A lush visual document of the Clark Art Institute's first-ever outdoor exhibition, featuring the work of six significant contemporary artists working in sculpture today A reverence for nature and a desire to further enliven the surrounding trails, pastures, and woods inspired Ground/work-the Clark Art Institute's first outdoor exhibition-which this book records and situates within the broader context of contemporary sculpture. The six major site-responsive commissions created by Kelly Akashi, Nairy Baghramian, Jennie C. Jones, Eva LeWitt, Analia Saban, and Haegue Yang are documented throughout the seasons, alongside texts that reflect upon and illuminate the individual and collective responses of artists. Process shots and working documents are placed alongside grand single shots of artworks and their landscape contexts. Critical texts represent a wide range of significant voices in the field of contemporary art. Distributed for the Clark Art Institute Exhibition Schedule: Clark Art Institute, Williamstown, MA (October 6, 2020-October 17, 2021)

The Camelopard, The Monstrous Pig, The Famous Porcupine, Durer's Rhinoceros: these are but a few of the beautiful and bizarre creatures that feature in this delightful book. In the visual arts of the fifteenth to the early nineteenth centuries in Europe, animals were understood in relation to the human world, whether as animals of the farm, estate or household, beasts of burden or as diversions in menageries and travelling shows. At the same time, rapidly increasing investigation of the natural world engaged artists in the problems of accurate representation: prints were particularly important in distributing natural historical information (or misinformation) across a wide, international audience. This beautifully illustrated book explores perceptions of the natural world as seen through the eyes of imaginative artists: works by Goya, Stubbs and Bewick stand alongside prints by lesser-known artists, each selected for its graphic strength, charm and narrative interest. Featured are natural history studies, masterpieces from the British Museum's exceptional collection of classical old master prints, book illustrations, satires and popular prints to beautifully capture the diversity and appeal of early modern print culture. Visually stunning, entertaining and intriguing, this book explores humankind's enduring curiosity about the animal world.

Joseph Pennell was born in 1857 and died in 1926. He began his work as an illustrator by selling drawings of south Philadelphia to Scribner's Monthly in 1881. In addition to his extensive sketches of American cities, he went to the Panama Canal and sketched a number of construction sites. He taught etching at the Arts Students' league in New York, wrote several books, served as an art critic on the Brooklyn Eagle, and helped run the New Society of Sculptors, Painters and Engravers. Pennell is considered to have done more than any other one artist of his time to improve the quality of illustration both in the United States and abroad and to raise its status as an art. He produced more than 900 etched and mezzotint plates, some 621 lithographs, and innumerable drawings and water colors.

The Golden Age of Botanical Art brings together the stories of the intrepid explorers - some of whom became botanical artists by default - and the many professional artists who recorded the flora that they discovered on their travels and expeditions. From some of the earliest attempts at art to the plant hunters of the nineteenth and twentieth centuries, the images produced in the study of plants have held a fascination for all those who love nature. Truly global in its scope, this beautifully illustrated book moves across centuries and continents looking at the artistry of China and India, delving into the sketchbooks of explorers in the Himalayas and following the voyages of those who discovered new worlds and new species as far apart as Russia and South America. Alongside special features on key figures in the botanical art world, The Golden Age of Botanical Art highlights the work of some of the great names of botanical art, including Ehret and Bauer. Included within is a host of rarely published and previously unpublished images from the Royal Botanical Gardens in Kew, as well as an outline on how what might have been a pastime for some also made a significant contribution to our understanding of the world and the glories of nature.

Victor Perard's concise guide for artists at every level features easy-to-follow steps for capturing the magnificence of trees. Shading techniques, composition, shadow and light methods, and outlining approaches are all aimed to help artists draw dozens of varieties with vitality and expression.

In the past two years Frederik Meijer and his curator Joe Becherer have assembled a significant private collection of large outdoor sculpture, which is available for public viewing at the Frederik Meijer Gardens in Grand Rapids. This beautiful book presents more than 100 color illustrations, with details of many of the sculptures within the collection.

Recognized by both the art world and the general public, this garden has a diverse landscape of artwork from sculptors such as Rodin, Fredericks, Haring, di Suvero, Moore, Maillol, Hepworth, Dine, Haring, and others. Using more well known materials such as bronze and stainless steel as well as unusual materials like industrial porcelain, the artists provide the garden with many exciting visuals that the book will allow readers to bring home.

A brief history describes the development of the sculpture park. Biographies of the artists whose art grace this private collection are included, which serves to broaden the viewer's understanding of the pieces. Attention is given both to the artists' development of their craft and to the part each sculpture plays in the garden as a whole.

