The collections of twentieth-century paintings in the Ashmolean Museum, Oxford, have developed largely through the generosity of individuals. Notable among these in the early decades of the century were Frank Hindley Smith and Mrs W F R Weldon, while since the Second World War the Museum's collections have been enriched through gifts and requests from Thomas Balston, R A P Bevan, Molly Freeman, Christopher Hewett and others. This book gives the reader a taste of the wide range of the collection, with its representative group of Camden Town and Euston Road School pictures, and important early works by Bonnard, Picasso and Matisse.

Taking aim at the mostly male bastion of art theory and criticism, Mira Schor brings a maverick perspective and provocative voice to the issues of contemporary painting, gender representation, and feminist art. Writing from her dual perspective of a practicing painter and art critic, Schor's writing has been widely read over the past fifteen years in Artforum, Art Journal, Heresies, and M/E/A/N/I/N/G, a journal she coedited. Collected here, these essays challenge established hierarchies of the art world of the 1980s and 1990s and document the intellectual and artistic development that have marked Schor's own progress as a critic. Bridging the gap between art practice, artwork, and critical theory, Wet includes some of Schor's most influential essays that have made a significant contribution to debates over essentialism. Articles range from discussions of contemporary women artists Ida Applebroog, Mary Kelly, and the Guerrilla Girls, to "Figure/Ground," an examination of utopian modernism's fear of the "goo" of painting and femininity. From the provocative "Representations of the Penis," which suggests novel readings of familiar images of masculinity and introduces new ones, to "Appropriated Sexuality," a trenchant analysis of David Salle's depiction of women, Wet is a fascinating and informative collection. Complemented by over twenty illustrations, the essays in Wet reveal Schor's remarkable ability to see and to make others see art in a radically new light.

This definitive biography, 258 photographs of his work and catalog raisonne** of Walter Launt Palmer, a celebrated 20th century painter, presents his personal and creative life in great detail. The text covers the entire scope of Palmer's work, tracing his experiments with style from academicism to impressionism.

Green (True Colour) is a short course in unlocking your creative self - perfect for budding artists of all ages who are keen to try out different techniques and materials and begin their artistic journey.

Many people crave a creative outlet, but more often than not, don't know where to start. In Green (True Colour), Valentina Zucchi and Angela Leon invite you to nurture your creativity and build your confidence by taking inspiration from works of art that celebrate green - the colour of fertility, abundance and life.

Green (True Colour) imparts energy, relaxes, refreshes, cleanses and heals. It is ultimately a colour that belongs to nature and has always been loved by artists. Throughout the book, Valentina and Angela provide creative and fun prompts - many based on famous works of art - which will encourage you to draw or paint on the pages using various techniques. Packed with inspiration from the world's most celebrated artists, including Claude Monet, Paul Cezanne, Georges Seurat and more, you will discover the many meanings of green and just some of the ways it can be used to express your creative passion.

After Vasari's Lives of the Most Famous Artists, The Life of Titian by the seventeenth-century Venetian artist and writer Carlo Ridolfi is the most important contemporary documentary source for our understanding of the great Renaissance artist. This new critical edition, the first translation into English of Ridolfi's biography, illuminates his life, his artistic production, and his early critical reputation. The editors address art-historical questions of attribution, provenance, and documentation that Ridolfi's biography raises. Two introductory essays present the nature, scope, and importance of the biography for the study of Titian and Venetian Renaissance art and place Ridolfi in the tradition of Renaissance biography and artistic literature. The annotations provide a useful and current bibliography drawn from both art history and literature.

The Life of Titian will be of interest to a wide audience of scholars and students of the history of Renaissance art, literature, language, and culture.

Janina Roider (*1986) is part of a young generation of painters whose work is positioned amid a fascination for technological progress, profound knowledge of art history, and a seismographic sensibility for current events. She confidently makes use of digital tools as well as gestural, analogue brushstrokes, which are equalised on the canvas. Fiction and reality blend on both contextual and formal levels. Make It Newer! is an ode to Gunther Foerg, the abstract artist whose spirit of invention she has adopted as a role model. The title is programmatic. The book's dimensions transport the explosive force of her paintings, which collide with each other on a large scale. Featuring essays by Florian Matzner, Hans-Joerg Clement, and Johannes Ungelenk, as well as an interview with Birgit Sonna. Text in English and German.

