An exquisite, full colour country almanac by artist Catherine Hyde, following the phases of the moon and a hare's journey throughout the twelve months of the year in a lyrical tribute to the natural world.

Waking from the winter solstice a hare begins her journey. Through the landscape and its changing seasons, moving in harmony with the moon. Atmospheric and gorgeous paintings show the hare running in January, watching in February, leaping in March, until it comes full circle, sleeping in December.

Twelve double page paintings of the hare's journey are accompanied by full pages of art, showing a tree, a flower and a bird for each month of the year. This rich celebration of flora, fauna and country life includes hawthorn and cowslips, swallows, blackbirds, buzzards and owls, harebells, holly, olive, rowan, poppies and much more. Titbits of text folklore, fairytale, myth and legend complement the art complete this desirable gift book.

Indian art, increasingly popular in the west, cannot be fully appreciated without some knowledge of the religious and philosophical background. This book, first published in 1985, covers all aspects of Hindu iconography, and explains that its roots lie far back in the style of prehistoric art. The dictionary demonstrates the rich profusion of cults, divinities, symbols, sects and philosophical views encompassed by the Hindu religious tradition.

Published in 1981: This book is two-hundred Catalogues of the Major Exhibitions reproduced in facsimile in forty-seven volumes.

For Rene Magritte, painting was a form of thinking. Through paintings of ordinary objects rendered with illusionism, Magritte probed the limits of our perception-what we see and cannot see, the nature of representation-as a philosophical system for presenting ideas, and explored perspective as a method of visual argumentation. This book makes the claim that Magritte's painting is about vision and the act of viewing, of perception itself, and the process of how we see and experience things in the world, including paintings as things.

Watercolor pencils are high-quality pencils that create a watercolour-paint effect when water is applied. This gives them the special ability to create dreamy compositions with both pencil-drawing and painterly effects. The contemporary twist on this is to add a third medium to the mix: black fineliner pen!  

Phenomenal watercolour artist Debbie Lavreys takes the budding artist on a journey across the watercolour-pencil spectrum via seven varied, step-by-step projects – from more a traditional forest landscape to brightly plumaged toucan, to modern-style portraits and a fresh styling of terrariums.

What's Included:

• 10 watercolour pencils
• two traditional brushes
• a black fine-liner pen
• sheets of watercolour paper
• a waterbrush
• 48-page instruction book

The really easy way to learn how to paint flowers in watercolour! Using a simple ten-step process, learn how to draw a basic outline starting with simple shapes, then add washes of colour and fine details to complete your work. Arranged in three chapters based on skill level, this book features 25 lovely projects, each showing you how to paint a flower in ten steps. There are paint swatches for every plant, showing you the colours you need to mix for each step of the way and the finished painting serves as a reference to guide you. It couldn't be easier! Also included is a useful techniques section at the beginning, and clever painting tips from the author throughout the book. With flora as diverse as a tulip, a magnolia, a bunny ears cactus and a passionflower, there is plenty to choose from and practise with, to develop your skills.

Bob Ross-whose happy paintings, memorable hairstyle, and quirky catchphrases make us grin from ear to ear-is still as popular as ever, maintaining a core base of fans through a show that has never gone off the air since 1983 and that's embraced by a generation of gamers and millennials, with tributes appearing everywhere from Twitch to Netflix, Buzzfeed, and YouTube.

This mini kit captures Ross's matchless appeal. It includes the first-ever officially licensed Bob Ross bobblehead figure, and it plays 10 different wise and witty sayings from the art master. The kit also comes with a mini easel book featuring Ross's landscape works, which can be displayed alongside the bobblehead figure.

The jewel-like watercolours of renowned Irish botanical artist Wendy Walsh portray a personal selection of about 100 plants that grow wild in Ireland or are cultivated in Irish gardens. Presented in 33 thematic sections,Walsh's subjects range from well-loved and distinctive native plants to exotic species introduced from the New World and Asia, unusual plants that grow in some of the most extreme environments in Ireland, and striking hybrids created by plant breeders. Lively and accessible horticultural descriptions by distinguished botanist E. Charles Nelson accompany the paintings, celebrating the story of each plant along with its natural beauty. The great gardens, famous plantsmen, fascinating journeys and natural phenomena that have shaped the flora of Ireland spring to life in Dr Nelson's engaging text. This elegant and unconventional guide will kindle the imagination of any plant lover or admirer of the Irish landscape.

