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Magnificent compendium of the finely detailed plant images from the Victorian era-all identified with Latin and common names and arranged alphabetically by family. Hundreds of plant species-from lilies, lichens, poppies and palms to mushrooms, mosses, marigolds and maples-supplemented by specialized appendices on edible foods, medicinal herbs, plants used in decoration and in graphic design. Indispensable source of inspiration and copyright-free graphics for designers and artists; a captivating compendium for botanists, gardeners, and collectors of old engravings.
The Jockey Club and its remarkable collection are part of racing's heritage. Assembled over three centuries, the collection contains some of the best racing art in existence including paintings by George Stubbs, J.F. Herring, and Sir Alfred Munnings among many works by lesser artists. Taken as a whole the contents of the Club's premises in Newmarket are enough to fascinate anyone with even a passing interest in sporting pictures or racing. This catalogue much extends the previous one privately published in 2006; in this new publication all works are illustrated and arranged alphabetically by artist with short biographies. There are some 50 additions of which the most important are a particularly fine painting by John Ferneley and a portrait of The Queen with her Ascot Gold Cup winner, Estimate. The accompanying text by David Oldrey, the pre-eminent authority on racing art, provides detailed information about the works themselves and about the horses, owners, trainers and jockeys depicted.
This beautiful mix of art and science offers a breathtaking look at the way that contemporary scientific discoveries are changing our understanding of plants and plant evolution. 136 botanical paintings from the Shirley Sherwood Collection, by 84 artists, cover 50 orders of plants in 118 families, and a total of 133 species, providing a sweeping overview of the evolution of plants on earth. The paintings display a sampling of the living world from fungi to daisies, including algae, mosses, ferns, conifers and flowering plants, arranged in the most up to date evolutionary sequence, determined by recent DNA analysis. The text places each artist's observations in the context of modern plant classification, providing readers with a new understanding of the complex interrelationships between plant species, and enhancing their appreciation of the botanical artist's ability to portray the delicate beauty of nature.
Beaches, marshes, mangroves; cliffs, deserts, forests; bays, deltas, estuaries - coastlines take many different forms and are put to very different uses. From deserted beaches to busy ports, from pretty fishing villages to a surfers' paradise, a salt marsh to a ship-breakers' yard, Coasts celebrates where the land meets the sea. From beautiful coastal paths to the shipwrecks left high and dry in the Aral Sea, from world famous locations such as Copacabana Beach in Brazil and Big Sur in California to the little explored coastlines of Yemen and Oman, from Algeria to Antarctica, the Amalfi Coast to the Dead Sea, the book celebrates a huge range in coastlines from all around the world. Including nature reserves and tourist resorts, rugged landscapes and desert island tranquility, fjords and fossils, eroding cliffs to whole towns lost to the waters, the book explores coastlines in all climates and conditions around the globe. Presented in a landscape format and with captions explaining the story behind each entry, Coasts is a stunning collection of images and stories.
Frederic Church, the acclaimed Hudson River School artist, first traveled to Maine in 1850. Over the next decades Church ventured repeatedly from his New York State home, Olana, to explore the Maine coast and its rocky islands. He also frequently trekked inland to visit Mount Katahdin. Maine provided sensational sunsets, robust waves crashing on rocky shores, and an abundance of wilderness well suited to Church's artistic vision.
Maine Sublime brings together all of the artwork in the Olana collection resulting from and inspired by Church s travels, from finished oil sketches that Church selected to mount, frame, and display at his home to pencil sketches and cartoons that he stored in portfolios. The subjects include such specific locations as Sunset Bar Harbor (1854) and works like Sunset (ca. 1852 65) and Twilight a Sketch (1858), which were inspired by dramatic Maine skies and are evocative of the region as a whole. Throughout his life, Church would continue to visit Maine, sketching, fishing, and hiking. In 1878 he bought land on Lake Millinocket with a view of Katahdin and built a simple cabin. After Church s marriage in 1860, his wife Isabel often joined his excursions to Maine. In a witty cartoon included in this catalog, Frederic and Isabel Church on Mount Desert Island, Church captures his wife s admiration of the scenery.
