This comprehensive guide to painting landscapes in watercolour features the expert tuition of six renowned watercolour artists. It covers all aspects of painting, from materials and techniques through to planning a painting, sketching and perspective. Learn the techniques of wet into wet, spattering, dry brushing, lifting out and using salt to create texture and interest, and follow the step-by-step demonstrations to create realistic water, skies, reflections and buildings, as well as mood and atmosphere. With nine beautiful projects to try, and numerous examples of the authors' work to inspire you, this is the ideal introduction to landscape painting for artists of all abilities. This book includes material previously published in the highly successful Step-by-Step Leisure Arts series and the Watercolour Tips and Techniques series.

"Vanishing Ice" introduces the rich artistic legacy of the planet's frozen frontiers now threatened by a changing climate. Tracing the impact of glaciers, icebergs, and fields of ice on artists' imaginations, this interdisciplinary survey explores the connections between generations of artists who adopt different styles, media, and approaches to interpret alpine and polar landscapes.

Beginning in the eighteenth century, collaborations between the arts and sciences contributed to a deeper understanding of snowcapped mountains, the Arctic, and Antarctica. A resurgence of interest in these environments as dramatic indicators of climate change galvanizes contemporary expeditions to the glaciers and the poles. Today, artists, writers, and scientists awaken the world to both the beauty and increasing vulnerability of ice.

Barbara C. Matilsky is curator of art at the Whatcom Museum, Bellingham, Washington. She is the author of numerous books, including "Fragile Ecologies: Contemporary Artists' Interpretations and Solutions."

The book brings together and shows for the first time ever striking botanical art of Indian origin spanning a period of three hundred years, focussing in particular on the 18th and 19th centuries. Drawn mostly from original works held in the collections of the Royal Botanic Gardens, Kew, some of the paintings have never been published before. They showcase not only the wealth of the Indian sub-continent flora but the richness and variety of artworks, commissioned from mostly unknown Indian artists, who made a substantial contribution to the documentation of plants of economic, ornamental and cultural importance.

How the nature illustrations of a Renaissance polymath reflect his turbulent age This pathbreaking and stunningly illustrated book recovers the intersections between natural history, politics, art, and philosophy in the late sixteenth-century Low Countries. Insect Artifice explores the moment when the seismic forces of the Dutch Revolt wreaked havoc on the region's creative and intellectual community, compelling its members to seek solace in intimate exchanges of art and knowledge. At its center is a neglected treasure of the late Renaissance: the Four Elements manuscripts of Joris Hoefnagel (1542-1600), a learned Netherlandish merchant, miniaturist, and itinerant draftsman who turned to the study of nature in this era of political and spiritual upheaval. Presented here for the first time are more than eighty pages in color facsimile of Hoefnagel's encyclopedic masterwork, which showcase both the splendor and eccentricity of its meticulously painted animals, insects, and botanical specimens. Marisa Anne Bass unfolds the circumstances that drove the creation of the Four Elements by delving into Hoefnagel's writings and larger oeuvre, the works of his friends, and the rich world of classical learning and empirical inquiry in which he participated. Bass reveals how Hoefnagel and his colleagues engaged with natural philosophy as a means to reflect on their experiences of war and exile, and found refuge from the threats of iconoclasm and inquisition in the manuscript medium itself. This is a book about how destruction and violence can lead to cultural renewal, and about the transformation of Netherlandish identity on the eve of the Dutch Golden Age.

In the fourteen years since Sierra Club Books published Theodore Roszak, Mary E. Gomes, and Allen D. Kanner's groundbreaking anthology, Ecopsychology: Restoring the Earth, Healing the Mind, the editors of this new volume--a practicing therapist and a teacher--have often been asked: Where can I find out more about the psyche-world connection? How can I do hands-on work in this area, amidst a culture largely blind to such connections? Ecotherapy was compiled to answer these and other urgent questions. Ecotherapy, or applied ecopsychology, encompasses a broad range of nature-based methods of psychological healing, grounded in the crucial facts that people are inseparable from the rest of nature and nurtured by healthy interaction with the Earth. Leaders in the field, including Robert Greenway, Mary Watkins, and Ralph Metzner, contribute essays that take into account the latest scientific understandings and the deepest indigenous wisdom. Other key thinkers, from Bill McKibben to Richard Louv to Joanna Macy, explore the links among ecotherapy, spiritual development, and restoring community. As mental-health professionals find themselves challenged to provide hard evidence that their practices actually work, and as costs for traditional modes of psychotherapy rise rapidly out of sight, this book offers practitioners and interested lay readers alike a spectrum of safe, effective alternative approaches backed by a growing body of research.

