This book was not so much written as constructed, somewhat like a painting. It is a collection of teaching notes from nearly thirty years, each note created in the crucible of an art class. A comment from one of his readers: Ryno Swart has written a book as magical as the most successful painting . . . it says what needs to be said-no more, no less. It gets to the heart of the matter and is peppered with pithy and relevant notes such as "Half the skill of painting is leaving it alone." "You can't make a painting work; you can only allow it to work." "A painting must be conducted like a military campaign; planned and organised and strategised." This is a book that should not lie on a coffee table or grace a bookshelf. This is a book that should be propped up in your studio or wherever you work and should soon become spotted and splashed with paint.

In 1855, Asher B. Durand, a founder of the National Academy of Design and a leading member of the Hudson River School, wrote a series of articles for his son's art magazine, The Crayon. The nine articles, Letters on Landscape Painting, outlined Durand's thoughts on learning how to paint landscapes. They are considered by many to be the textbook for the Hudson River School. In the early 1900s, Birge Harrison, a prominent figure in the American Tonalist movement and a director of the landscape school of the Art Students League, gave a series of lectures to the students at the League's summer school in Woodstock, New York. He later compiled those twenty-one lectures into the book, Landscape Painting. Then, as now, the book was considered to be a standard work for students. This volume presents Durand's and Harrison's writings together for the first time. We will never know what each might have thought of their words being combined in such a way, however, over the years hundreds of budding landscape painters and professionals alike have found value in these writings. It only seems fitting that the textbooks of two of America's great landscape painting movements be made available in a single work.

Expanded from its original version as an in class text, this information packed book takes an empirical approach to solving many of the common challenges associated with oil painting. Exploring aspects such as the effects of materials, lighting, composition, color, and drawing, Tim Rees's "Problem Solving" helps artists get past the technicals of oil painting and get to the business of making art. The book contains 26 black and white plates of the author's work and plentiful illustrations to illuminate the text, taking the reader through the format of Rees's 5 week class taught at the Palette and Chisel Academy of Art. This is followed by optional assignments for the reader to complete, as well as an appendix of useful problem solving information that would arise occasionally throughout the course. With concepts that apply across any style of realism, this practical companion is an invaluable tool for those wishing to sort through the complex world of oil painting.

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

"Painting is my passion. Painting is as natural for me as breathing. Having been attached to painting since childhood, I felt that the necessity to paint grows bigger year after year. I respond creatively to everything that surrounds me."This collection of original paintings by Maya Green displays her deep passion for color. Key in the works is her use of a palette knife, which allows her to apply pure color, delicate lines and perhaps most importantly, to express energy that no brush is able to capture.

Painting is not a vagabond's craft. From the 15th through the 17th Centuries, painters studied past techniques in order to evaluate the possibility of improvement through a process of logical progression. This book is divided into chapters (Keys) that explain each a major step forward in technique and propose the master to whom credit should be given.

How to Paint Tropical Sunsets is the first and only instructional book about the art of painting tropical sunsets. The book will be of interest to art enthusiasts of all ages. No previous painting experience is required. A list of all necessary materials is included, along with detailed step-by-step instructions and plenty of painting tips, beautiful samples, and colorful references. How to Paint Tropical Sunsets is a great tool for art therapy, art classes, self enjoyment, and stress relief."Anyone may enjoy a stunning sunset moment, but only an artist can always create one." --Gina De Gorna

Originally published in 1909, "Landscape Painting," by Birge Harrison is a collection of impromptu talks given before the Art Students League at its summer school in Woodstock, New York. Birge Harrison was born in Philadelphia in 1854. He initially trained in the Academy of Fine Arts in Philadelphia, but within a year moved to Paris. There he remained for twelve years as student at the Ecole des Beaux Arts, working under Carolus Duran and Alexandre Cabanel. "Birge Harrison's volume on 'Landscape Painting' a fine commentary on the technique of the craft." -The New York Times, November 14, 1909

Angels, the artwork of Philip Howe, is a full color book filled with spiritual and dream imagery. Philip Howe's realistic oil paintings are exceptionally rich and moving in their timeless interpretation of unique themes told in a narrative, cerebral approach that is sure to appeal to collectors of classical realism. It is full of beautiful reproductions of his paintings, covering the last 15 years of the artist's career. In addition to the many paintings and closeup shots featured exclusively in this book, the publisher has included over 40 pages of demonstrations for artists and collectors who wish to see how some of the work was created.

