Between 1886 and 1942, the U.S. Department of Agriculture’s Pomology Division — pomology being the study of fruit growing — commissioned an illustrated register of fruits. These watercolour illustrations were invaluable to growers, who used them as records of prized varieties that were in danger of being stolen or counterfeited by competitors. The illustrations realistically portrayed fruit in all conditions, showing not only immaculate pomegranates fit to eat off of the page but bruised bananas as well. These watercolours, most of which were painted by women, chronicle an agricultural landscape at the turn of the twentieth century and provide a visual time capsule of many fruit varieties now lost. This book highlights 250 vibrant, mouthwatering watercolours from the Pomological Watercolor Collection, showing fruit from all 50 states and around the world, from apples and oranges to gooseberries and plums. As small as an apple or avocado you would hold in your hand, this miniature book will entice both gourmets and art lovers.

The only book available on Scottish painting, this book is now in its third edition with a new introduction and final chapter that brings the book up to date with the latest developments in Scottish painting (Richard Wright's win of the Turner Prize 2009). Illustrated throughout, the work is by acknowledged authority on Scottish painting William Hardie. Scottish society has been reflected through the strong colour and energetic brushwork of its artists. The book traces the beginnings of Scottish painting from the foundation of the Foulis Academy in 1753, with William Dyce and Scott Lauder establishing themselves in the south, followed by W Q Orchardson and John Pettie around 1860. European travel ensured Scottish painters were open to new techniques, and the explosion of the Glasgow Boys and then the Colourists onto the scene meant Scotland was respected for its innovation and imagination. Charles Rennie Mackintosh today is still internationally recognised for his work, and the painting of John Byrne, Curister, and Peter Howson bring the book to the present day.

Despite the increased visibility of Victorian women artists in museum exhibitions and historical studies, the art produced by Victorian women has been viewed through a restrictive lens. Scholars have focused on works produced for the marketplace, but have overlooked art created and displayed outside of established venues and institutions of higher learning. Drawing upon sketches, paintings, and photographs, Intrepid Women: Victorian Artists Travel is a groundbreaking study that examines the art that women produced whilst traveling, as well as the circumstances that took these artists - both amateurs and professionals - far beyond the reaches of the traditional Grand Tour. Traveling throughout the British Empire, including the Middle East, India, Canada, and North Africa, and even to the Americas, the artists adapted to new climes and foreign cultures partially by documenting the unfamiliar through their art, sometimes at great physical risk. This volume of essays offers fresh evidence that through their travel and art, women extended both geographic and social boundaries. Each author presents evidence that women overcame institutional as well as cultural obstacles to improve their artistic skills and to use their art to convey worlds most British citizens would never see for themselves.

First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

In 1802, at the age of 26, Joseph Mallord William Turner became the youngest ever member of the Royal Academy. A prolific painter and watercolourist, his paintings began by combining great historical themes with the inspired visions of nature, but his experimentation with capturing the effects of light led him swiftly towards an unusual dissolution of forms. Turner was a constant traveller, not only within the British Isles but also throughout Europe, from the Alps to the banks of the Rhine, from northern France to Rome and Venice. His death in 1851 revealed not only his zealously guarded private life but also a will that left both his fortune and more than thirty thousand drawings, watercolours and paintings to the nation. In this profusely illustrated book, Olivier Meslay invites us to follow the development of Turner's incandescent art, a bridge between Romanticism and Impressionism and one of Britain's most remarkable contributions to art history.

The Mother of Creation is a universal concept and appears in many guises: Divine Mother, Holy Spirit, Goddess of Light, Shakti, Mary, Madonna, etc. This is the divine feminine of the Mother which is beloved by many. Throughout the ages, artists have recorded their spiritual visions. Think of great masters like Michelangelo and Da Vinci. Consider William Blake who was ridiculed in his life but is now revered. His visions were extraordinary and included Adam and Eve. They had a basis in truth. The Mother is also portrayed through many forms of art. But this is not just the religious and Renaissance art of western civilisation. Sacred art is everywhere. Music also has a vital role in this renaissance. Sacred music has evolved through the centuries - from western classical composers to the mystical traditions of India and the East. Music is a universal language of passion and feeling. The world is enriched by music in all its many forms. Art can be combined with music to increase its appeal to the spiritual self. So that a meditation on the Mother or Spirit - that combines art and music in this way - may help a person towards a state of enlightenment. This is an enlightenment to the Spirit of Truth - the Mother - who is instrumental in the renaissance of Man. The Spirit is the Helper and Comforter - and with us forever. So that we can live in the grace of the Spirit.

