Sungsook Setton learned ink painting techniques from Chinese and Korean masters in her native South Korea; now she brings them to you in The Spirit of the Brush. Chinese ink painting is one of the oldest continually practiced art forms in the world. First appearing in China in the fifth century, it soon traveled to Korea, and then to Japan. As old and deeply rooted in East Asian aesthetics and meditation as it is, ink painting is credited with influencing the development of modern Western art. Its minimalist approach to painting continues to have enormous appeal. Author, artist, and teacher, Sungsook Setton is now bringing her years of experience to you with The Spirit of the Brush. You will learn traditional disciplines for holding and using the brush, as well as how to turn these techniques into inner meditation which will help your own world; city views, music, and the essence of contemporary life.

This book explores the cultural exchange between Italy and Spain in the seventeenth century, examining Spanish collectors' predilection for Italian painting and its influence on Spanish painters. Focused on collecting and using a novel methodology, this volume studies how the painters of the Sevillian school, including Francisco Pacheco, Diego Velazquez, Alonso Cano and Bartolome Esteban Murillo, perceived and were influenced by Italian painting. Through many examples, it is shown how the presence in Andalusia of various works and copies of works by artists such as Michelangelo, Caravaggio and Guido Reni inspired famous compositions by these Spanish artists. In addition, the book delves into the historical, political and social context of this period. The book will be of interest to scholars working in art history, Renaissance studies, and Italian and Spanish history.

This book reinterprets Wifredo Lam's work with particular attention to its political implications, focusing on how these implications emerge from the artist's critical engagement with 20th-century anthropology. Field work conducted in Cuba, including the witnessing of actual Afro-Cuban religious ritual ceremonies and information collected from informants, enhances the interpretive background against which we can construe the meanings of Lam's art. In the process, Claude Cernuschi argues that Lam hoped to fashion a new hybrid style to foster pride and dignity in the Afro-Cuban community, as well as counteract the acute racism of Cuban culture.

This book presents four case studies that interrogate how German fifteenth-century painted triptychs engage with, and ultimately blur, various boundaries. Some of the boundaries are internal to the triptych format, for example, transgressed frames between narrative scenes on triptych interiors, or interconnections between imagery on triptych interiors and exteriors. Other blurred boundaries are regional ones between the Netherlands and Cologne; metaphysical ones between heaven and earth; and artistic distinctions between the media of painting and sculpture. The book's case studies-which shed new light on Conrad von Soest, Stefan Lochner, and the Master of the St. Bartholomew Altarpiece-illuminate the importance of German fifteenth-century painting, while providing a fresh assessment of relations between German triptychs and their more famous Netherlandish counterparts. The case studies also demonstrate the value of probing Medialitat, that is, the implications of format and medium for generating meaning. A coda assesses the triptych in the age of Durer.

One of the most powerful painters of our age, Francis Bacon lived and worked for the last thirty years of his life in a modest building in London's South Kensington. After he died in 1992, access was granted to award-winning photographer Perry Ogden to work undisturbed for days on end to produce this riveting record of the house and its contents. In the studio itself, thirty years of inspired artistic endeavor had accumulated unchecked: the slashed and discarded canvases scattered across the floor; the brushes, rags, and tins encrusted with paint; the doors and walls used as impromptu palettes; the piles of photographs of friends and models; the crumpled and torn pages of magazines and books that served as a stimulus for Bacon's work; the notes, sketches, and ideas for paintings jotted down and then cast aside; the last unfinished self-portrait on the easel.

For some of those close to Bacon, the studio was a heroic statement, a work of art in its won right, secretly constructed over many years to distill and give form to his aesthetic intentions. Now in this astonishing book we are invited to take a privileged look around this private space, to become intimate witnesses to the amazing conditions in which Bacon lived and worked, to gain unrivaled insights into how, why, and what he painted.

Learn how to combine delicate watercolor illustrations with expressive hand lettering to create beautiful art and gifts. Self-taught artist Tanja Poeltl shares the tips, tricks and know-how she's learned on her creative journey so that you can fast-track your skills. Discover the materials you'll need in terms of watercolor paints, brushes, paper and pens, then get started with Tanja's exercises to learn the basic techniques of hand lettering and watercolor painting. In the Hand Lettering Know-How section you will start with some warm up exercises and practice letters, before learning faux calligraphy, bounce lettering, joining letters and more. In the Watercolor Know-How section you will learn how to handle the brush, and gain color knowledge as well as an understanding of tonal values, transparency and opacity, and learn how to create your own unique color palette. 20 amazing step-by-step painting and lettering projects then help you put your skills in action with ideas for a myriad of different applications. Create a moodboard, inspirational cards, seasonal gift boxes, a botanical table runner, a plant journal, floral greetings cards, fruity jar labels, posters, hoop art, party stationery, a birth poster, milestone cards, a height chart, recipe cards, an illustrated ABC, box frames, 3D flowers, and more - all beautifully illustrated in a modern yet timeless style. These inspiring projects are so varied and interesting, and will undoubtedly spark ideas for all sorts of other ways you can use watercolor and hand lettering together to create beautiful yet easy art. Even if you are a total beginner, this book will kickstart your creative journey with watercolor and hand lettering, showing you the techniques and giving you fun projects to try them out on. This accessible guide to easy watercolour and hand lettering techniques will teach you everything you need to make art that makes you happy! Self-taught and full of enthusiasm for experimentation artist Tanja Poeltl is your teacher and guide. She's taught thousands of beginners to find their creative voice through her workshops and classes, and can't wait to help you on your journey into the wonderful world of watercolor and hand lettering.