Maine Sublime accompanies an exhibit of Church s Maine artwork that will be displayed at the Portland Museum of Art (Portland, Maine) from June to September, 2012; the Museum of Fine Arts, Houston from February to May 2013; and the Evelyn and Maurice Sharp Gallery at Olana (Hudson, New York) from July to October, 2013."
Frederic Church (1826-1900), the most celebrated painter in the United States during the mid-19th century, created monumental landscapes of North and South America, the Arctic, and the Middle East. These paintings were unsurpassed in their attention to detail, yet the significance of this pictorial approach has remained largely unexplored. In this important reconsideration of Church's works, Jennifer Raab offers the first sustained examination of the aesthetics of detail that fundamentally shaped 19th-century American landscape painting. Moving between historical context and close readings of famous canvases-including Niagara, The Heart of the Andes, and The Icebergs-Raab argues that Church's art challenged an earlier model of painting based on symbolic unity, revealing a representation of nature with surprising connections to scientific discourses of the time. The book traces Church's movement away from working in oil on canvas to shaping the physical landscape of Olana, his self-designed estate on the Hudson River, a move that allowed the artist to rethink scale and process while also engaging with pressing ecological questions. Beautifully illustrated with dramatic spreads and striking details of Church's works, Frederic Church: The Art and Science of Detail offers a profoundly new understanding of this canonical artist.
The Flemish artist F. Balthazar Solvyns lived in Calcutta from 1791 to 1803 and produced a remarkable series of etchings portraying the people of Bengal in their life and culture. First published in Calcutta in 1796 and redone for a more elaborate Paris edition, Les Hindous, 1808-12, some 300 etchings, with their accompanying descriptions, provide a rich and detailed ethnographic survey of India of two hundred years ago. With sections on caste occupations, household servants, festivals, religious mendicants, and musical instruments, Solvyns includes a portrayal of the boats of Bengal in 36 etchings.
In Geninne's Art: Birds in Watercolor, Collage, and Ink, popular Santa Fe artist Geninne Zlatkis presents a personal field guide to how she creates her charming paintings and collages of birds and nature. Brimming with inspiring examples of the artist's work, this beautiful book takes you inside Geninne's studio for an in-depth look at how she creates. You will discover, step by step, how this devoted artist spends time photographing nature, selecting her materials, and developing her personal imagery. Explore: How her studio is set up, how she works, and what materials and tools she uses How she captures nature with both a camera and phone for reference Her artistic process through the step-by-step creation of five watercolor paintings, five collages, and five ink drawings, with notes on each medium and technique As a special bonus, the book includes 32 pages of collage papers, painted and selected by Geninne, for you to use as you explore and develop your own artistic voice. Vibrant, detailed, and richly imaginative, Geninne's interpretation of the birds she has observed so closely will inspire you to use the natural world as fodder for your paintings, drawings, and collages.
"The intersection of fact and feeling is very important in my work. It drives my work in general, and in particular for Lennox Woods," explains Deborah Paris. Having spent the past year physically and psychologically immersed in Texas's northeast Lennox Woods, the state's only remaining old-growth forest, Paris has forged a deeply intimate relationship with her subject matter.
A veteran landscape painter and self-described artist-naturalist, Paris translates how Lennox Woods looks and how it feels, re-creating its live, three-dimensional environment on the two-dimensional picture plane. Through a convergence of literal observation and soulfulness, the artist-naturalist conveys the true essence of her subject matter to evoke the sublime. Thick with virgin timber and rare and endangered plant and animal species, Lennox Woods exists as tangible history, an example of how the land looked before the settlers arrived. This book represents the culmination of Deborah Paris's eighteen-month "residency" in the 375-acre Lennox Woods Preserve.
This is a complete and innovative practical guide that offers artists simple solutions to common drawing problems in a unique question and answer format. Answers are presented through clearly annotated pictures and easy-to-follow technique demonstrations. It provides detailed solutions for all the most common drawing problems including rendering trees accurately, drawing figures from life and how to recreate animal fur and feathers. It focuses solely on graphite to provide clear and comprehensive answers for all the key drawing questions.
