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Books > Arts & Architecture > Art forms, treatments & subjects > Painting & paintings
A group of primarily Scottish artists (mainly William York
Macgregor, Joseph Crawhall, George Henry, Edward Atkinson Hornel,
Sir John Lavery and Arthur Melville), the Glasgow Boys were active
around the turn of the 20th Century. Though they painted in a
number of different styles, they are connected by their rejection
of classic Victorian painting. Inspired by the luminous techniques
of James McNeil Whistler, they harnessed Impressionistic brushwork
and livid realism in their work, trying new methods and everyday
settings to create stunning works of art. With over 100 images, and
broad introduction, this is a fine addition to Flame Tree's
ever-increasing series on painting and illustration, Masterpieces
of Art.
A unique portrait of one of the creative geniuses of the 20th
century, by the distinguished critic David Sylvester. Controversial
in both life and art, Francis Bacon was one of the most important
painters of the 20th century. His monumental, unsettling images
have an extraordinary power to disturb, shock and haunt the
spectator, 'to unlock the valves of feeling and therefore return
the onlooker to life more violently'. Drawing on his personal
knowledge of Bacon's inspirations, intentions and working methods,
David Sylvester surveys the development of the work from 1933 to
the early 1990s, and discusses critically a number of its crucial
aspects. He also reproduces previously unpublished extracts from
his celebrated conversations with Bacon in which the artist speaks
about himself, modern painters and the art of the past. Finally,
Sylvester gives a brief account of Bacon's life, correcting certain
errors that elsewhere have been presented as facts. Divided into
the sections 'Review', 'Reflections', 'Fragments of Talk' and
'Biographical Note', Looking Back at Francis Bacon is a unique
portrait of one of the creative geniuses of our age by a writer of
comparable distinction.
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.
Elisabetta Sirani of Bologna (1638-1665) was one of the most
innovative and prolific artists of the Bolognese School. Not only a
painter, she was also a printmaker and a teacher. Based on
extensive archival documentation and primary sources — including
inventories, sale catalogues and her work diary — Elisabetta
Sirani provides an overview of the life, work, critical
fortune and legacy of this successful Baroque artist. Placing her
within the context of the post-Tridentine society that both
inhibited and supported her, Modesti examines Sirani's influence on
many of the artists studying at Bologna's school for professional
women artists, as well as her significance in the
professionalisation of women’s artistic practice in the
seventeenth century. Beautifully illustrated throughout, Elisabetta
Sirani focuses on women’s agency. More specifically, it
explores Sirani’s identity as both a woman and an artist,
including her professional ambition, self-fashioning and literary
construction as Bologna’s pre-eminent cultural heroine.
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Way to the West
(Paperback)
Andy Christopher Miller; Illustrated by Vally Miller
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R417
Discovery Miles 4 170
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Ships in 10 - 15 working days
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Way to the West is a glorious collection resulting from a
collaboration between disciplines of art. Featuring twenty-five
beautiful full-page watercolours alongside accompanying poems, its
focus is on the western tip of Cornwall. For Andy and Vally
Cornwall's geographical remoteness, its abiding attraction as a
holiday location, its proud fishing and mining history and the
varying and often dramatic moods of its weather and sea are an
inspiration and cause for celebration. The profound emotional and
psychological effects on visitors to Cornwall is not lost on the
authors, who have a long association with the area, having walked
its entire coastline and holidayed there for over a half a century.
Way to the West is a celebration of the natural world and the home,
the past and the present, and of the fierce interconnectedness of
people with their landscape.
Bouleau's classic illustrated work examines the essential
reliance of European painting tradition on the golden mean and
other geometrical patterns. From antiquity to the present, expert
painters-including abstract modern masters such as Paul Klee and
Jackson Pollock-have conveyed harmony through the mathematics of
spatial division, ultimately giving geometry a crucial role as the
foundation upon which these classics were built. For over half a
century, "The Painter's Secret Geometry" has been a seminal work
for students of art history and composition. Now this popular, rich
analysis is back in print for today's artists and historians.
A year of weekly interviews (1949-1950) with artist Diego Rivera by
poet Alfredo Cardona-Pena disclose Rivera's iconoclastic views of
life and the art world of that time. These intimate Sunday
dialogues with what is surely the most influential Mexican artist
of the twentieth century show us the free-flowing mind of a man who
was a legend in his own time; an artist who escaped being lynched
on more than one occasion, a painter so controversial that his
public murals inspired movements, or, like the work commissioned by
John D. Rockefeller, were ordered torn down. Here in his San
Angelin studio, we hear Rivera's feelings about the elitist aspect
of paintings in museums, his motivations to create public art for
the people, and his memorable, unedited expositions on the art,
culture, and politics of Mexico. The book has seven chapters that
loosely follow the range of the author's questions and Rivera's
answers. They begin with childlike, yet vast questions on the
nature of art, run through Rivera's early memories and aesthetics,
his views on popular art, his profound understanding of Mexican art
and artists, the economics of art, random expositions on history or
dreaming, and elegant analysis of art criticisms and critics. The
work is all the more remarkable to have been captured between
Rivera's inhumanly long working stints of six hours or even days
without stop. In his rich introduction, author Cardona-Pena
describes the difficulty of gaining entrance to Rivera's inner
sanctum, how government funtionaries and academics often waited
hours to be seen, and his delicious victory. At eight p. m. the
night of August 12, a slow, heavy-set, parsimonious Diego came in
to where I was, speaking his Guanajuato version of English and
kissing women's hands. I was able to explain my idea to him and he
was immediately interested. He invited me into his studio, and
while taking off his jacket, said, "Ask me..." And I asked one,
two, twenty... I don't know how many questions 'til the small hours
of the night, with him answering from memory, with an incredible
accuracy, without pausing, without worrying much about what he
might be saying, all of it spilling out in an unconscious and
magical manner. A series of Alfredo Cardona-Pena's weekly
interviews with Rivera were published in 1949 and 1950 in the
Mexican newspaper, El Nacional, for which Alfredo was a journalist.
