This volume represents a long overdue reassessment of the Neapolitan painter Paolo de Matteis, an artist largely overlooked in English language scholarly publications, but one who merits our attention for the quality of his work and the originality of its iconography, as well as for his remarkable ability to respond creatively to his patrons' aesthetic ideals and agendas. Following a meticulous examination of the ways in which posterity's impression of de Matteis has been conditioned by a biased biographical and literary tradition, Livio Pestilli devotes rich, detailed analyses to the artist's most significant paintings and drawings. More than just a novel approach to de Matteis and the Neapolitan Baroque, however, the book makes a significant contribution to the study and understanding of early eighteenth-century European art and cultural history in general, not only in Naples but in other major European centers, including Paris, Vienna, Genoa, and Rome.

Learn to create your own beautiful watercolor botanical art with more than 30 projects, as well as information on materials and basic techniques. The graceful, contemporary style of these flowers and foliage is attractive and accessible to all no matter your skill level.

An essential and practical handbook on choosing and mixing colours successfully. Choosing and mixing colours successfully in different media is all about creating the maximum colour range from the minimum number of paints. In this comprehensive guide, the authors - all experts in the field - show you how to approach watercolours, acrylics and oils in terms of mixing, blending and diluting them to achieve a wide range of effects. Whether you are an amateur or a professional, The Art of Colour Mixing provides a handy source of invaluable information on how to get the most from your paints in terms of colour. This is a book that should be on all painter's reference shelves.

Take a walk through the seasons with Waltraud Nawratil in this vibrant guide to painting nature in watercolour. Discover new and traditional watercolour techniques: textural effects, backgrounds, exciting colour combinations and much more to create 30 stunning watercolour paintings that bring the natural world to life. Paint your way through a luscious landscape of flowers, fruits and trees, including a vibrant vase of impatient spring blooms, dreamy waterlilies floating on a still pond in summer, a golden forest and a copious autumn harvest, and ending with an exuberant pink poinsettia complete with frost-tipped leaves, which marks the coming of Christmas and the closing of the year. Each painting is worked in watercolour in the author's loose, delicate style. An ideal introduction to watercolour painting and an unmissable guide to developing technical skills – with plentiful inspiration for creating your own works of nature-inspired art.

Vincent van Gogh (1853-1890) felt a profound empathy with the natural environment, and considered the spiritual essence of trees to be comparable with that of human figures. Vincent's Trees traces Van Gogh's development as a painter of trees in the natural landscape - from his home province of North Brabant, through Paris to Provence. Ralph Skea's elegant prose is accompanied by Van Gogh's vibrant illustrations of trees, which range from pencil and ink sketches to watercolours and oil. Stylistic experiments encompassing Pointillism and compositions inspired by Japanese prints give way to the expressive, painterly depictions of his later work. The book also includes quotes from Van Gogh's letters, which convey the depth of his feeling for the natural landscape, and the force with which it affected him.

This compact edition is identical to Silcox's 2003 award winning bestseller. The book is a comprehensive study of the famous Canadian art movement, its time, 400 full colour artworks are organised by region and theme, each group introduced by an essay. At a critical time in Canada's history, the Group of Seven revolutionised the country's appreciation of itself by celebrating Canada as a wild and beautiful land. These paintings of the wilderness evoke the same response in viewers today as they did when first exhibited. The Group of Seven and Tom Thomson includes many never-before reproduced paintings and presents the most complete and extensive collection of these artists' works ever published. The 400 paintings and drawings reveal the remarkable genius of all 10 painters who at some point were part of the movement. Tom Thomson, who died before the Group was established, was always present in the public mind. Included are works by: Frank Carmichael, Frank Johnston, A.J. Casson, Arthur Lismer, Le Moine FitzGerald, I.E.H. MacDonald, Lawren Harris, Tom Thomson, Edwin Holgate, F.H. Varley, A.Y. Jackson. The artwork is organised by the various regions of Canada, with additional sections on the war years and still-life paintings. Introductory essays provide a context for a greater understanding and appreciation of Canada's most celebrated artists.

