This title was first published in 2002: Draw ing on extensive primary research, Greg Smith describes the shifting cultural identities of the English watercolour, and the English watercolourist, at the end of the eighteenth and the beginning of the nineteenth century. His convincing narrative of the conflicts and alliances that marked the history of the medium and its practitioners during this period includes careful detail about the broader artistic context within which watercolours were produced, acquired and discussed. Smith calls into question many of the received assumptions about the history of watercolour painting. His account exposes the unsatisfactory nature of the traditional narrative of watercolour painting's development into a 'high' art form, which has tended to offer a celebratory focus on the innovations and genius of individual practitioners such as Turner and Girtin, rather than detailing the anxieties and aspirations that characterized the ambivalent status of the watercolourist. The Emergence of the Professional Watercolourist is published with the assistance of the Paul Mellon Foundation.

This title was first published in 2003. Twenty-seven years after his death, Roger Hilton's reputation as a leading figure in British 'abstract expressionism' continues to rise. Following the major retrospective exhibition at the Hayward Gallery in 1993 and the drawings survey at the Tate St Ives in 1997, this lavishly illustrated account is the first to provide a comprehensive overview of the life and work of this important artist. Hilton's extraordinary career is discussed in all its phases, from the intriguing earliest explorations in paint to the inception of his first abstract pieces around 1950 and the complex and intriguing interchanges of imagery and form that mark his final works. Adrian Lewis explains the artist's mature works as both attracting the viewer and resisting easy reading, and discusses in detail the artist's debt to the Ecole de Paris and his relation to the notion of the 'act of painting' that pervaded post-war culture.

Part of a series of exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed, then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. This example features Charles Coleman: Apple Blossoms.

The first fully illustrated account of the life and work of English painter Christopher Wood (1901-30), this authoritative work, which includes over 150 images, provides extensive visual analysis of individual paintings, set designs and drawings created by Wood in both Britain and France so bringing fresh perspective to his unique artistic development on both sides of the Channel.Wood's short career drew on a multitude of influences, all of which contributed to the development of his faux-naive style. His oscillation between diverse artistic reference points is borne out in Katy Norris' fascinating narrative that analyses Wood's engagement with the Parisian avant-garde on the one hand, and the attraction of the simpler life he encountered in Cornwall, Cumbria and Brittany on the other. The emotional turmoil of his final years underlines the tensions between the two worlds that Wood inhabited and which he was ultimately was unable to reconcile.Filling a surprising gap in the published literature about this early 20th-century painter, Christopher Wood will appeal to readers who are yet to encounter Wood's work, as well as collectors and enthusiasts.

This fully illustrated study examines the construction of masculinity in culture based on an analysis of pictorial representations of the male in a wide range of contexts: social, historical, legal, literary, institutional, anthropological, educational, marital, imperial and aesthetic. Powerful images from the work of dozens of Victorian artists - from Leighton, Waterhouse, Burne-Jones and Alma-Tadema to Dicksee, Pettie, Watts, Woodville and Tuke to name a few - are used to illustrate the 5 key paradigms of masculinity: the classical hero, the gallant knight, the challenged paterfamilias, the valiant soldier and the male nude. Aspects of 20th-century theory such as rescue compulsion, male sexuality, the male gaze and racial ideas are also considered. The author concludes that maleness was, and is, learned and 19th-century ideas still influence the construction of manhood today; that social institutions are influenced by, and themselves use, artistic representation; that artistic images strongly influence ideas of gender; and that multi-disciplinary cultural study is the best way to examine the formation of gender ideologies.

This title was first published in 2002: JArg Breu belonged to the generation of German Renaissance artists that included DA1/4rer, Cranach, GrA1/4newald, Altdorfer, and, in his own city of Augsburg, Hans Burgkmair the Elder. His art registered the early reception of Italian art in Germany and spanned the dramatic years of the Reformation in Augsburg, when the city was riven with social and religious tensions. Uniquely, for a German artist, Breu left a diary chronicling his reaction to the massive social and cultural forces that engulfed him, including his own conversion to the Protestant cause. His story is representative of the condition of many artists during the Reformation years living through this watershed between two cultural eras, which witnessed the transfer of creative energies from religious painting to secular and applied forms of art. In this wide ranging and original study, Andrew Morrall examines the effect of these events on the nature and practice of JArg Breu's art and its reception, not just in his own period, but right up to the present day.

This first survey of Antonio Bernal's life and work, The Artist as Eyewitness features essays that assess his murals, situating them within the historical, political, and cultural frameworks of the Chicano movement. It also includes an analysis of Bernal's unpublished novel, Breaking the Silence; a biography of Bernal; reproductions of his artwork; and a selection of his writings. Drawing on personal correspondence and writings, photographs, and audiovisual materials that document Bernal's travels, artwork, and family history, this book offers an important contribution to Chicana/o studies and art history.