Henri Matisse, Pablo Picasso, Joan Miro and Andy Warhol each significantly shaped the development of art in the twentieth century. These Modern masters are the subjects of four small books, the first volumes in a series featuring important artists in the collection of The Museum of Modern Art. Each book presents a single artist and guides readers through a dozen of his most memorable achievements. Works are reproduced in color and accompanied by informative and accessible short essays that provide background on the artworks and on the artist himself, illuminating technique, style, subject matter and significance. Written by Carolyn Lanchner, former curator of painting and sculpture at the Museum, these books are excellent resources for readers interested in the stories behind masterpieces of the Modern canon and for those who wish to understand the contributions of individual artists to the history of Modern art. This volume focuses on Matisse.

Craving pleasure as well as knowledge, Raphael Sanzio was quick to realize that his talent would only be truly appreciated in the liberal, carefree and extravagantly sensual atmosphere of Rome during its golden age under Julius II and Leo X. Arriving in the city in 1508 at the age of twenty-five, he was entranced and seduced by life at the papal court and within a few months had emerged as the most brilliant star in its intellectual firmament. His art achieved a natural grace that was totally uninhibited and free from subjection. His death, at just thirty-seven, plunged the city into the kind of despair that follows the passing of an esteemed and much loved prince. In this major new biography Antonio Forcellino retraces the meteoric arc of Raphael s career by re-examining contemporary documents and accounts and interpreting the artist s works with the eye of an expert art restorer. Raphael s paintings are vividly described and placed in their historical context. Forcellino analyses Raphael s techniques for producing the large frescos for which he is so famous, examines his working practices and his organization of what was a new kind of artistic workshop, and shows how his female portraits expressed and conveyed a new attitude to women. This rich and nuanced account casts aside the misconceptions passed on by those critics who persistently tried to undermine Raphael s mythical status, enabling one of the greatest artists of all time to re-emerge fully as both man and artist.

Although Vincent van Gogh's and Paul Gauguin's artistic collaboration in the South of France lasted no more than two months, their stormy relationship has continued to fascinate art historians, biographers and psychoanalysts as well as film makers and the general public. Two great 19th century figures with powerful and often clashing sensibilities, they shared a house, worked side by side, drank, caroused and argued passionately about art. Their brief venture together, richly documented in the artists' letters and paintings, would be compelling enough even if it had not culminated in the catastrophe of van Gogh's life - his ear cutting. This traumatic climax to van Gogh's and Gauguin's weeks spent in the "Yellow House" in Arles has raised profound questions about the nature of their relationship and about their behavior before and after van Gogh's self-mutilation."Van Gogh and Gauguin" explores the artists' intertwined lives from a psychoanalytic perspective in order to draw a nuanced and sophisticated picture of the artists' dealings with each other. The book also examines crucial art historical issues such as the aesthetic convictions that both united and divided the two men, and the extent to which they influenced each other's art.

With the patronage of the powerful Medici family, a canon of secular and religious work, and contributions to the celebrated Sistine Chapel, Sandro Botticelli (1444/45-1510) was well placed for fame. After his death, however, his work was eclipsed for some four hundred years. It wasn't until the 19th century that the painter began to gain major art-historical recognition. Today, Botticelli is hailed as a towering figure of the Florentine Early Renaissance. His secular works The Birth of Venus and Primavera, mostly read as an allegory of Spring, are among the most recognized paintings in the world, resplendent in their delicate details, graceful lines, and compositional balance. His arrangements are fluid yet poised, his figures serene yet sensual. Venus, in particular, is held up as art-historical icon of beauty: pale-skinned, delicately featured, soft with fecund promise. This essential introduction presents key works from Botticelli's oeuvre to understand the making of a Renaissance legend. Through the painter's most famous mythological and allegorical scenes, as well as his radiant religious works, we explore a mastery of figuration, movement, and line, which has gone on to inspire artists from Edgar Degas to Andy Warhol, Rene Magritte to Cindy Sherman.