A new pocket-book edition of the bestselling watercolour tip book by renowned artist Charles Evans. Discover 100 top tips for painting in watercolour that will take the mystery out painting, covering topics from creating depth, introducing harmony, how to deal with light and shade and how to create mood and atmosphere, this book was previously published as Charlie's Top Tips for Watercolour Artists. Contained inside one slim, notebook-size book that will fit perfectly in your kit bag for easy transportation while painting on the go, it includes quick, clever tips that are easy to follow and effective.

In drawing or painting from live models and real landscapes, more was at stake for artists in early modern Italy than achieving greater naturalism. To work with the model in front of your eyes, and to retain their identity in the finished work of art, had an impact on concepts of artistry and authorship, the authority of the image as a source of knowledge, the boundaries between repetition and invention, and even the relation of images to words. This book focuses on artists who worked in Italy, both native Italians and migrants from northern Europe. The practice of depicting from life became a self-conscious departure from the norms of Italian arts. In the context of court culture in Rome and Florence, works by artists ranging from Caravaggio to Claude Lorrain, Pieter van Laer to Jacques Callot, reveal new aspects of their artistic practice and its critical implications.

Diagnosed with schizophrenia in the 1950s, German writer and artist Unica Zurn produced a wealth of remarkable textual and visual material within psychiatric institutions across Germany and France. While Zurn is often discussed in relation to her partner, the controversial artist Hans Bellmer, this innovative book moves beyond the familiar model of the overlooked 'significant other' and re-introduces her as a member of the French Surrealist group. This is the first monograph on the life and work of the Unica Zurn in English. Esra Plumer presents Zurn's life and work in light of the artist's individual experiences with WWII, Post-war Surrealism and mental illness, at the same time revealing wider aspects of her artistic practice in relation to her contemporaries. She also reveals how the techniques of anagrams and automatism (writing and drawing methods designed to unlock the subconscious mind) form the pillars of Zurn's artistic creative output, which carry her work into the wider theoretical circles of psychoanalytic theory and post-structuralist thought.

A book of heroic dimensions, this is the first full-length biography of one of the greatest artists of the twentieth century--a man as fascinating, difficult, and compelling as the paintings he produced. Drawing on exclusive access to Mark Rothko's personal papers and over one hundred interviews with artists, patrons, and dealers, James Breslin tells the story of a life in art--the personal costs and professional triumphs, the convergence of genius and ego, the clash of culture and commerce. Breslin offers us not only an enticing look at Rothko as a person, but delivers a lush, in-depth portrait of the New York art scene of the 1930s, '40s, and '50s--the world of Abstract Expressionism, of Pollock, Rothko, de Kooning, and Klein, which would influence artists for generations to come.
"In Breslin, Rothko has the ideal biographer--thorough but never tedious, a good storyteller with an ear for the spoken word, fond but not fawning, and possessed of a most rare ability to comment on non-representational art without sounding preposterous."--Robert Kiely, "Boston Book Review"
"Breslin impressively recreates Mark Rothko's troubled nature, his tormented life, and his disturbing canvases. . . . The artist's paintings become almost tangible within Breslin's pages, and Rothko himself emerges as an alarming physical force."--Robert Warde, "Hungry Mind Review"
"This remains beyond question the finest biography so far devoted to an artist of the New York School."-Arthur C. Danto, "Boston Sunday Globe"
"Clearly written, full of intelligent insights, and thorough."--Hayden Herrera, "Art in America"
"Breslin spent seven years working on this book, and he has definitely done his homework."-Nancy M. Barnes, "Boston Phoenix"
"He's made the tragedy of his subject's life the more poignant."--Eric Gibson, "The New Criterion"
"Mr. Breslin's book is, in my opinion, the best life of an American painter that has yet been written . . . a biographical classic. It is painstakingly researched, fluently written and unfailingly intelligent in tracing the tragic course of its subject's tormented character."--Hilton Kramer, "New York Times Book Review," front page review
James E. B. Breslin (1936-1996) was professor of English at the University of California, Berkeley, and author of "From Modern to Contemporary: American Poetry, 1945-1965" and "William Carlos Williams: An American Artist."