The first and highly-anticipated monograph on one of the most successful, collected, and exciting painters today Swiss-born Nicolas Party, one of the most successful and critically acclaimed artists working today, is known for his color-saturated paintings of everyday objects, with distinctly personal yet very accessible and recognizable imagery - bright, graphic patterns applied to canvases, ceramics, furniture, floors, ceilings, doorways, and walls. He captures the essence of his subjects in surprising ways, heightening their physical and emotional resonance. Fascinated by the power of paint to alter our perception of the built environment and, within a gallery context, how we experience art, Party regularly paints murals, either as stand-alone works or as carefully orchestrated settings for his practice. This is the first book dedicated to his practice and the first to examine in totality his career to date - it will be a must-read for collectors and followers of the contemporary art scene.

This is the first in a series of books in which one of the most influential of contemporary art theorists revised from within the conceptions underlying the history of art. The author's basic idea is that the rigor of linear perspective cannot encompass all of visual experience and that it could be said to generate an oppositional factor with which it interacts dialectically: the cloud.
On a literal level, this could be represented by the absence of the sky, as in Brunelleschi's legendary first experiments with panels using perspective. Or it could be the vaporous swathes that Correggio uses to mediate between the viewer on earth and the heavenly prospect in his frescoed domes at Parma. Insofar as the cloud is a semiotic operator, interacting with the linear order of perspective, it also becomes a dynamic agent facilitating the creation of new types of pictorial space. (Damisch puts the signifer cloud between slashes to indicate that he deals with clouds as signs instead of realistic elements.)
This way of looking at the history of painting is especially fruitful for the Renaissance and Baroque periods, but it is also valuable for looking at such junctures as the nineteenth century. For example, Damisch invokes Ruskin and Turner, who carry out both in theory and in practice a revision of the conditions of appearances of the cloud as a landscape feature. Even for the twentieth century, he has illuminating things to say about how his reading of cloud applies to the painters Leger and Batthus. In short, Damisch achieves a brilliant and systematic demonstration of a concept of semiotic interaction that touches some of the most crucial features of the Western art tradition.

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.

Reviewers of a recent exhibition termed Federico Barocci (ca. 1533-1612), 'the greatest artist you've never heard of'. One of the first original iconographers of the Counter Reformation, Barocci was a remarkably inventive religious painter and draftsman, and the first Italian artist to incorporate extensive color into his drawings. The purpose of this volume is to offer new insights into Barocci's work and to accord this artist, the dates of whose career fall between the traditional Renaissance and Baroque periods, the critical attention he deserves. Employing a range of methodologies, the essays include new ideas on Barocci's masterpiece, the Entombment of Christ; fresh thinking about his use of color in his drawings and innovative design methods; insights into his approach to the nude; revelations on a key early patron; a consideration of the reasons behind some of his most original iconography; an analysis of his unusual approach to the marketing of his pictures; an exploration of some little-known aspects of his early production, such as his reliance on Italian majolica and contemporary sculpture in developing his compositions; and an examination of a key Barocci document, the post mortem inventory of his studio. A translated transcription of the inventory is included as an appendix.

Learn how to paint adorable animals, flavorful fruits, lively plants, and more in this free-and-easy approach to watercolor. Artist Natalia Skatula has a beautiful, whimsical style that will charm you through 12 simple step-by-step projects and over 100 worked examples. Beginning with an overview on materials and equipment, Natalia then covers the general techniques needed to achieve the paintings, along with her top-10 personal tips for success. Projects include: A majestic whale An adorable sloth Elephants Pandas Dogs Llamas Bears Foxes Rabbits And more! This book also includes a range of presentation ideas to inspire you to put your finished work on display or gift it. The gallery of examples that follows includes plants, cats, beetles, birds, sealife, jungle creatures and fruits, giving you a treasure-trove of references for your painting. This book also makes the perfect gift for artists of all ages, especially plant and animal lovers. Find the inspiration and technique to start your watercoloring adventures with this beautiful guide!

"Life, Legend, Landscape" presents a rich selection of Victorian drawings and watercolors from the Courtauld Gallery collection, ranging from finished watercolors intended for public exhibition to informal sketches and preparatory drawings for paintings or sculpture. The selection includes a study by Edwin Landseer for the famous lions used at the base of Nelson's column in Trafalgar Square, London; the Pre-Raphaelite painter Dante Gabriel Rossetti's intimate portrait of his muse, Elizabeth Siddal, seated at her easel; Whistler's delicate study of the young Elinor Leyland, and Fredrick Walker's outstanding The Old Farm Garden.

