

Photography was invented between the publication of Adam Smith's The Wealth of Nations and Karl Marx and Frederick Engels's The Communist Manifesto. Taking the intertwined development of capitalism and the camera as their starting point, the essays in Capitalism and the Camera investigate the relationship between capitalist accumulation and the photographic image, and ask whether photography might allow us to refuse capitalism's violence-and if so, how? Drawn together in productive disagreement, the essays in this collection explore the relationship of photography to resource extraction and capital accumulation, from 1492 to the postcolonial; the camera's potential to make visible critical understandings of capitalist production and society, especially economies of class and desire; and propose ways that the camera and the image can be used to build cultural and political counterpublics from which a democratic struggle against capitalism might emerge. With essays by Ariella Aisha Azoulay, Siobhan Angus, Kajri Jain, Walter Benn Michaels, T. J. Clark, John Paul Ricco, Blake Stimson, Chris Stolarski, Tong Lam, and Jacob Emery.

The really easy way to learn how to paint flowers in watercolour! Using a simple ten-step process, learn how to draw a basic outline starting with simple shapes, then add washes of colour and fine details to complete your work. Arranged in three chapters based on skill level, this book features 25 lovely projects, each showing you how to paint a flower in ten steps. There are paint swatches for every plant, showing you the colours you need to mix for each step of the way and the finished painting serves as a reference to guide you. It couldn't be easier! Also included is a useful techniques section at the beginning, and clever painting tips from the author throughout the book. With flora as diverse as a tulip, a magnolia, a bunny ears cactus and a passionflower, there is plenty to choose from and practise with, to develop your skills.

Girl With Two Fingers is an edited day to day account of life as a subject of eight portraits by Lucian Freud. '...diaries and letters are a form of time travel. They transport the future reader back to the moment the words were written.' In 1999, a young woman writer returns to London from living in Paris, having been hit by a bus. The accident is a wake-up call: what should she do with her life, how to continue writing? Having known Lucian Freud over a decade, and having previously declined to have a portrait painted by him, she writes asking if he still needs someone to work from Something to do while thinking what to do next. Writer and painter meet for dinner and an after hours visit to the National Gallery, and agree to start painting the following week. The studio in Holland Park is unchanged, except everyone's ten years older. The puppy, Pluto, is an old girl now. The writer has travelled, written, grown up.'Now I look for the adult in me, instead of the child.' She keeps a diary, as she always has, until it becomes too much of a chore. After a few weeks, she begins to write to an imaginary confidante instead. 'Every thing, be it glamorous or mundane, has a particularity of its own. Seeing and recording that particularity is what a writer does. And it's a form of protest. Because it's the loudest voice that tells you how to see, and the smallest voice that sees and hears the most.' As an act of independence she rejects the offered chair and stands for her picture, standing up to the artist. She records, 'For now, my place on the planet is in this studio, my small space the shapes of my feet carved into the floor.' The writer's under no illusion that the picture will be flattering. 'I'm simply a body for him to paint, one of many bodies. And a face. Another one of many.' She won't connect to the finished image.'I'm not going to recognise myself, or connect with this image. It'll just be a work of art.' But writer and painter do connect. This becomes a painting relationship, one picture leads to seven more. Leading to night time phone calls and the painter saying 'I'm beginning to depend on you.' 'It feels a bit like Shakespeare's The Tempest up here. The studio our island. Lucian as Prospero, with 'art to enchant'. The shopper as Ariel, and me as a stand-in Miranda.' But not everybody's happy with this painting relationship. And it's proving too much for the subject herself. Despite being committed to the painter's work, she's keen to regain her freedom. 'I think he knows I'm starting to want to break free. That's a kind of magnetic energy for him.' Face to face: writer and painter, woman and man, the seer and the seen. And the unseen. Because that's the joy of writing: it's seeing what can't be depicted in paint. On a trip to New York May 2000, standing unnoticed in a gallery between two of the portraits of herself, the writer looks in to the pictures she's - depicted as - looking out from, and asks if the images are more about the painter than the painted: '...his view, his space, his paint, his colours, his brushes, his language, his desire to control and portray. His feelings. His life events. And the distortions, the freuding, are his signature. They are autobiographical naked portraits of Lucian. Hiding in plain sight.' 'The stories that bring a fixed portrait into being are much more fun than the finished thing itself.' 'What's lovely about (a friend),' says Lucian 'and you do it too, is you describe people by what they say.' 'What do you mean?' 'Well you repeat what it was they said.' Beautifully written, poignant and evocative, testament to the world of the studio, witness to the act of portraiture. 'Historically, men make images of women. Men tell us how to see and understand those images. They narrate them. And then they market what they have made. So the images of women are about men.' Girl With Two Fingers is the female gaze, a detailed subject's account of the making of eight works of art.

This dazzling collection showcases the very best of the British Wildlife Photography Awards, presenting over 150 of the winning, commended and shortlisted images from the 2017 competition. Featuring a range of photography from world-leading professionals as well as inspired amateurs, it is a book that captures the magnificent diversity of the British Isles. British Wildiife Photography Awards is divided into the competition's fifteen categories, from Animal Portraits through to the Young People's Awards. Every photograph is beautifully reproduced in a large format, with detailed technical information alongside the photographer's personal account, to appeal to both photographers and natural historians.