With a career spanning seven decades, Catalan-born Joan Miro (1893-1983) was a polymath giant of modern art, producing masterworks across painting, sculpture, art books, tapestry, and ceramics, and embracing ideologies as varied as Fauvism, Surrealism, Dada, Magic Realism, Cubism, and abstraction. Over the course of his prodigious output, Miro evolved constantly, seeking to eschew categorization and the approval of "bourgeois" art critics as much as he pursued his own dreamlike worlds. Emerging into the public spotlight in the early 1920s, he first experimented with Fauvism and Cubism before developing a distinctive style of symbols and pictograms, arranged in elusive visual narratives, with frequent reference to Catalan life. As his career progressed, Miro moved towards Surrealism, and, despite never fully identifying with the movement, emerged as one of its most celebrated practitioners with techniques including automated drawing, Lyrical Abstraction, and Color Field painting. In later years, he diversified his media further, working with ceramics, textiles, and even proposing sculptures made of gas. Through his vivid colors, dreamlike fantasies, and enigmatic symbols, this book brings together the numerous strands of Miro's kaleidoscopic oeuvre to introduce his fascinating career, its interaction with major modernist movements, and how it made him into a modernist legend. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

In this classic text, James Elkins communicates the experience of painting beyond the traditional vocabulary of art history. Alchemy provides a strange language to explore what it is a painter really does in the studio-the smells, the mess, the struggle to control the uncontrollable, the special knowledge only painters hold of how colors will mix, and how they will look. Written from the perspective of a painter-turned-art historian, this anniversary edition includes a new introduction and preface by Elkins in which he further reflects on the experience of painting and its role in the study of art today.

Artist, columnist, and poet Gertrude McCarty Smith (1923-2007) of Collins, Mississippi, carried herself as a demure and proper southern lady, yet this was deceiving as she was a prolific, creative trailblazer who had collectors and dedicated readers from coast to coast, and even in Europe. She grew up during the Great Depression with only some vivid storytelling and pictures from the family Bible to inspire and kindle her artistic spirit. However, at the age of ten, her career launched when her grandmother coaxed her with a box of crayons to milk the family cow-her seventy-year love affair with the arts was born. Over the years, she would express her creativity in many forms, resulting in thousands of paintings, sculptures, songs, poems, and newspaper columns and along the way a variety of artful cakes, as she ran a celebrated twenty-five-year cake business. Her art appeared in all shapes, sizes, materials, and "eatability." For most of her early career, Gertrude dabbled with a variety of styles-with subjects mostly centered around life in rural Mississippi and her spiritual life. But in 1980 at the age of fifty-seven, she attended her first Mississippi Art Colony at Camp Jacob in Utica. Over the next fifteen years, she would make her pilgrimage twice a year to be inspired by celebrated guest instructors from around the nation and connect with fellow artists. The Colony was a major catalyst, exposing her to new styles, giving her encouragement and freedom to experiment. Gertrude said of the Colony, "I never knew anything about abstract art, but it fascinated me to no end. Abstract art to me is like a beautiful melody without words. In mixed media, I am in another world and often am surprised at the piece that evolves from the torn watercolor papers. The effect is a kaleidoscope of colors that makes the retinas dance." This book features more than 150 images, a dozen poems, insightful essays from New York art dealer Stephen Rosenberg, acclaimed southern cultural scholar and curator Pat Pinson, and artist, curator, and instructor Rick Wilemon, along with a foreword by Tommy King, president of William Carey University, and a chronicle of her life's journey by her son-in-law, Thomas R. Brooks. As Rosenberg has said, "Gertrude Smith is a remarkable and authentic American woman who teaches us that talent and creativity combined with a humanistic spirit is both a state of mind and a state of grace-at any age." Book proceeds will benefit the Gertrude McCarty Smith Foundation for the Arts to bring access and passion for literature, performance, and visual arts to children in underserved communities throughout Mississippi.

Writing the Lives of Painters explores the development of artists' biographies in eighteenth- and early nineteenth-century Britain. During this period artists gradually distanced themselves from artisans and began to be recognised for their imaginative and intellectual skills. The development of the art market and the burgeoning of an exhibition culture, as well as the foundation of the Royal Academy of Arts in 1768, all contributed to redefining the rank of artists in society. This social redefinition of the status of artists in Britain was shaped by a thriving print culture. Contemporary artists were discussed in a wide range of literary forms, including exhibition reviews, art-critical pamphlets, and journalistic gossip-columns. Biographical accounts of modern artists emerged in a dialogue with these other types of writing. This book is an account of a new literary genre, tracing its emergence in the cultural context of the late eighteenth and early nineteenth centuries. It considers artistic biography as a malleable generic framework for investigation. Indeed, while the lives of painters in Britain did not completely abandon traditional tropes, the genre significantly widened its scope and created new individual and social narratives that reflected and accommodated the needs and desires of new reading audiences. Writing the Lives of Painters also argues that the proliferation of a myriad biographical forms mirrored the privileging of artistic originality and difference within an art world that had yet to generate a coherent 'British School' of painting. Finally, by focusing on the emergence of individual biographies of British artists, the book examines how and why the art historiographic model established by Georgio Vasari was gradually dismantled in the hands of British biographers during the Romantic period.