Davenports meditations on the still life dip into the full history of this art formfrom Neolithic cave paintings to the Dutch masters, from Czanne and Van Gogh to photography and the collage.. In a series of four meditations on still-life painting, Guy Davenport blends art history with literary criticism, taking a close look at the iconic and symbolic function of objects and the multiple ways they are represented in culture. Focusing on a genre that is supposedly static, these essays reveal the dynamic forces that motivate and shape the still life, explaining why and how painters have employed this genre to such vital effect. In a series of four meditations on still-life painting, Guy Davenport blends art history with literary criticism, taking a close look at the iconic and symbolic function of objects and the multiple ways they are represented in culture. As always in Davenports eclectic and provocative work, specific themes or images that appear simple on the surface--apple and pear, a bust of Sherlock Holmes--resonate across human history to yield a rich interplay of meaning and story. Whether ancient or modern--an image found within an Egyptian tomb or a painting by van Gogh, a verse from the Book of Amos or a passage from Joyce--the works that Davenport discusses are parsed and analyzed for the clues within silent objects (the fruit basket, the postage stamp, the clock) with brilliant erudition. Feats of maverick detective work, Davenports readings of art never fail to surprise and inform.Focusing on a genre that is ostensibly static, these meditations reveal the dynamic forces that motivate and shape the use of still life, explaining why and how painters have employed this form to such vital effect. As Davenport says here, Culture is like a magnetic field, a patterned energy shaping history. It is invisible, even unsuspected, until a receiver sensitive enough to pick up its messages can give it a voice. When Ezra Pound said that poets are the antennae of the race, he meant radio antennae, not insects only. Readers, whether they are newcomers or devoted fans of Davenports extraordinary work, will discover that Objects on a Table broadcasts the energy of cultural patterns in a way that will awaken them to the music within.

Morocco, situated between the Atlantic and the Mediterranean, is culturally, culinarily, and architecturally influenced by Berbers, Arabs, and Europeans. The country's diversity is reflected in the landscape of Mediterranean coastal regions in the north and west, the high mountains in the interior, and the Sahara. In over 500 photographs, this volume shows the multi-faceted landscape and oriental culture of Morocco.

Visions of Nature revives the work of late nineteenth-century landscape photographers who shaped the environmental attitudes of settlers in the colonies of the Tasman World and in California. Despite having little association with one another, these photographers developed remarkably similar visions of nature. They rode a wave of interest in wilderness imagery and made pictures that were hung in settler drawing rooms, perused in albums, projected in theaters, and re-created on vacations. In both the American West and the Tasman World, landscape photography fed into settler belonging and produced new ways of thinking about territory and history. During this key period of settler revolution, a generation of photographers came to associate "nature" with remoteness, antiquity, and emptiness, a perspective that disguised the realities of Indigenous presence and reinforced colonial fantasies of environmental abundance. This book lifts the work of these photographers out of their provincial contexts and repositions it within a new comparative frame.

Ten graded lessons to tackle beautiful color in stunning botanical compositions. This practical introduction to the color and composition in botanical illustration is formed of ten graded lessons, where each teaches you new skills to build upon the last. From red tulips and pink roses to blackberries and green foliage; once you've completed these lessons you will have all the techniques you need in order to tackle far more complex arrangements. An experienced teacher of botanical illustration, Valerie Price shows even the uninitiated illustrator how to produce accurate and beautiful results, with her step-by-step instructions on how to tackle each individual project.

Dedicated to an articulation of the earth from broadly ecological perspectives, eco art is a vibrant subset of contemporary art that addresses the widespread public concern with rapid climate change and related environmental issues. In Landscape into Eco Art, Mark Cheetham systematically examines connections and divergences between contemporary eco art, land art of the 1960s and 1970s, and the historical genre of landscape painting. Through eight thematic case studies that illuminate what eco art means in practice, reception, and history, Cheetham places the form in a longer and broader art-historical context. He considers a wide range of media-from painting, sculpture, and photography to artists' films, video, sound work, animation, and installation-and analyzes the work of internationally prominent artists such as Olafur Eliasson, Nancy Holt, Mark Dion, and Robert Smithson. In doing so, Cheetham reveals eco art to be a dynamic extension of a long tradition of landscape depiction in the West that boldly enters into today's debates on climate science, government policy, and our collective and individual responsibility to the planet. An ambitious intervention into eco-criticism and the environmental humanities, this volume provides original ways to understand the issues and practices of eco art in the Anthropocene. Art historians, humanities scholars, and lay readers interested in contemporary art and the environment will find Cheetham's work valuable and invigorating.

In this mesmerizing book of photography, acclaimed photographer David Liittschwager reveals the unnerving beauty of three notoriously mysterious sea creatures--the jellyfish, octopus, and seahorse--and how they perceive the world. The jellyfish, the octopus, and the seahorse are among the most wondrous species on Earth--as well as some of the most difficult to document using traditional photography methods. Enter celebrated photographer David Liittschwager, who has spent decades developing specialized portraiture techniques to capture these creatures' pulsating bioluminescence, translucent bodies, and ethereal movements. This luminous collection showcases 200 of Liittschwager's most revealing photographs, paired with penetrating essays that explain how a creature without a brain or without bones perceives the world. Bestselling science writers Elizabeth Kolbert, Jennifer Holland, and Olivia Judson explain the biology and advanced cognitive abilities of these spineless denizens of the deep, exquisitely evoking their unnerving yet undeniable charisma. In these pages, you'll glimpse a seahorse only half an inch tall, a moon jelly spinning off a snowflake-shaped clone, and the blinking comb jelly, which may be the most ancient living animal on Earth. Both enlightening and profound, this enchanting book documents the expanding frontiers of marine science, creating a powerful testament to the value and beauty of these little-seen--and endangered--species.