An exquisitely illustrated, one-of-a-kind celebration of the hidden beauty of nature and the ingenuity of birds Susan Ogilvy started painting bird nests almost by accident. One day, while tidying up her garden after a storm, she found a chaffinch nest - a strange, sodden lump on the grass under a fir tree. She carried it inside and placed it on a newspaper; over the next few hours, as the water drained out of it, the sodden lump blossomed into a mossy jewel. She was amazed, and dropped everything to make a painting of the nest at exact life size. This was the start of an obsession; Ogilvy has since painted more than fifty bird nests from life, each time marvelling at its ingenious construction. Every species of bird has its own vernacular, but sources its materials - most commonly twigs, roots, grasses, reeds, leaves, moss, lichen, hair, feathers and cobwebs, less usually, mattress stuffing and string - according to local availability. Ogilvy would, of course, never disturb nesting birds; instead she relies upon serendipity, which is why all her nests have either been abandoned after fulfilling their purpose, or displaced by strong winds. Although Nests showcases the specimens she has found near her homes in Somerset and on the Isle of Arran, its subject matter is by no means only British, since these same birds can be found all over Europe, Scandinavia and as far afield as Russia, Turkey and North Africa. This wondrous book is all the more special for its rarity. Few modern books exist specifically on the subject of bird nests; the most recent among the author's reference works was published in 1932. Exquisitely designed and packaged, Nests will be an essential addition to the libraries of all nature lovers.

Darwin's Camera tells the extraordinary story of how Charles Darwin changed the way pictures are seen and made.
In his illustrated masterpiece, Expression of the Emotions in Man and Animals (1871), Darwin introduced the idea of using photographs to illustrate a scientific theory--his was the first photographically illustrated science book ever published. Using photographs to depict fleeting expressions of emotion--laughter, crying, anger, and so on--as they flit across a person's face, he managed to produce dramatic images at a time when photography was famously slow and awkward. The book describes how Darwin struggled to get the pictures he needed, scouring the galleries, bookshops, and photographic studios of London, looking for pictures to satisfy his demand for expressive imagery. He finally settled on one the giants of photographic history, the eccentric art photographer Oscar Rejlander, to make his pictures. It was a peculiar choice. Darwin was known for his meticulous science, while Rejlander was notorious for altering and manipulating photographs. Their remarkable collaboration is one of the astonishing revelations in Darwin's Camera.
Darwin never studied art formally, but he was always interested in art and often drew on art knowledge as his work unfolded. He mingled with the artists on the voyage of HMS Beagle, he visited art museums to examine figures and animals in paintings, associated with artists, and read art history books. He befriended the celebrated animal painters Joseph Wolf and Briton Riviere, and accepted the Pre-Raphaelite sculptor Thomas Woolner as a trusted guide. He corresponded with legendary photographers Lewis Carroll, Julia Margaret Cameron, and G.-B. Duchenne de Boulogne, as well as many lesser lights. Darwin's Camera provides the first examination ever of these relationships and their effect on Darwin's work, and how Darwin, in turn, shaped the history of art.

Mary Randlett's photographic vision of the Northwest is big-hearted, intricate, and tender and fully inhabited by the animals, tides, forests, mountains, and spirits that dwell there. What others may take for granted, Randlett sees as quintessential: overcast days with endless and often exquisite variations of gray clouds, raindrops on puddles, dripping branches, and distant shafts of sunlight breaking through the cloud cover. She is steeped in the history of the Northwest and its many art forms. Mary Randlett Landscapes presents a visual record of the Northwest at its most pristine and poetic. During her many years of finely tuned observation, Randlett has learned to take the time to ponder the essences of what she sees-the curl of a bird's drifting feather, a water strider not quite breaking the surface of the water, fog ascending a hillside, the moment a pond's surface turns to ice. Her photography brings this corner of the Northwest to the world.