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

Many an art student and BFA graduate arrive at the sorry state that despite all their classes and books on painting, they still don't understand the rudiments of oil painting - the basics of colour mixing and creating the illusion of form. That's where "The Oil Painting Course You've Always Wanted" comes in, an invaluable primer on oil painting that sets itself apart from other books on this subject. First, this book is a course - a composite of lessons that the author, Kathleen Staiger, has developed over many years of teaching. Structured so that each detailed lesson builds on the previous one, the book reinforces the learning process with fully explained diagrams, illustrations, exercises, and demonstrations. Second, there is a logical, workable method of sure-fire colour mixing. Third, the book is tailored to the insecurity of the beginner; skills are built slowly, with precise guidance and logical explanations. Staiger has been teaching this course for years with amazing results. Students who have never touched a paintbrush are now exhibiting and selling their paintings. Experienced painters find they learn something new in every lesson. This book is organized around a progressive set of lessons: Class 1: How to Create the Illusion of Three Dimension; Class 2: Making Your Brush Behave; Class 3: Foolproof Colour Mixing; Class 4: Putting It All Together Class 5: Still Life Painting; Class 6: Landscape Painting; and Class 7: Portrait Painting. The features include: a complete, foolproof primer; includes author's sure-fire method of colour mixing; and step-by-step lessons, complete with diagrams, exercises, and demonstrations.

In a garden glade before a grand fountain, surrounded by a musical party, an elegant woman in a lustrous white gown dances as part of a foursome, raising her eyes to the viewer as if extending an invitation to the dance. This is the enticing scene in the J. Paul Getty Museum's painting "Dance before a Fountain" by Nicolas Lancret (1690-1743), an excellent example of the fete galante, a genre that was created and reached the peak of its popularity in France during the first half of the eighteenth century. This monograph seeks to familiarize American audiences with Lancret, a master of this genre, who was a revered painter in his own time, rivalling his contemporaries Antoine Watteau and Francois Boucher, and a favourite of crowned heads across Europe. Mary Tavener Holmes's engrossing text uses this painting as a springboard to reveal a remarkable amount about the painter, his mode of painting, Paris at the time this work was made, eighteenth-century dance, and the world of art patronage and collecting in France and elsewhere in the eighteenth and nineteenth centuries. Lavishly illustrated with comparative paintings by artists such as Watteau, Boucher, Peter Paul Rubens, Jean-Francois De Troy, Jean-Baptiste Oudry, and Hubert Robert, this fascinating peek into a bygone Parisian era is a treat for the eyes and the intellect alike.

Accomplished art instructor Julie Gilbert Pollard offers expert advice on oil painting through the lens of the common landscape. *Whether you are totally new to painting or interested in exploring oil for the first time, the instruction begins with the basics, then moves toward successful painting techniques. *Learn how to break down and design a composition and explore multiple easy-to-follow methods to getting an oil painting started. *Dozens of specific skills and techniques combine into ten complete step-by-step landscape demonstrations to master subjects such as water, skies, trees, rocks and mountains.

Bauhaus artist Friedl Dicker-Brandeis The work of Friedl Dicker-Brandeis (1898-1944) occupies a key position in the broader history of the Austrian avant-garde while also deepening our understanding of modernism. Her work covers an impressive range of media and genres in the visual and applied arts. Influenced by her studies at Vienna's Kunstgewerbeschule (which later became the University of Applied Arts Vienna), the Itten Private School, and the Bauhaus in Weimar, she worked as a painter, stage designer, architect, designer in Vienna and Berlin, in exile, and as a deportee. This book explores the heterogeneity of Dicker's work, reconstructs her artistic strategies and references to aesthetic and political discourses from the 1920s to the 1940s, and documents for the first time her works in the collection of the University of Applied Arts Vienna. Portrait of her work and collection catalog, dedicated to the artist, designer, and architect Friedl Dicker-Brandeis Essays by Julie M. Johnson, Robin Rehm, Daniela Stoeppel, and others To accompany an exhibition in Vienna and Zurich