Painting in eighteenth-century Yangchow, a city that dominated the political and economic scene of mid-Qing China, has traditionally been viewed as the product of a group of nonconformist, "eccentric" artists who were supported by wealthy merchants.
This book, however, does not focus on the creative energy of the individual artist, the rise of the Yangchow school of painting, or patronage narrowly defined. Rather, it studies eighteenth-century Yangchow paintings as artistic products shaped by collective social and cultural experiences, and by constant exchanges between the artists and their audience. The author examines the paintings as commodities, revealing the mechanism of their exchange and the values negotiated, and she interprets the paintings in a framework that moves beyond economics into the social, political, historical, and literary contexts of their creation and appreciation.
The book begins by considering merchant patrons long associated with the Yangchow school of painting, and goes on to reveal that there were patrons from lower socioeconomic levels who were, in fact, perhaps the major consumers of Yangchow painting. The author then discusses four artists who exemplify the diversity of backgrounds and artistic traditions of Yangchow painters and patrons.
Fang Shih-shu represents the traditional scholar painter of conservative orthodox landscapes. Huang Shen, by contrast, represents painters with craftsman backgrounds who mingle the values of the literati with the technical skill of artisans. The last two painters, Cheng Hsieh and Chin Nung, represent the emergence of new types of artists who adopted painting as an occupation and commercialized both their artistic products and their personal cultural refinement and literati status.
By reconstructing the economic lives of these artists, examining their social roles, identifying their networks of patronage, and investigating their aesthetic choices, this book illuminates the process of professionalization of the scholar-artist and the commodification of literati culture in late imperial China.

Pollock and After: The Critical Debate brings together key writings on debates about Abstract Expressionism and Modernist art history. It is an essential resource for understanding post-war American art and culture. The second edition has been fully revised and updated in response to new critical approaches to post-war American art. It includes nine new articles and a substantial overview essay by Francis Frascina.
Articles are grouped into three parts, each with an introduction by Francis Frascina. Part One includes two foundational articles by the influential Modernist critic, Clement Greenberg, and represents the debate about Greenberg's work, with contributions by T.J. Clark and Michael Fried. Part Two focuses on revisionist writers, who questioned established ideas about Modernist art history, examining the relationship between Abstract Expressionism and the politics of McCarthyism and the Cold War.
The third part, which is new to the volume, is devoted to recent developments of revisionist critiques. Contributors explore the work of Greenberg's contemporaries, the relationship between critical and commercial responses to Abstract Expressionism, and perceptions of cultural value in the 1940s and 1950s, and challenge assumptions about ethnicity, gender and sexuality in the construction of the 'post-war American artist'.

Claudia Nice shows you how to turn ink and watercolors into the coarse-barked trunk of an oak, or the burnished smoothness of brass, or the verdant velvet of moss. Or any of many other things. She shows you how to use dots, fine lines, brushstrokes, black and white, color--a mixture of mediums and techniques--to suggest:

• glass
• cast iron
• adobe and brick
• sunrise and sunset
• driftwood
• leaf textures
• basketry
• surf and ocean waves
• enamelware
• rainbows
• wood grain
• distant trees
• eggs and onions
• animal hair
• and dozens of other textures

Als Maler, aber auch als kunstlerischem Rollenmodell wurde Raffael im 19. Jahrhundert eine einzigartige Stellung zugesprochen. Vorbereitet durch eine lange, schon im 16. Jahrhundert einsetzende Rezeptionsgeschichte, stand die Verehrung seines Werkes wie seiner Person um die Wende zum 19. Jahrhundert auf einem Hoehepunkt. Der Raffael-Kult erfasste Kunstkritik und Kunstgeschichte ebenso wie Literatur und Musikgeschichte. Raffael wurde zum Paradigma: Auf ihn wurden nicht nur kunsttheoretische, sondern auch religioese und gesellschaftliche Vorstellungen projiziert, welche die ideale Stellung des Kunstlers und Menschen in seiner Zeit benannten. Die Raffael-Rezeption steht im 19. Jahrhundert unter einer Spannung, die sich aus dem Gegen- und Miteinander der Aktualitat eines kunstlerischen OEuvres aus dem 16. Jahrhundert und dessen Historisierung ergibt. Sie umfasst sowohl die Fortschreibung bzw. neue Entwurfe von Kunstlerlegenden als auch die Entwicklung historisch-wissenschaftlicher Methoden zu Biographie und Kunstgeschichte. Das auf den Vortragen einer trilateralen Konferenz in der Villa Vigoni im Dezember 2007 basierende Buch bildet den zweiten Band der Reihe Klassizistisch-romantische Kunst(t)raume und schliesst unmittelbar an Fragestellungen an, die im ersten Band untersucht wurden.