Art of Nature is an astonishing visual record of the exploration of parts of the natural world that had never previously been documented. It features many of the greatest natural history artists of the last 300 years--Merian, Bartram, Ehret, the Bauer brothers, Audubon, and Gould. Some were seeking fame as scientists or artists, others sought financial gain or at least the prospect of earning a living in what they loved doing. For some it also provided them with the opportunity to present their view of nature to a wider community. Whatever the reasons, few would have contradicted Humboldt's comment that he was "spurred on by an uncertain longing for what is distant and unknown, for whatever excited my fantasy: danger at sea, the desire for adventures, to be transported from a boring daily life to a marvellous world." Continent by continent, Judith Magee draws on the unrivaled collections of the Library of the Natural History Museum in London to illustrate the development of natural history art through the centuries and its crucial role in furthering people's appreciation of nature all around the world.
Where the windswept Patagonian steppe meets the Andes, and the massive unclimbed south wall of Cerro San Lorenzo looks down on the Lacteo Valley: Perito Moreno National Park is a stronghold of wild nature. In a region so alluring that is has become synonymous with beauty at the end of the Earth, Perito Moreno National Park is an icon of Patagonia. Named in honor of revered early conservationist Perito Moreno, the "John Muir of Argentina," this relatively little visited park is a magnet for intrepid travelers and ambitious alpinists. Legendary businessman and philanthropist Douglas Tompkins (founder of The North Face) contributes the book's foreword. In a book as grand as the natural area it celebrates, "Perito Moreno National Park" presents a stunning collection of images of the park by renowned landscape photographer Antonio Vizcaino. With supporting essays from experts on the park's natural and cultural history, this elegant volume offers an armchair tour of one of the world's most scenic and unsullied landscapes. For all of who dream of Patagonia, "Perito Moreno National Park" is a ticket into the heart of the wild.
Recording Alexander von Humboldt's historic expedition to the Americas and Cuba-hailed by many as the "scientific discovery of America"-these intricate and delicately tinted prints reveal his revolutionary findings as he traveled through jungles, across rivers, and over mountainous terrain. The illustrations in the book give the English and Latin botanical names of the plants and are followed by an exhaustive index. Internationally renowned botanist H. Walter Lack lends his expertise to a fascinating essay that discusses Humboldt's significant contributions to the world of botany and scientific research. Technically precise, the prints are equally appealing to anyone who appreciates fine art and botanical illustration.
Since the first examples of prehistoric cave art, we can see that animals have been a subject of great fascination for the artist. Every civilisation through history has sought to depict animal forms - an obsession which persists in art today. Giovanni Civardi shares his expert advice on observing animal anatomy, form and structure and employing perspective to capture a variety of wild animals with lifelike detail. This inspirational and easy-to-follow guide will suit beginners as well as more expert artists providing a comprehensive overview of the techniques including advice and suggestions for the practical aspects of drawing from life.
Whether highly bred canines or loveable mixed breeds, America has fallen in love with the dog, and who better than Christine Merrill, America's premier pet portraitist, to chronicle this long term relationship. As best selling author Barbara Taylor Bradford exclaims, She has caught my Jemmy exactly; the portrait is perfect in every way. While grounded in the traditions of 18th and 19th century England, this Baltimore artist has over the past 20 years created a body of work, which depicts the American dog in its own especially American environment. Each chapter of this book features an American dog owner who has commissioned Merrill to capture their dog in oils, and answer the who, what, where and why's of each collector's story, and how they came to seek out Merrill to portray their dogs - members of the family whose portraits often supplant the portraits of their human relatives. Each chapter is lavishly illustrated, not only with Merrill's paintings, but also with colour photographs of the pet owner with their American dog at home. Merrill's paintings, executed in the centuries old style of the great English masters of animal painting, are timeless testaments to our love for the dog, and Americans all over the country have chosen her to create portraits in oil of their beloved pets. Merrill counts movie stars, authors, socialites and captains of industry among her clients, each with one thing in common: their love for their pets. This book provides a glimpse into these worlds, but more importantly something which each of the 40 million dog owners in America can identify with - their pet's unconditional love. Some thirty-five different dog breeds are represented, from fifteen different states. The first part of the book includes 33 essays on Merrill's clients, illustrated with her paintings, but also photographs of the collectors with their dogs, their collections and their homes, personally photographed by the author, William Secord. Each essay has six color photographs. It is exceptional in its access to the largely private lives of these collectors, providing a unique insight into Americans' relationship with their dogs. The second part of the book traces Merrill's career, with over 50 color illustrations of her paintings.