Abstract painting and abstraction can be a daunting and frustrating genre of art. How should you approach a surface? How can you use colour effectively? How can you make better, more expressive paintings? This inspiring book answers these questions and many more. Through a thorough analysis of his own work, Emyr Williams covers practical, theoretical and historical issues of abstract art and explains a wide range of working methods to help develop more demanding personal approaches to the making of abstract painting. He emphasizes the relationship of colour to surface and the importance of seeking a profound connection with your art. Further topics cover: the difference between abstract and abstraction; how an artist has developed expressive art in many different ways; maximize your studio effectiveness and manage your time better; discover how colour can be approached more effectively; learn about other possibilities for making abstract art - such as the role of technology and finally, be more demanding of your painting and make better abstract paintings.

Painting on canvas poses many exciting opportunities for the artist. Along with the immediacy, vibrancy and unpredictability of watercolours, it is a liberating and creative process. This practical book explains how to start painting with watercolours on canvas and goes on to encourage new style and experimentation. It gives step-by-step demonstrations on different techniques to achieve loose, dynamic images. It is a beautiful and passionate account of how to work on a non-traditional surface to achieve striking and innovative paintings.

Ivan de la Nuez describes Luis Cruz Azaceta's work as "an aesthetics of constant escapes." His imaginative creations, ranging from figuration to abstraction, narrate anguish, pain, shipwrecks, violence... And yet they are simultaneously an escape from them: a means of coming to terms with and challenging a dark past. His paintings reflect his unique perspective as an exile in the United States. This book captures the mood of these impressive artworks, displaying them in an accessible format. Text in English and Spanish.

Bestselling artist and writer Hazel Soan delivers a concise and approachable guide to portrait painting, with simple exercises and step-by-step demonstrations.Whether you are using watercolour, oils or acrylic, Learn to Paint Portraits Quickly explains the key elements of catching a likeness in portrait painting in a mixture of mediums. The book is filled with easy-to-follow instructions and step-by-step exercises that can be digested in a short period of time, and written in an accessible way for all artists to learn about portraiture.The key elements of portraiture covered in this concise book include: *Finding the likeness *Creating form - the light and shade *The facial features *Painting the hair *Skin tone and colouring *The body, clothing and backgroundIllustrated with Hazel's magnificent, colourful paintings, and with practical advice and demonstrations throughout, this book is the perfect tool to help beginners master portrait painting - quickly.

This original work introduces readers to the hyperrealist movement, a style applied to painting whose techniques aspire to photographic exactitude in drawing. From the first action before viewing the piece - the search for information and reference images - to different drawing and sculpture techniques, the book offers a step-by-step explanation of the creative process and shows readers how to illustrate in black and white and with colored pencils, how to work with watercolors and oil, how to create a trompe l'oeil and how to create a realistic looking 3D model. Readers will find all the techniques and suggestions they need to make their own hyperrealist creations, all explained in a pleasant and fun way. It is an original and creative way to introduce different drawing techniques that will awaken the artist inside of us all and whose results will strike most readers as surprising given the degree of realism achieved, as if they were photographs. The book includes references to contemporary artists who have used each of the techniques described, curiosities in the world of art and other tricks of the trade.

The work of Samuel Palmer (1805-1881) received mixed critical success during his lifetime, and his later life was overshadowed by the death of his elder son. Largely forgotten after his own death in 1881, Palmer began to attract renewed interest in the mid-twentieth century and he is now recognised as a key figure in English Romanticism. First published in 1892, this combination of a biography and a collection of Samuel Palmer's letters was written and compiled by his surviving son, A. H. Palmer, who later, in 1909, burned large quantities of his father's sketchbooks and notebooks. The letters published here, which date from 1829 to 1881, include correspondence with other members of 'the Ancients', such as John Linnell, George Richmond and Edward Calvert. The book also includes a range of sketches and etchings, as well as a catalogue of exhibited works.