Relax and dive into the ultimate guide to creating watercolor paintings of your favorite flowers! From bright red roses to deep green cacti, this gorgeous, easy-to-follow book will show how anyone can paint luminous watercolor flowers and botanicals. Noted artist and instructor Rachel Eskandari details how anyone can paint a garden of bold, creative watercolor images. Featuring colorful step-by-step images, this book shows how to master the basics of watercolors and then expand your color palette to create boldly unconventional floral artwork. Watercolor Botanical Garden features everything you need to know, including: *Color theory and mixing for unique shades *Utilizing the skills of blending, gradients, and shading *Lesson for creating 25+ different plants and flowers including roses, cacti, peonies, nigella, agave, anemones, queen of the night, leaves, and more *How to incorporate multiple botanical images for a gorgeous landscape painting

Painting with Fire shows how experiments with chemicals known to change visibly over the course of time transformed British pictorial arts of the long eighteenth century--and how they can alter our conceptions of photography today. As early as the 1670s, experimental philosophers at the early Royal Society of London had studied the visual effects of dynamic combustibles. By the 1770s, chemical volatility became central to the ambitious paintings of Sir Joshua Reynolds, premier portraitist and first president of Britain's Royal Academy of Arts. Valued by some critics for changing in time (and thus, for prompting intellectual reflection on the nature of time), Reynolds's unstable chemistry also prompted new techniques of chemical replication among Matthew Boulton, James Watt, and other leading industrialists. In turn, those replicas of chemically decaying academic paintings were rediscovered in the mid-nineteenth century and claimed as origin points in the history of photography. Tracing the long arc of chemically produced and reproduced art from the 1670s through the 1860s, the book reconsiders early photography by situating it in relationship to Reynolds's replicated paintings and the literal engines of British industry. By following the chemicals, Painting with Fire remaps familiar stories about academic painting and pictorial experiment amid the industrialization of chemical knowledge.

A veritable folk hero in Latin America and Mexico's most important artist-along with his wife, painter Frida Kahlo-Diego Rivera (1886-1957) led a passionate life devoted to art and communism. After spending the 1910s in Europe, where he surrounded himself with other artists and embraced the Cubist movement, he returned to Mexico and began to paint the large-scale murals for which he is most famous. In his murals, he addressed social and political issues relating to the working class, earning him prophetic status among the peasants of Mexico. He was invited to create works abroad, most notably in the United States, where he stirred up controversy by depicting Lenin in his mural for the Rockefeller Center in New York City (the mural was destroyed before it was finished). Rivera's most remarkable work is his 1932 Detroit Industry, a group of 27 frescos at the Detroit Institute of Art in Michigan. This volume features numerous large-scale details of the murals, allowing their various components and subtleties to be closely examined. In addition to the murals is a vast selection of paintings, vintage photos, documents, and drawings from public and private collections around the world, many of which the whereabouts were previously unknown to scholars and whose inclusion here is thanks to the most intense research performed on Rivera's work since his death. Texts include an illustrated biography and essays by prominent art historians offering interpretations of each mural. One could not ask for a more comprehensive study of Rivera's oeuvre; finally his work is the subject of the sweeping retrospective it deserves.

This is the first modern scholarly edition of the letters and memoirs of Joseph Severn, English painter and deathbed companion of John Keats. It includes letters from a remarkable collection of never-before-published correspondence held by descendants of the Severn family. Scott's unprecedented access to hundreds of new letters has resulted in a major revisionist work that challenges traditional ideas about Severn's life and character. The edition includes new information about Severn's early artistic success in Italy, an extraordinarily thorough record of his day-to-day activities as a working artist in England, and surprising details about his experience as British Consul in Rome. The volume represents a significant work of recovery, printing in full three important memoirs that have until now appeared only in inaccurate excerpts and offering thirty-three illustrations that demonstrate the range of Severn's talents as a painter. Scott makes a compelling case for a revaluation of Severn, whose friends also included Charles Eastlake, William Gladstone, Leigh Hunt, John Ruskin, and Mary Shelley. This collection will prove valuable not only to literary biographers and Keats scholars, but also to art and cultural historians of the Romantic and Victorian eras. Adding significantly to the volume's usefulness are a detailed chronology of Severn's life and artwork, and appendices containing an index of the newly discovered letters and a ledger of Severn's patrons, paintings and commissions.

A celebration of the diverse world of American watercolors from the late nineteenth through the twentieth century, featuring works from the Harvard Art Museums’ collection Watercolor holds a special place in the history of American art. For generations of artists, the medium has provided a space for innovation and experimentation, allowing practitioners to let their imagination loose and to reflect on process and perception. Its rise to the status of fine art in the decades following the Civil War is well documented, yet its continued role as a testing ground and means of generating new ideas throughout the twentieth century has received comparatively less attention. This volume considers continuity and change in the American watercolor tradition over a century of production through the lens of the Harvard Art Museums’ collection. Works by well-known watercolorists such as Winslow Homer, John Singer Sargent, and James Abbott McNeill Whistler are included, as well as surprising additions from Zelda Fitzgerald, Alexander Calder, Claes Oldenburg, and many others. In the spirit of the medium, the authors take a fluid and open-ended approach to the topic, offering both personal and scholarly reflections that invite readers to ponder the influence of these works on their own experience of the world. In addition to contextual essays, there are close readings of singular works and examinations of the unique material characteristics of the watercolor medium. Distributed for the Harvard Art Museums Exhibition Schedule: Harvard Art Museums, Cambridge, MA (May 20–August 13, 2023)