The art of Makoto Azuma uses flowers and plants as its starting point, but juxtaposes their timeless yet transient beauty with an incredibly diverse range of striking settings. In a series of sculptures, installations and interactive events, he delights in blurring the boundaries between nature and artifice. Azuma founded the floral atelier Jardins des Fleurs in 2002, taking commissions from private clients as well as brands and corporations, both in Japan and all over the world. His parallel career as an artist began in 2005 and involves creating and exhibiting artworks that turn flowers and plants into a medium for self-expression. In 2008, Azuma founded AMKK (Azuma Makoto Kaju Kenkyujo), a group specializing in experimental floral creation, with the aim of seeking new forms of botanical beauty and new ways to exhibit them. His works have travelled the globe, from barren deserts to frozen expanses, from thousands of feet below the sea to the very edge of space. Featuring more than sixty projects captured in breathtaking photography, this beautiful book is the most comprehensive showcase of Azuma's art ever published.

A stunning combination of landscape photography and thematic essays exploring how the concept of wilderness has evolved over time Our ideas of wilderness have evolved dramatically over the past one hundred and fifty years, from a view of wild country as an inviolable "place apart" to one that exists only within the matrix of human activity. This shift in understanding has provoked complicated questions about the importance of the wild in American environmentalism, as well as new aesthetic expectations as we reframe the wilderness as (to some degree) a human creation. Wild Visions is distinctive in its union of landscape photography and environmental thought, a merging of short, thematic essays with a striking visual narrative. Often, the wild is viewed in binary terms: either revered as sacred and ecologically pure or dismissed as spoiled by human activities. This book portrays wilderness instead as an evolving gamut of understandings, a collage of views and ideas that is still in process.

First published as an oversized clothbound volume in 2009, Botanica Magnifica has received widespread acclaim from the scientific and artistic communities. In the words of an ARTnews critic, Singer's flowers and plants, photographed "in large scale and exquisite detail, emerge from the shadows in a manner evocative of Old Master paintings." Now Abbeville is to offer this masterwork of botanical photography as a pocket-sized hardcover book, in their trademarked Tiny Folio format. Mirroring the design of the larger edition, this little volume is organised into five alphabetically arranged sections: (I) Orchidaceae, presenting the full diversity of orchids; (II) Florilegium, portraying the complexity and beauty of flowers; (III) Proteus, illustrating plant forms perfectly adapted for survival; (IV) Zingiberaceae, a tribute to the fascinating ginger family and (V) Botanicus, a selection of beautiful and bizarre specimens from the Smithsonian's research collection. Each pictured plant is accompanied by a clear and accessible description of its botany, geography, history, and conservation. With its marvellous reproductions and fascinating text, the Tiny Folio of Botanica Magnifica is a charming miniature version of one of the most impressive volumes of natural history ever published.

Back-lit in the morning, the olive tree differs greatly in appearance from in the afternoon or at sunset, each time offering new perspectives as well as new photographic collections. Jacques Berthet has long been interested in the olive tree. The idea of studying them came to him during a photography project which took Berthet all around the Mediterranean: from the Alentejo region in Portugal to the Pleistos Valley at Delphi, passing through Kabylia, Tunisia, to the Middle East, in Israel and the West Bank. In his photography, Berthet opts for black and white to distance himself from botany and move closer towards sculpture or drawing, opting for backlighting to single out the chosen tree against the backdrop of the olive grove which remains bathed in light. The olive tree has remained a significant influence in the everyday life of cultures around the Mediterranean. In ancient poetry and writing, it is the most venerated of trees. The Greeks made it a sacred tree (particularly for its oil, used in lamps), and so have the people of Tunisia and Algeria in more recent times. In Islamic cultures, it is the cosmic tree, the centre and the pillar of the world, symbolising universal man. What sets the olive tree apart from many other species is that no two trees look alike, and its fate is closely linked with that of man. Text in English and French.