Get Up & Gouache shows you how to bring the vibrant and versatile medium of gouache to life. Get stuck in to 20 step-by-step projects that show you how to layer, blend and bloom in order to create beautiful and lively paintings ideal for prints, cards, gifts or simply the pleasure of painting. Packed with tips, tricks and techniques, Get Up & Gouache is ideal for beginners as well as providing inspiration for intermediate-level artists. Learn how to paint people and places and discover your own visual language. Find inspiration through projects on painting friends and family, flowers and nature and even your favourite furry friends.

Examining the literary career of the eighteenth-century Irish painter James Barry, 1741-1806 through an interdisciplinary methodology, The Writings of James Barry and the Genre of History Painting, 1775-1809 is the first full-length study of the artist's writings. Liam Lenihan critically assesses the artist's own aesthetic philosophy about painting and printmaking, and reveals the extent to which Barry wrestles with the significant stylistic transformations of the pre-eminent artistic genre of his age: history painting. Lenihan's book delves into the connections between Barry's writings and art, and the cultural and political issues that dominated the public sphere in London during the American and French Revolutions. Barry's writings are read within the context of the political and aesthetic thought of his distinguished friends and contemporaries, such as Edmund Burke, his first patron; Joshua Reynolds, his sometime friend and rival; Mary Wollstonecraft and William Godwin, with whom he was later friends; and his students and adversaries, William Blake and Henry Fuseli. Ultimately, Lenihan's interdisciplinary reading shows the extent to which Barry's faith in the classical tradition in general, and the genre of history painting in particular, is permeated by the hermeneutics of suspicion. This study explores and contextualizes Barry's attempt to rethink and remake the preeminent art form of his era.

J.M.W. Turner is one of the most influential and important British artists of all time. His watercolours, with their extraordinary effects of shifting light and dramatic cloudscapes, are especially highly regarded. This book reveals the secrets of his technique for the first time, allowing watercolourists to try them out for themselves. For the first time, this book reveals the secrets of Turner's technique, allowing present-day watercolourists to try them out themselves. There is an accessible introduction that explores Turner's life and career and the materials he used to achieve the masterpieces we know and love today. The book then goes on to list the modern materials the twenty-first century watercolourist will need if they aspire to take on similar subject matter. Successive chapters look at a particular theme, such as Sky, Water, Trees, Buildings, People, Animals, Sunrise, Moonlight and Fire, illustrating each with one of Turner's works. Expert contemporary watercolour artists then explain, step-by-step, how to paint a version of that particular picture and how to use the techniques learnt to paint other compositions. With a glossary of technical terms, high quality colour reproductions and backed by the authority of Tate, the world centre for Turner scholarship, this is a must-buy purchase for all lovers of J.M.W. Turner and of watercolour painting.

This book offers nine new approaches toward a single work of art, Titian's Allegory of Marriage or Allegory of Alfonso d'Avalos, dated to 1530/5. In earlier references, the painting was named simply Allegory, alluding to its enigmatic nature. The work follows in a tradition of such ambiguous Venetian paintings as Giovanni Bellini's Sacred Allegory and Giorgione's Tempest. Throughout the years, Titian's Allegory has engendered a range of diverse interpretations. Art historians such as Hans Tietze, Erwin Panofsky, Walter Friedlaender, and Louis Hourticq, to mention only a few, promoted various explanations. This book offers novel approaches and suggests new meanings toward a further understanding of this somewhat abstruse painting.