Mati & The Music is a book about the 52 paintings by Mati Klarwan that appeared on album covers, this body of work started in the mid 1950s and continued for half a century. Klarwein was heavily involved in the New York art scene of the 1960s and 1970s. He was mainly commissioned to paint covers by the musicians themselves the most famous being Miles Davis 'Bitches Brew' and 'Live Evil', Carlos Santana's 'Abraxas', Earth Wind & Fire, Buddy Miles, Gregg Allman. He was also employed by major records labels including Blue Note for Jackie McLean, Reuben Wilson and Douglas records for the Last Poets, Howard Walkes and Jerry Garcia. This book is an introduction to a painter's work through his passion for music.

While German painting of the postwar period essentially concerned itself with coming to terms with the past and presenting it in gestures ranging from the heroic to the ironic, Daniel Richter focuses on positioning himself in the present. Time and again he devises new ways of being "modern" in a medium that has long been labeled old-fashioned and anachronistic. His pictures constantly challenge the spectator by their painterly and contextually excessive demands, but they do not lecture on moral issues. In five chapters featuring more than 200 examples of his works, the author Eva Meyer-Hermann traces the chronological development of Richter's artistic output for the first time. The turns from abstraction to figuration and back again that until now have been described as abrupt, prove on closer examination to be a logical consequence and a sign of conscious artistic action.

Painting Light and Color in the Modern Landscape is a guidebook to help artists of all skill levels to create watercolors that are imbued with light and mood by working with value and color. For beginners, the basic materials and techniques are covered in detail, based largely on questions the author had when he was learning and the questions that his students ask him today. The remainder of the book is filled with practical lessons intended to advance the overall knowledge and confidence of the reader. One aspect that will be unique to this book is that the author will share personal, disastrous learning experiences with readers as a means of both encouragement and entertainment and to illustrate the point that anyone can learn, anyone can improve and anyone can master this particular subject matter. In addition to 12 individual step-by-step demonstrations , approximately 27 gallery pieces with detailed explanations of the painting techniques and concepts used to create the painting.

An illustrated exploration of the artist, Rembrandt van Rijn, his life and context, with a gallery of 300 of his finest works. This is a fascinating biography that explores his early years, his personal life and the historical context of the early 17th century. It analyzes his creative progress and the artistic influences that led him to develop his work from the grand Baroque to a less exuberant style.

Rivers can be enchanting or exciting, but are always absorbing. They provide a myriad of painting opportunities and challenges for the artist. Focusing on watercolour - one of the most direct of mediums - this practical book explains how to paint a river and capture its life, light, movement, colour and interest. With over 200 colour images, Rob Dudley shares his methods, techniques and ideas to make this beautiful book a must-have for all landscape and en plein-air artists.

Terry Harrison's painting style and easy-going humour makes painting fun and enjoyable. Pick up a brush, pull out one of the included outlines, and before you know it, you'll have a painting you can be proud to hang on your wall! This collection of Terry Harrison's highly-successful Ready to Paint books expands on the rock-solid painting advice in the originals by including all of Terry's clever and simple techniques. Together with more information on his preferred materials, the book makes painting the huge range of landscapes and rural scenes included approachable and enjoyable. The book includes pull-out outline paper that you can transfer to watercolour paper as well as full instructions on how to do so for each of the 15 step-by-step projects, and Terry's beautiful artworks are scattered throughout for inspiration.

"Exploring for the very first time the hidden relationship between paintings and stereoscopic cards in Victorian times." The advent of a new painting by a great artist was big news in the 1850s, but few were able to access and enjoy directly the new works of art. Stereo cards, created by enterprising photographers of the day, reconstructed the scenes and gave an opportunity for the man in the street to enjoy these scenes, in magical life-like 3D. The Poor Man's Picture Gallery contains high-definition printed reproductions of well-known Victorian paintings in the Tate Gallery, and compares them with related stereo cards - photographs of scenes featuring real actors and models, staged to tell the same story as the corresponding paintings, all of which are the subject of an exhibition in the Tate Gallery in 2014.

The aim of this book is to provide an account of modernist painting that follows on from the aesthetic theory of Theodor W. Adorno. It offers a materialist account of modernism with detailed discussions of modern aesthetics from Kant to Arthur Danto, Stanley Cavell, and Adorno. It discusses in detail competing accounts of modernism: Clement Greenberg, Michael Fried, Yves-Alain Bois, and Theirry de Duve; and it discusses several painters and artists in detail: Pieter de Hooch, Jackson Pollack, Robert Ryman, Cindy Sherman, and Chaim Soutine. Its central thesis is that modernist painting exemplifies a form of rationality that is an alternative to the instrumental rationality of enlightened modernity. Modernist paintings exemplify how nature and the sociality of meaning can be reconciled.