Roy Cross RSMA GAvA began work as an illustrator in Fairey Aviation during World War II. Over the next thirty years, he progressed from line illustration, via colour artwork, to top-class advertising art for the aircraft industry and other companies, including Airfix, for whom he produced many hundreds of artworks to adorn model kit boxes over a ten-year period. His illustrations for Airfix included superb depictions of aircraft, cars, ships, spacecraft, armoured vehicles and dioramas. Though Roy is perhaps most famous for his Airfix box art, his work has encompassed book and magazine illustrations, including highly detailed cutaways and other technical drawings. In more recent years, Roy has concentrated on the production of his magnificent maritime paintings.

Gerhard Richter is widely regarded as one of the most important painters at work today. He is as well known for his figurative works as he is for his abstract paintings, often combining elements of both in ground-breaking ways. Gerhard Richter: Panorama is the first and most complete overview of Richter's whole career. Where previous monographs have focused on a single aspect of his work, this stunningly illustrated survey encompasses his entire oeuvre, now stretching across more than a half-century of activity. It includes his photo-paintings, abstracts, landscapes and seascapes, portraits, colour charts, glass and mirror works, sculptures, drawings and photographs, providing the definitive account of Richter's colossal artistic achievements. Alongside his celebrated abstractions, early black-and-white paintings and the photorealist depictions of candles, skulls and clouds that have become indisputable icons of modern painting, this new edition of Panorama includes over forty paintings made between 2000 and 2015, studio photographs and archival images, alongside texts by an array of international critics and curators.With more than 300 illustrations, and an interview with the artist by Nicholas Serota, Director of Tate, this landmark publication remains the most comprehensive survey of one of the world's most pre-eminent contemporary artists

Gain insight into methods of the best contemporary acrylic artists in the 3rd edition of AcrylicWorks. Features more than 125 paintings by about 100 artists selected from hundreds of acrylic painters across the world invited to submit work for consideration. Each painting is accompanied by a caption that offers instructive information that discusses the artist's radical breakthrough in the painting process. Entry fee of $25 for first image and $20 each additional entry helps defer cost of production. The 1st annual AcrylicWorks brought in $25,233 in fees, and AcrylicWorks 2 brought in $24,032 in fees. Call for entries promoted in consumer mailings, The Artist's Magazine, www.artistsnetwork.com and http://wetcanvas.com.

An accessible survey on a genius artist, published to accompany the 500th anniversary of Bosch's death Hieronymus Bosch (c. 1450-1516) lived and worked in 's-Hertogenbosch, the Netherlands, where he created enigmatic paintings and drawings full of bizarre creatures, phantasmagoric monsters, and terrifying nightmares. He also depicted detailed landscapes and found inspiration in fundamental moral concepts: seduction, sin, and judgment. This beautiful book accompanies a major exhibition on Bosch's work in his native city, and will feature important new research on his 25 known paintings and 20 drawings. The book, divided into six sections, covers the entirety of the artist's career. It discusses in detail Bosch's Pilgrimage of Life, Bosch and the Life of Christ, his role as a draughtsman, his depictions of saints, and his visualization of Judgment Day and the hereafter, among other topics, and is handsomely illustrated by new photography undertaken by the Bosch Research and Conservation Project Team. Distributed for Mercatorfonds Exhibition Schedule: Het Noordbrabants Museum, 's-Hertogenbosch, the Netherlands (02/13/16-05/08/16)

Mark Rothko's iconic paintings are some of the most profound works of twentieth-century Abstract Expressionism. This collection presents fifty large-scale artworks from the American master's colour field period (1949-1970) alongside essays by seminal modern art critic and Rothko biographer Dore Ashton and SFMOMA curator of painting and sculpture Janet Bishop. Featuring illuminating details about Rothko's life, influences, and legacy, and brimming with the emotional power and expressive colour of his groundbreaking canvases, this essential volume brings the renowned artist's luminous work to light for both longtime Rothko fans and those discovering his work for the very first time.