First published in 1999, this book asks what kind of advice was available to somebody wishing to embark upon oil painting in England between 1850 and 1900. It is a fascinating collection of Victorian instruction on how and what to paint, linked to crucial advice about art, its meaning and its relation to contemporary life, given by practising artists, important and often popular in their time, but whose lectures and writings are long overdue for reappraisal: Leslie, Hamerton, O'Neil, Poynter, Watts, Leighton, Armitage, Quilter and Herkomer. Here, beyond the familiar voices of Ruskin, Whistler and Pater, we have a whole range of experience from an age in which issues about painting were hotly debated by large numbers of people: professional artists, amateurs, critics, gallery-goers and Academy students. This anthology brings back to life the humour, seriousness, ambitions, eccentricities and controversies of people whose work shaped the nature of mainstream Victorian art.

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.

This title was first published in 2000: In their stunning simplicity, George Romney's portraits of eighteenth-century gentry and their children are among the most widely recognised creations of his age. A rival to Reynolds and Gainsborough, Romney was born in 1734 on the edge of the Lake District, the landscape of which never ceased to influence his eye for composition and colour. He moved in 1762 to London where there was an insatiable market for portraits of the landed gentry to fill the elegant picture galleries of their country houses. Romney's sitters included William Beckford and Emma Hart, later Lady Hamilton. An influential figure, one of the founding fathers of neo-classicism and a harbinger of romanticism, Romney yearned to develop his talents as a history painter. Countless drawings bear witness to ambitious projects on elemental themes which were rarely executed on canvas. Richly illustrated, this is the first biography of Romney to explore the full diversity of his oeuvre. David A. Cross portays a complex personality, prone to melancholy, who held himself aloof from London's Establishment and from the Royal Academy, of which Sir Joshua Reynolds was President, and chose instead to find his friends among that city's radical intelligentsia.

Each year between 1819 and 1825, John Constable (1776-1837) submitted a monumental canvas to the Royal Academy of Arts in London for display in the annual Exhibition. These so-called six-footers vividly captured the life of the River Stour in Suffolk, where Constable grew up and where he returned to paint each year. The Leaping Horse, the last of these, now a major work in the Academy's collection, is the subject of this fascinating new book. Humphreys explores Constable's often avant-garde working methods, as well as his struggle to gain full acceptance within the art establishment of the early nineteenth century. With reproductions of his full-scale preliminary sketches as well as brand new photography of the painting itself, this book is the ideal companion for art lovers who seek a deeper appreciation of Constable's iconic depictions of the English countryside.

This book illuminates the original meanings of seventeenth- and early-eighteenth-century mural paintings in Britain. At the time, these were called 'histories'. Throughout the eighteenth century, though, the term became directly associated with easel painting and, as 'history painting' achieved the status of a sublime genre, any link with painted architectural interiors was lost. Whilst both genres contained historical figures and narratives, it was the ways of viewing them that differed. Lydia Hamlett emphasises the way that mural paintings were experienced by spectators within their architectural settings. New iconographical interpretations and theories of effect and affect are considered an important part of their wider historical, cultural and social contexts. This book is intended to be read primarily by specialists, graduate and undergraduate students with an interest in new approaches to British art of the seventeenth and eighteenth centuries.

Henri Rousseau was the first naive artist in the history of Western art to be recognized for his true worth. His paintings have now entered popular consciousness to such an extent that it is difficult to imagine how strongly they were resisted at the time. Much of the credit for his transformation is due to the author of these Recollections, dealer and art historian Wilhelm Uhde. It was Uhde who mounted the first exhibition of Rousseau's work, and the catalog he wrote for the occasion is the basis of the Recollections. In it, he painted a picture of a man of naivete, humor, and total commitment to an art of whose importance he was utterly convinced.