Landscape is probably the most popular type of painting, but anyone who has ever been disappointed by vacation photographs knows how difficult it is to turn a view into a picture. This book shows how artists in past centuries translated outdoor space and light into paint, and how landscape imagery evolved from mere ornament into a visual metaphor of the human condition. The story is told from its beginnings in Roman mural decoration, through the Renaissance transformation of landscape into a vehicle for feelings and ideas, to the Impressionist revolution and beyond. The continuing relevance of art to how we see the world, and our place in it, is demonstrated through a practical discussion of optics of real and painted landscape, illustrated with works from the National Gallery, London. Published by National Gallery, London/Distributed by Yale University Press

One of the earliest surviving examples of 'art history', Pliny the Elder's 'chapters on art' form part of his encyclopaedic Natural History, completed shortly before its author died during the eruption of Vesuvius in AD 79. This important new work argues that the Natural History offers a sophisticated account of the world as empire, in which art as much as geography can be used to expound a Roman imperial agenda. Reuniting the 'chapters on art' with the rest of the Natural History, Sorcha Carey considers how the medium of the 'encyclopaedia' affects Pliny's presentation of art, and reveals how art is used to explore themes important to the work as a whole. Throughout, the author demonstrates that Pliny's 'chapters on art' are a profoundly Roman creation, offering an important insight into responses to art and culture under the early Roman empire.

"A painting must stand as a painting, made by human hand," wrote Caspar David Friedrich, "not seek to disguise itself as Nature." One of his generation's most popular painters, Friedrich imagined landscapes of powerful beauty and spirituality from within the confines of his studios. This breathtaking monograph, filled with glorious reproductions and details of his paintings, argues for Friedrich's reputation as a sublime artist and interpreter of nature. In his thoughtful and well-researched commentary, author Johannes Grave explores Friedrich's approach to landscape painting as well as his revolutionary thoughts about how these paintings should be received by their viewers. Looking closely at pieces such as Monk by the Sea, Abbey in the Oakwood, and the Tetschener Altar, Grave shows how Friedrich developed an innovative approach to landscape painting, one that communicated a new sense of space and time, and which draws the viewer into a unique aesthetic experience. Highly readable, insightful, and copiously illustrated, this compelling book sheds crucial light on Friedrich's celebrated body of work.

Following official protection of natural environments for public benefit in Fontainebleau Forest in France (1861) and in Yosemite (1864) and Yellowstone (1872) in the USA, the New Forest Act of 1877 marked the first major instance in Britain. Art and artists were involved in this achievement to a greater extent than in all preceding cases. For the first time, and within an ecocritical framework, this study examines the role played by art during the previous anti-enclosure campaign - highlighting both the hitherto-unacknowledged extent of German influence in terms of the original artistic initiative and of German artists' participation in the cause, as well as the significance of connections between landscape art of the day and priorities of the early Open Spaces movement. Ecocriticism in art history With works by the German and British artists George Bouverie Goddard, Wilhelm Kumpel, Alfred Pizzi Newton, Wilhelm Trautschold, Edmund George Warren

One of the earliest surviving examples of 'art history', Pliny the Elder's 'chapters on art' form part of his encyclopaedic Natural History, completed shortly before its author died during the eruption of Vesuvius in AD 79. This important new work reassesses Pliny's discussion of art, revealing how art is used to expound the Roman imperial agenda which dominates the work as a whole.

In the early sixteenth century, Albrecht Altdorfer promoted landscape from its traditional role as background to its new place as the focal point of a picture. His paintings, drawings, and etchings appeared almost without warning and mysteriously disappeared from view just as suddenly. In "Albrecht Altdorfer and the Origins of Landscape," Christopher S. Wood shows how Altdorfer transformed what had been the mere setting for sacred and historical figures into a principal venue for stylish draftsmanship and idiosyncratic painterly effects. At the same time, his landscapes offered a densely textured interpretation of that quintessentially German locus--the forest interior. This revised and expanded second edition contains a new introduction, revised bibliography, and fifteen additional illustrations.

French photographer Jean-Luc Mylayne (born 1946) scouts out specific birds in locations across Europe and the US, then frames a scene, waiting for the bird to enter his camera's view. This volume documents a three-part project with The Art Institute of Chicago, including a chapel built in Millennium Park.