Examining innovations in Mary Magdalene imagery in northern art 1430 to 1550, Penny Jolly explores how the saint's widespread popularity drew upon her ability to embody oppositions and embrace a range of paradoxical roles: sinner-prostitute and saint, erotic seductress and holy prophet. Analyzing paintings by Rogier van der Weyden, Quentin Massys, and others, Jolly investigates artists' and audiences' responses to increasing religious tensions, expanding art markets, and changing roles for women. Using cultural ideas concerning the gendered and pregnant body, Jolly reveals how dress confirms the Magdalene's multivalent nature. In some paintings, her gown's opening laces betray her wantonness yet simultaneously mark her as Christ's spiritually pregnant Bride; elsewhere 'undress' reconfirms her erotic nature while paradoxically marking her penitence; in still other works, exotic finery expresses her sanctity while celebrating Antwerp's textile industry. New image types arise, as when the saint appears as a lovesick musician playing a lute or as a melancholic contemplative, longing for Christ. Some depictions emphasize her intercessory role through innovative pictorial strategies that invite performative viewing or relate her to the mythological Pandora and Italian Renaissance Neoplatonism. Throughout, the Magdalene's ambiguities destabilize readings of her imagery while engaging audiences across a broad social and religious spectrum.

Marc Chagall's remarkable oeuvre spans a variety of media; from painting, ceramics, and stained glass to illustration, tapestry, and stage sets. Regardless of the format, his singular narrative style embraced the memories of his happy childhood in Vitebsk, Russia and his roots in Jewish culture. This engaging examination of the artist and his life features stunning full- page illustrations of Chagall's works, along with illuminating biographical details. On every page, Chagall's genius with color and composition spring to life. Comparisons and contrasts are made to the works of other Fauve and Cubist artists among whom he lived and worked, as well as to the poetry of the era. Although he depicted the harsh anti-Semitism that his countrymen faced, Chagall nevertheless embraced a vision of humanism and tolerance that remains refreshingly poignant decades after his death.

Sold in packs of 6. Gorgeous, foiled, handmade greeting cards, blank inside and shrink-wrapped with a gold envelope. Themed with our art calendars, foiled notebooks and illustrated art books. Our greeting cards are printed on FSC paper and wrapped in biodegradable cellobag, and are themed with our art calendars, foiled notebooks and illustrated art books. Aimee Stewart is a self-taught artist who is strongly influenced by music and literature. Her special focus is in eclectic digital painting and photomanipulation. She describes herself as a champion of daydreams; she loses thoughts of reality and becomes immersed in fantasy creations.

Vanessa Bell is central to the history of the Bloomsbury Group, yet until this authorised biography was written, she largely remained a silent and inscrutable figure. Tantalising glimpses of her life appeared mainly in her sister, Virginia Woolf's, letters, diaries and biography. Frances Spalding here draws upon a mass of unpublished documents to reveal Bell's extraordinary achievements in both her art and her life. She recounts in vivid detail how Bell's move into the Bloomsbury Group and her exposure to Paris and the radical art of the Post-Impressionists ran parrallel with an increasingly unorthodox personal life that spun in convoluted threads between her marriage to Clive Bell, her affair with Roger Fry, her friendship with Duncan Grant and relationship with her sister.

One of the difficulties about how our minds work is that we often cannot quite clearly see or know what is inside us. Art therapists have a longstanding tradition of prescribing image-making to prompt expression of feelings, often by asking people to draw, paint, or sculpt "how you feel." It is one of the fundamental approaches in the field that distinguishes art therapy from verbal techniques that ask people to simply talk about their emotions. Author Erica Jong once wrote that imagery is a form of emotional shorthand. This could be interpreted to mean that while we may use paragraphs of prose to describe an emotional experience, images allow us to communicate simply and directly. At its core, art therapy embraces the paradigm that creating images cuts to the chase when it comes to expressing feelings. The point is not to draw well. But to draw with authenticity. This is specifically a book for people who can't draw.

A practical and inspirational manual that shows you a huge range of color mixes in watercolor. The aim of the book is to encourage you to get to know colors well and be motivated to explore and experiment with color. Use the book as a handy reference when you want to know how to mix a specific color, or as a catalog of inspiration when seeking ideas to try in your work. The handy color viewing card included can be used to view each color swatch in isolation. This will help sharpen your perception of the color or allow you to pinpoint a specific shade to use in your own work.

One of "The Eight"--a major group in the history of American painting--John Sloan was also an illustrator and cartoonist. Sloan kept an almost daily diary for eight years, for the most part to entertain his first wife, Dolly. Sloan's second wife and widow, Helen Fan Sloan, turned over the diaries and his letters, as well as notes and drawings to Bruce St. John of the Delaware Art Center, which houses the Sloan collection.

John Sloan was interested in every social issue that went on around him: the people across the street, the people in the parks, and the policies of his country. He and Dolly entertained almost every night, though they were so poor that often the only dish was spaghetti, and their guests included Robert Henri (Sloan's mentor) and Walt Kuhn, Walter Pach, Rollin Kirby, Stuart Davis (and his father), Alexander Calder (and his father), Rockwell Kent, John Butler Yeats, William Glackens, and George Luks.