What France's ancient cave drawings may reveal about the origin of language, art, and human thought--insights into one of the greatest mysteries in anthropology They roam deep underground in the recesses of French (and some Spanish) caves: Bulls and bison. Horses and stags. Rhinos, bears, human-like creatures, and more. Painted, drawn, or engraved, these incredible images are 32,000 years old, yet they seem full of personality and life. Who were the artists? How did they make these paintings miles into labyrinthine caves with only stone candles to light the way? Why did the artists make them and what do they mean? What about the undecipherable signs accompanying the art? Popular science writer Amir Aczel examines the cave drawings and the theories scientists have put forward to explain them, including religious iconography, hunting trophies, and a leap in human brain development. Drawing on years of research and his own visits to Paleolithic caves, Aczel takes us underground on an unforgettable journey of discovery at the crossroads of art, science, and history in the quest to solve the mysteries of this Stone Age art and deepen our understanding of human evolution. Amir D. Aczel (Brookline, MA) is a research fellow in the history of science at Boston University and former visiting scholar at Harvard University. He is the author of 14 books, including Fermat's Last Theorem (978-0-385-31946-1), Descartes's Secret Notebook (978-0-7679-2034-6), and The Jesuit and the Skull (978-1-59448-956-3). He has appeared on the CBS Evening News, CNN, CNBC, and ABC's Nightline, as well as NPR's Weekend Edition and Morning Edition.

Salvador Dali (1904-89) was one of the most controversial and paradoxical artists of the twentieth century. A painter of considerable virtuosity, he used a traditional illusionistic style to create disturbing images filled with references to violence, death, cannibalism and bizarre sexual practices, from the extraordinary limp watches in The Persistence of Memory to the gruesome monster in Soft Construction with Boiled Beans: Premonition of Civil War and the fetishistic lobster in the famous Lobster Telephone. Born in Figueras, Spain, Dali was initially influenced by Impressionism and Cubism, but subsquently became involved with the Surrealists, the most revolutionary artists of the time. They regarded his paintings as revealing the normally hidden world of the unconscious. Indeed the Surrealists' leader, Andre Breton, remarked: "It is perhaps with Dali that for the first time the windows of the mind are opened fully wide". However, Breton later expelled him from the group for this right-wing sympathies and derided his commercial success in the United States, calling him 'Avida Dollars'. Dali's response was equally curt: " The difference between me and the Surrealists is that I am a Surrealist". Not restricting his interests to painting, Dali wrote three autobiographies, designed sets and costumes for a play by his friend Federico Garcia Lorca and collaborated with Luis Bunuel in the film Un Chien andalou, a medium which proved particularly apt for his provocative imagery.

"The Alchemy of Paint" is a critique of the modern world, which Spike Bucklow sees as the product of seventeenth-century ideas about science. In modern times, we have divorced color from its origins, using it for commercial advantage. Spike Bucklow shows us how in medieval times, color had mystical significance far beyond the enjoyment of shade and hue.

Each chapter demonstrates the mindset of medieval Europe and is devoted to just one color, acknowledging its connections with life in the pre-modern world. Colors examined and explained in detail include a midnight blue called ultramarine, an opaque red called vermilion, a multitude of colors made from metals, a transparent red called dragonsblood, and, finally, gold.

Today, "scarlet" describes a color, but it was originally a type of cloth. Henry VI's wardrobe accounts from 1438 to 1489 show that his cheapest scarlet was 14.2s.6d. and that scarlets could fetch up to twice that price. In the fifteenth century, a mid-priced scarlet cost more than two thousand kilos of cheese or one thousand liters of wine. This expense accounts for the custom of giving important visitors the "red carpet treatment."

The book looks at how color was "read" in the Middle Ages and returns to materials to look at the hidden meaning of the artists' version of the philosopher's stone. The penultimate chapter considers why everyone has always loved gold.

Spike Bucklow is a conservation scientist working with oil paintings at the Hamilton Kerr Institute in Cambridge.