A covetable, refillable ballpoint pen in a stunning Cath Kidston botanical print and encased in a beautiful presentation box. The pen writes in black ink and accepts standard refills.
Walter Potter (1835-1918), a country taxidermist of no great expertise, became famous as an icon of Victorian whimsy. His tiny museum in Bramber, Sussex, was crammed full of multi-legged kittens, two-headed lambs and a bewildering assortment of curios. Closed in the '70s, the museum was variously re-established before being auctioned off in 2003. It was reported that a GBP1M bid by Damien Hirst to keep the collection intact was refused, but in 2010 many of Potter's key pieces were exhibited by the artist Sir Peter Blake at London's 'Museum of Everything', attracting over 30,000 visitors in 6 weeks. The subsequent dispersal of Potter's works has meant the loss of a truly unique Victorian legacy. Here, perhaps for the last time, the collection is preserved and celebrated with new photographs of Potter's best-loved works.
This complete guide to the crisp, precise finish of botanical painting marries traditional technique with contemporary style and includes sections on colour, drawing, continuous tone, composition and dissection. Michael Lakin makes botanical art approachable with simple exercises and a variety of step-by-step instructional approaches, making this a fantastic guide for aspirational beginners.
Breathe Life into Your Animal Drawings Wildlife artist Doug Lindstrand has spent 30+ years observing animals in nature and capturing them on paper. In this book, he distills his expertise into key lessons for drawing any animal in a charming, realistic style. Inside, a whole herd of step-by-step exercises and demonstrations (43, to be exact!) cover a broad range of subjects and challenges, including how to draw: Short, long and patterned fur Mouths, eyes, ears and horns Various poses, including seated, standing and moving A diversity of animals, domestic and wild--from housecats to big cats, from tiny cottontails to massive African elephants. Nothing intimidating here! Starting with easy sketches, you'll learn to gradually refine basic shapes into lifelike dogs, wolves, deer, sheep, horses, bears, giraffes, owls, eagles, geese and other magnificent creatures. With this classic and time-tested approach, you'll be able to draw not only the animals illustrated on these pages, but any animal that touches your artistic soul.
This work includes an essay by Gabriel Ramin Schor. Detailing a major new series of work, Nature Paintings, Tyson departs from traditional methods of representing nature in art by allowing nature itself, rather than the artist's subjectivity, to guide the development of the work. After being poured at different angles and at different temperatures, the chemicals and other materials used to make the work are left to take their own form. These are reminiscent of forms in nature because they have been shaped by natural forces. With these works, Tyson continues to explore the flux and potential inherent in making art in order to communicate the complex and interdependent nature of the world. He challenges the status of the art object as a relic, and tries to preserve the dynamic potential in the act of artistic creation. Keith Tyson won the Turner Prize in 2002.
From the lazy, fiddling grasshopper to the sneaky Big Bad Wolf,
children's stories and fables enchant us with their portrayals of
animals who act like people. But the comparisons run both ways, as
metaphors, stories, and images--as well as scientific
theories--throughout history remind us that humans often act like
animals, and that the line separating them is not as clear as we'd
like to pretend.
A collection of one thousand years of botanical art displayed in the Ashmolean's leading exhibition, which provides an opportunity to compare illustrations by contemporary artists alongside botanical art of the past. The oldest exhibit is a drawing of a thistle made by a monk from the late 11th century. This work is an exhibition of one thousand years of botanical art displayed in the Ashmolean's leading exhibition and providing the unique opportunity to compare illustrations by contemporary artists alongside remarkable botanical art of the past. Chosen by Dr Shirley Sherwood from her acclaimed collection of botanical painting and from the rich historical treasures of Oxford's libraries and museums these inspiring plant portraits stand at the interface between art and science. The oldest exhibit is a drawing of a thistle made by a monk from the late 11th century and the most recent painting, by Angela Mirro, is of a rare Peruvian slipper orchid discovered in 2002. By contrasting the old with the new throughout the show, it becomes apparent that the criteria for botanical illustration have not changed throughout the centuries.
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