Employing an interdisciplinary approach, this book breaks new ground by considering how Robert Motherwell's abstract expressionist art is indebted to Alfred North Whitehead's highly original process metaphysics. Motherwell first encountered Whitehead and his work as a philosophy graduate student at Harvard University, and he continued to espouse Whitehead's processist theories as germane to his art throughout his life. This book examines how Whitehead's process philosophy-inspired by quantum theory and focusing on the ongoing ingenuity of dynamic forces of energy rather than traditional views of inert substances-set the stage for Motherwell's future art. This book will be of interest to scholars in twentieth-century modern art, philosophy of art and aesthetics, and art history.

A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand, and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. Based in Columbus, Ohio, Jenny Zemanek is a lifelong lover of all things creative. What started with happy scribbles at a young age grew into a pursuit of photography and graphic design before she found a home with illustration and hand-lettering. Jenny revels in the joys of small decorative details, finding ways to add personality to her work. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

This is the most thorough and detailed monograph on the artwork of Raymond Jonson. He is one of many artists of the first half of the twentieth-century who demonstrate the richness and diversity of an under-appreciated period in the history of American art. Visualizing the spiritual was one of the fundamental goals of early abstract painting in the years before and during World War I. Artists turned to alternative spirituality, the occult, and mysticism, believing that the pure use of line, shape, color, light and texture could convey spiritual insight. Jonson was steadfastly dedicated to this goal for most of his career and he always believed that modernist and abstract styles were the most effective and compelling means of achieving it.

This book offers microhistories related to the transnational circulations of impressionism in the late nineteenth and early twentieth centuries. The contributors rethink the role of "French" impressionism in shaping these iterations by placing France within its global and imperialist context and arguing that impressionisms might be framed through the mobility studies' concept of "constellations of mobility." Artists engaging with impressionism in France, as in other global contexts, relied on, responded to, appropriated, and resisted elements of form and content based on fluid and interconnected political realities and market structures. Written by scholars and curators, the chapters demand reconsideration of impressionism as a historical construct and the meanings assigned to that term. This project frames future discussion in art history, cultural studies, and global studies on the politics of appropriating impressionism.

One of Britain’s most important and influential painters, Sir Joshua Reynolds (1723 size=1 color=black>–1792) is justly celebrated for his dynamic portraiture, his poignant ‘fancy pictures’, his ambitious history paintings and his role as the first President of Britain’s Royal Academy. Published to accompany a major exhibition at the Wallace Collection, London (12 March size=1 color=black>–7 June 2015), and the result of the four-year research project, this catalogue focuses on Reynolds's innovative, often highly experimental approaches to the practice and materials of painting. It investigates his radical manipulation of pigments, oils, glazes and varnishes, and traces his experiments with colour, tone and handling. It reveals his continual temptation to rework and revise his pictures, illuminates his highly creative responses to the new exhibition culture of his day and explores his continual adaptations of the art of the Old Masters. In doing so, it encourages us to look at the work of this famous eighteenth-century British artist in a new and often surprising light. Technical analysis of some of Reynolds's most important paintings will be revelatory, and close-up photography and detailed examination of a range of pictures size=1 color=black>– at the centre of which are the Wallace Collection’s own outstanding collection of works by the artist size=1 color=black>– will shed light on the fascinating and ongoing process of experimentation that spanned Reynolds’s entire career. The book situates Reynolds’s practice of experimentation, of both technique and of subject, in relation to that conducted at leading societies of science and learning at the time, and specifically to Josiah Wedgwood, one of Enlightenment Britain’s greatest experimentalists in the arts. Finally, it demonstrates how Reynolds’s innovations as a painter were often the product of collaboration size=1 color=black>– in part, with his assistants and his students, but, more importantly, with his patrons and subjects, with whom he continually explored the possibilities of gesture, expression, performance and role-play.

Featuring over 100 images, including step-by-step examples illustrating how to improve costume renderings. This is an invaluable resource for students in Costume Rendering and Costume Design courses, along with professional costume designers looking to improve their rendering skills. Written to complement any rendering style.