A rich vein of the artist's mature work, depicting the foundations of landscape and place From the mid-1860s until shortly before his death, Paul Cezanne (1839-1906) created 27 canvases that take rock formations as their principal subjects. This is the first publication to focus exclusively on these extraordinary works. It illustrates all of Cezanne's mature paintings of rock formations, including scenes of the terrain of the forest of Fontainebleau, the Mediterranean coastal village of L'Estaque, and the area around Aix-en-Provence, alongside examples of his watercolors of these subjects. An introductory essay by John Elderfield assesses these paintings in terms of their character, development, and relationship to Cezanne's other works; their critical interpretations; and their geological and corporeal associations. Faya Causey's essay examines the Provencal context of Cezanne's rock and quarry paintings, as well as the status of geology in France during the second half of the 19th century. The catalogue section, introduced by Anna Swinbourne, chronicles the sites, presenting details of where specifically the paintings were made and of the features that they represent, together with technical aspects of particular works. Distributed for the Princeton University Art Museum Exhibition Schedule: Princeton University Art Museum

Marianne North was a remarkable Victorian traveller and painter, who traversed the globe recording the world's flora with her paintbrush and writing her experiences in her journal. In 1879 she offered her painting collection numbering over 800 to the Royal Botanic Gardens, Kew, and at her own expense built a gallery to house them. Marianne stayed closely involved with the project, painting beautiful decorative motifs on the interior door panels and surrounds. For the first time, this unique and stunning book brings together all of Marianne North's Kew collection. The paintings are arranged geographically as they appear in the Gallery, and Marianne's original titles are included alongside each painting. With an introduction by Christopher Mills, former Head of Kew's Library, Art and Archives. This is a beautiful gift souvenir in celebration of a stunning body of work.

That Ireland is picturesque is a well-worn cliche, but little is understood of how this perception was created, painted, and manipulated during the long 18th century. This book positions Ireland at the core of the picturesque's development and argues for a far greater degree of Irish influence on the course of European landscape theory and design. Positioned off-axis from the greater force-field, and off-shore from mainland Europe and America, where better to cultivate the oblique perspective? This book charts the creation of picturesque Ireland, while exploring in detail the role and reach of landscape painting in the planning, publishing, landscaping and design of Ireland's historic landscapes, towns, and tourist routes. Thus it is also a history of the physical shaping of Ireland as a tourist destination, one of the earliest, most calculated, and most successful in the world. Published for the Paul Mellon Centre for Studies in British Art

Thomas J. Lyon Book Award from the Western Literature Association A Planetary Lens delves into the history of the photo-book, the materiality of the photographic image on the page, and the cultural significance of landscape to reassess the value of print, to locate the sites where stories resonate, and to listen to western women's voices. From foundational California photographers Anne Brigman and Alma Lavenson to contemporary Native poets and writers Leslie Marmon Silko and Joy Harjo, women artists have used photographs to generate stories and to map routes across time and place. A Planetary Lens illuminates the richness and theoretical sophistication of such composite texts. Looking beyond the ideologies of wilderness, migration, and progress that have shaped settler and popular conceptions of the region, A Planetary Lens shows how many artists gather and assemble images and texts to reimagine landscape, identity, and history in the U.S. West. Based on extensive research into the production, publication, and circulation of women's photo-texts, A Planetary Lens offers a fresh perspective on the entangled and gendered histories of western American photography and literature and new models for envisioning regional relations.

The man behind the paintings: the extraordinary life of J. M. W Turner, one of Britain's most admired, misunderstood and celebrated artists J. M. W. Turner is Britain's most famous landscape painter. Yet beyond his artistic achievements, little is known of the man himself and the events of his life: the tragic committal of his mother to a lunatic asylum, the personal sacrifices he made to effect his stratospheric rise, and the bizarre double life he chose to lead in the last years of his life. A near mythical figure in his own lifetime, Franny Moyle tells the story of the man who was considered visionary at best and ludicrous at worst. A resolute adventurer, he found new ways of revealing Britain to the British, astounding his audience with his invention and intelligence. Set against the backdrop of the finest homes in Britain, the French Revolution and the Industrial Revolution, this is an astonishing portrait of one of the most important figures in Western art and a vivid evocation of Britain and Europe in flux.

In American Waters is the catalog of an exhibition co-organized by Crystal Bridges Museum of American Art in Bentonville, Arkansas, and Peabody Essex Museum in Salem, Massachusetts.The exhibition and this associated catalog invite visitors to discover the sea as an expansive way to reflect on American culture and environment, learn how coastal and maritime symbols moved inland across the United States, and question what it means to be 'in American waters.' Work by Georgia O'Keeffe, Amy Sherald, Kay WalkingStick, Norman Rockwell, Hale Woodruff, Paul Cadmus, Thomas Hart Benton, Jacob Lawrence, Valerie Hegarty, Stuart Davis, and many others is included, along with essays from scholars, critics, and the curators.