Celebrated British painter Rose Wylie-whose works are at once tactile, cerebral, and humorous-often draws her influence from a wide range of popular culture. Here her newest body of work references memories from her own life and mimics the way memories evolve and change over time. Wylie's source material is culled from the vast visual world around her, ranging from sixteenth-century British estates to Serena Williams and the French Open. While initially these may seem random or aesthetically simplistic, through the nuanced use of humor, language, and compositional structure, Wylie creates wittily observed and subtly sophisticated meditations on the nature of memory, and visual representation itself, in line with the paintings she has become known for over the course of her career. A new essay by art critic Michael Glover explores the remarkable painter whose work has "spark, assurance, brash humor, an extraordinary, freewheeling eclecticism that seems to be just as ready to suck in references to the art of Ptolemaic Egypt and Roman portraiture as to pay homage to the films of Quentin Tarantino and the late paintings of Philip Guston." Part of David Zwirner Books's Spotlight Series, this book features Wylie's newest paintings and drawings and is published on the occasion of the artist's 2020 solo exhibition of these works at David Zwirner Hong Kong.

Following on from the pictorial biography 'A Portrait of Robert Lenkiewicz: Photographs by Dr Philip Stokes', White Lane Press have now produced the definitive monograph on the life and paintings of RobertLenkiewicz. An illustrated text by Francis Mallett explores the motivation behind Lenkiewicz's method of presenting large-scale 'Projects' on social issues: paintings and research notes on themes such as Vagrancy (1973), Mental Handicap (1976), Old Age (1979), Suicide (1980), and Death (1982), aimed at raising awareness of shunned sections of the community

Combining a highly expressive graphic style and a deep sensitivity to colour, Ernst Wilhelm Nay's intense painting is surveyed in this first English-language overview of his varied life and career. For Ernst Wilhelm Nay (1902-68), painting was an entrance to a world beyond the visible, a world more real and more vital that lay beneath the surface of appearances. Beginning his career as the chaotic years of the Weimar Republic became the dark years of the Third Reich, it was natural that he should look to art for an alternative reality. One of Germany's most important abstract painters, this fully illustrated publication offers a fresh approach to the Nay's work. This comprehensive monograph is accompanied by an overview of his life and work by John-Paul Stonard and in-depth history of Nay's reception in Britain and the United States by Dr Pamela Kort, and a foreword by Sir Norman Rosenthal.

This book attempts to expand the grounds and methodology of studying Japanese art history by focusing on the conditions, procedures, events, and social interplay that characterized the production of paintings in late-fifteenth-century Japan.
Though the book's ultimate concerns are art historical, its analysis also draws heavily from the insights of sociology and social history. At its core is a fresh examination of the major primary documents of the period in an attempt to liberate the study from assumptions long embedded in the historiography of late medieval Japanese painting history. Early chapters describe documents, methods, basic sites, and conditions of painting before turning to the main contribution of the book, painting considered as a body of social practices. The production of painting in the late fifteenth century was profoundly social, dynamically related to the circumstances of its agents. Painters, advisors, assistants, clients, and others did not exert themselves simply to bring paintings into existence. They sought advantages (such as wealth and prestige), met obligations, and satisfied the demands of custom.
Surviving documents from the period present rich evidence of the involvement of such persons in the imperial court, the Ashikaya-Gozan community, the great temples of Nara, and the halls of local lords. The author takes into account the patterns of expectation that existed at the various sites but does not construe them as static and mechanically determined. Rather, he shows that expectations evolved in response to changed conditions. Although this study specifically addresses the last quarter of the fifteenth century, it can aid future research in Japanese painting practice in other eras by serving as a model of how new interpretations can emerge from close documentary investigation.