Even if John Sloan had not been such an important figure in the American art world, these diaries would be splendid reading: they reveal a perceptive man and the city that fascinated him during one of its most interesting epochs. The editor writes that Sloan "was a direct and honest man, not afraid of expressing his opinions." This fascinating, unique, first-person view of New York City is a masterpiece. This edition includes a new introduction by Herbert I. London, providing insight into the social and political vision that animated Sloan's art.

This volume is a groundbreaking discussion of the role of digital media in research on ancient painting, and a deep reflection on the effectiveness of digital media in opening the field to new audiences. The study of classical art always oscillates between archaeology and classics, between the study of ancient texts and archaeological material. For this reason, it is often difficult to collect all the data, to have access to both types of information on an equal basis. The increasing development of digital collections and databases dedicated to both archaeological material and ancient texts is a direct response to this problem. The book's central theme is the role of the digital humanities, especially digital collection,s such as the Digital Milliet, in the study of ancient Greek and Roman painting. Part 1 focuses on the transition between the original print version of the Recueil Milliet and its digital incarnation. Part 2 addresses the application of digital tools to the analysis of ancient art. Part 3 focuses on ancient wall painting. The book will be of interest to scholars working in art history, classics, archaeology, and digital humanities.

Italian painter Caravaggio was recognized by his contemporaries as a dedicated practitioner of il naturalismo and a learned painter. His use of the chiaroscuro technique was skilled and his subject matter, still lifes and genre paintings, was unique. Through detailed analysis of works from Caravaggio's early Roman period, 1594-1602, this study places his art in a humanistic context, making it an expression of ""learned naturalism,"" a procedure committed to a close study of the phenomenal world and corresponding to contemporary ventures into empirical science. The work grounds Caravaggio's artistic techniques in cultural context and situates his subject matter within the interest of his patrons, influential Romans whose tastes reflected current Renaissance interests in humanistic studies, emblematic literature, and classical lore. The end result is to show an artist who was thoroughly grounded in the humanist milieu of his erudite patrons. Sources include writings addressing art's instructive purposes and the classical literary sources commonly manipulated in Caravaggio's time. The work is illustrated with Caravaggio's works as well as related images.

Antebellum American Pendant Paintings: New Ways of Looking marks the first sustained study of pendant paintings: discrete images designed as a pair. It opens with a broad overview that anchors the form in the medieval diptych, religious history, and aesthetic theory and explores its cultural and historical resonance in the 19th-century United States. Three case studies examine how antebellum American artists used the pendant format in ways revelatory of their historical moment and the aesthetic and cultural developments in which they partook. The case studies on John Quidor's Rip Van Winkle and His Companions at the Inn Door of Nicholas Vedder (1839) and The Return of Rip Van Winkle (1849) and Thomas Cole's Departure and Return (1837) shed new light on canonical antebellum American artists and their practices. The chapter on Titian Ramsay Peale's Kilauea by Day and Kilauea by Night (1842) presents new material that pushes the geographical boundaries of American art studies toward the Pacific Rim. The book contributes to American art history the study of a characteristic but as yet overlooked format and models for the discipline a new and productive framework of analysis focused on the fundamental yet complex way images work back and forth with one another.

Modern Chinese painting embodies the constant renewal and reinvigorations of Chinese civilization amidst rebellions, reforms, and revolutions, even if the process may appear confusing and bewildering. It also demonstrates the persistence of tradition and limits of continuities and changes in modern Chinese culture. Most significantly, it compels us to ask several important questions in the study of modern Chinese culture: How extensively can cultural tradition be re-interpreted before it is subverted? At what point is creative re-invention an act of betrayal of tradition? How has selective borrowing from Chinese tradition and foreign cultrue enabled modern Chinese artists to sustain themselves in the modern world? By focusing on the art of Huang Pin-hung (1865-1955), particularly his late work, this book attempts to provide some answers to these questions.

The first major monograph on Zhang Xiaogang (b. 1958), a leading Chinese contemporary artist, world-renowned for his haunting, surrealist works. Both a retrospective of his paintings and a biography of his dramatic life, Zhang Xiaogang: Disquieting Memories is a key resource for academia and art enthusiasts alike. This book features all of the artist's iconic series - major works as well as lesser-hyphen;known drawings - and never-before-published letters dating from the early 1980s between the artist and his friends. These offer an inside view of everyday life in China, historic and political events, as well as invaluable insight into Zhang's artistic practice. With a chronology illustrated with personal photographs from the artist's archive, this is the most comprehensive account of the artist's life and work.

This book provides practical examples of planning and organizing a paint shop in many different types of venues from community theatre to professional, summer stock to year-round. The text includes access to additional online resources such as extended interviews, downloadable informational posters and templates for budgeting and organizing, and videos walking through the use of templates and the budgeting process. Written for early career scenic artists in theatre and students of Scenic Art courses.