Accomplished artist Marion Kaiser brings you this fun, beautiful and quirky guide to creating cute stone art. Getting started couldn't be easier. It doesn't require expensive materials or complicated techniques - all you need is a stone, some acrylic paints and varnish! It's great for beginners, and more seasoned artists alike, and is the perfect family craft. Discover 20 fun designs in a variety of styles. Projects include animals such as a panda, elephant and lizard, insects such as a ladybird and dragonfly, and birds such as a swan and a penguin. There are other lovely things to create too, such as a cottage, a mandala and a feather. With clear step-by-step instructions accompanying each design, and beautiful photographs to inspire you, Painting Stones will soon have you on your way to creating your own rock art collection. You can even share the fun by creating a quirky treasure trail around your neighbourhood for passers-by to discover!

No artistic education is complete without a healthy dose of Impressionism. Here fifty of the most important works from the early nineteenth through the early twentieth centuries are gorgeously reproduced, including the best of Monet, Degas, van Gogh, Renoir, Cezanne, Cassatt, Manet, Seurat, and Pisarro. Each piece is given a brief overview establishing its place in the Impressionist pantheon as well as in its artist's oeuvre. An introductory text explains the Impressionistic style, tracing the movement's development, while an appendix offers biographies of the artists. The result is a veritable tour on Impressionism, offering an enjoyable and practical art history lesson that everyone can enjoy.

Were late nineteenth-century gender boundaries as restrictive as is generally held? In Redefining Gender in American Impressionist Studio Paintings: Work Place/Domestic Space, Kirstin Ringelberg argues that it is time to bring the current re-evaluation of the notion of separate spheres to these images. Focusing on studio paintings by American artists William Merritt Chase and Mary Fairchild MacMonnies Low, she explores how the home-based painting studio existed outside of entrenched gendered divisions of public and private space and argues that representations of these studios are at odds with standard perceptions of the images, their creators, and the concept of gender in the nineteenth century. Unlike most of their bourgeois contemporaries, Gilded Age artists, whether male or female, often melded the worlds of work and home. Through analysis of both paintings and literature of the time, Ringelberg reveals how art history continues to support a false dichotomy; that, in fact, paintings that show women negotiating a complex combination of professionalism and domesticity are still overlooked in favor of those that emphasize women as decorative objects. Redefining Gender in American Impressionist Studio Paintings challenges the dominant interpretation of American (and European) Impressionism, and considers both men and women artists as active performers of multivalent identities.

More than 70 works of Hogarth include musical references, and Jeremy Barlow's book is the first full-length work devoted to this aspect of his imagery. The first two chapters examine the evidence for Hogarth's interest in music and the problems of assessing accuracy, realism and symbolic meaning in his musical representations. Subsequent chapters show how musical details in his works may often be interpreted as part of his satirical weaponry; the starting point seems to have been his illustrations of the clamorous 'rough music' protest in Samuel Butler's immensely popular poem Hudibras. Hogarth's use of music for satirical purposes also has connections with a particular type of burlesque music in 18th-century England. It may be seen too in the roles played by his humiliated fiddlers or abject ballad singers. Each of the final two chapters focuses on a particular Hogarth subject: his paintings of a scene from a theatrical satire of music and society, The Beggar's Opera, and the print The Enraged Musician itself. The latter work draws together uses of musical imagery discussed previously and the book concludes with an analysis of its internal relations from a musical perspective. The book is lavishly illustrated with Hogarth's drawings, prints and paintings. Many other images are reproduced to provide contextual background. Several indices and appendices enhance the book's value as a reference tool: these include an annotated index of Hogarth's instruments, with photographs or other representations of the instruments he depicts; a detailed index of Hogarth's works with musical imagery; the texts and music for broadside ballads and single-sheet songs related to Hogarth's titles; 18th-century texts and street cries related to Hogarth's The Enraged Musician, and other musical examples indicated in the text. Also included is a facsimile of Bonnell Thornton's burlesque Ode on St CA|cilia's Day.

The Art of Fine Gifts: Twentieth-century painter, designer and wood engraver Eric Ravilious was responsible for a fascinating range of different works, from illustrations for books to designs for ceramics for the established Wedgwood pottery firm. This gorgeous new book features beautiful woodcut images of countryside life, watercolours of rolling landscapes and many of Ravilious' acute and profound war paintings.

James McNeill Whistler and France: A Dialogue in Paint, Poetry, and Music is the first full-length and in-depth study to position this painter within the overall trajectory of French modernism during the second half of the nineteenth century and to view the artist as integral to the aesthetic projects of its most original contributors. Suzanne M. Singletary maintains that Whistler was in a unique situation as an insider within the emerging French avant-garde, thereby in an enviable position to both absorb and transform the innovations of others - and that until now, his widespread influence as a catalyst among his colleagues has been neither investigated nor appreciated. Singletary contends that Whistler's importance rivals that of Manet, whose multi-layered (and often unexpected) interconnections with Whistler are the focus of one chapter. In addition, Whistler's pivotal role in linking the legacies of Baudelaire, Delacroix, Gautier, Wagner, and other mid-century innovators to the later French Symbolists has previously been largely ignored. Courbet, Degas, Monet, and Seurat complete the roster of French artists whose dialogue with Whistler is highlighted.