His book of compiled interviews with introduction and preface, El
Monstruo en su Laberinto, was published in Spanish in 1965.
Finally, this extraordinary and rare exchange has been translated
for the first time into English by Alfredo's half-brother Alvaro
Cardona Hine, also a poet. According to the translator's wife,
Barbara Cardona-Hine, bringing the work into English was a labor of
love for Alvaro, the fulfillment of a promise made to his brother
in 1971 that he did not get to until the year before his own death
in 2016.
In his joint capacities of Premier peintre du roi, director of the
Gobelins manufactory and rector of the Academie royale de peinture
et de sculpture, Le Brun exercised a previously unprecedented
influence on the production of the visual arts - so much so that
some scholars have repeatedly described him as 'dictator' of the
arts in France. The Sovereign Artist explores how Le Brun operated
in his diverse fields of activities, linking and juxtaposing his
portraiture, history painting and pictorial theory with his designs
for architecture, tapestries, carpets and furniture. It argues that
Le Brun sought to create a repeatable and easily recognizable
visual language associated with Louis XIV, in order to translate
the king's political claims for absolute power into a visual form.
How he did this is discussed through a series of individual case
studies ranging from Le Brun's lost equestrian portrait of Louis
XIV, and his involvement in the Querelle du coloris at the
Academie, to his scheme for 93 Savonnerie carpets for the Grande
Galerie at the Louvre, his Histoire du roy tapestry series, his
decoration of the now destroyed Escalier des Ambassadeurs at
Versailles and the dramatic destruction of the Sun King's silver
furniture. One key theme is the relation between the unity of the
visual arts, to which Le Brun aspired, and the strong hierarchical
distinctions he made between the liberal arts and the mechanical
crafts: while his lectures at the Academie advocated a visual and
conceptual unity in painting and architecture, they were also a
means by which he attempted to secure the newly gained status of
painting as a liberal art, and therefore to distinguish it from the
mechanical crafts which he oversaw the production of at the
Gobelins. His artistic and architectural aspirations were
comparable to those of his Roman contemporary Gianlorenzo Bernini,
summoned to Paris in 1665 to design the Louvre's East facade and to
create a portrait bust of Louis XIV. Bernini's failure to convince
the king and Colbert of his architectural scheme offered new
opportunities for Le Brun and his French contemporaries to prove
themselves capable of solving the architectural problems of the
Louvre and to transform it into a palace appropriate "to the
grandeur and the magnificence of the prince who [was] to inhabit
it" (Jean-Baptiste Colbert to Nicolas Poussin in 1664). The
comparison between Le Brun and Bernini not only illustrates how
France sought artistic supremacy over Italy during the second half
of the 17th century, but further helps to demonstrate how Le Brun
himself wanted to be perceived: beyond acting as a translator of
the king's artistic ambition, the artist appears to have sought his
own sovereign authority over the visual arts.
Ateliers have produced the greatest artists of all time - and now
that educational model is experiencing a renaissance. These
studios, a return to classical art training, are based on the
nineteenth-century model of teaching artists by pairing them with a
master artist over a period of years. Students begin by copying
masterworks, then gradually progress to painting as their skills
develop. On every page, Aristides uses the works of works of Old
Masters and today's most respected realist artists to demonstrate
and teach the principles of realist drawing and painting, taking
students step by step through the learning curve yet allowing them
to work at their own pace. Unique and inspiring, Classical Drawing
Atelier is a serious art course for serious art students.
Abstract landscape painting expresses emotion while still capturing
the essence of a landscape. This compelling book explores this
suggestive style first developed by Turner. Using the
hauntingly-beautiful paintings of Gareth Edwards, it explores the
technical, historical and psychological dimensions of abstract
landscape painting to help you develop your own skilful and
intensely personal approach. Through this new book you can learn
about how to begin an abstract landscape painting, using chance
application; understand how to 'manage accidents' to create
innovative pieces of work; discover the importance of effective
composition and how this navigates the viewer's journey; determine
the importance of the 'invisible' elements of painting: the
unspoken value of the viewer and the influence of 'looking'. It
also reveals how to utilize a convergence of linear and atmospheric
perspective to help your viewer traverse the picture plane and
helps you understand the importance of light, space, colour, and
tone in generating evocative paintings. Finally, it encourages you
to be more demanding of your surface, using textural techniques and
glazing to achieve professional production values. It is a unique
and exciting book into this under-documented genre.
Build your watercolor skills with confidence with these 25 beautiful and beginner-friendly new projects on premium watercolor paper!
This easy-to-use watercolor workbook is filled with unique and beautiful flower and nature sketches that are ready for you to watercolor--no drawing skills required! Each page is specially designed with simple step-by-step instructions so you can easily and confidently paint each project and create artwork that matches the quality of the author's example.
Watercolor Workbook features:
- An introduction to fundamental watercolor techniques
- 25 projects on thick, 200 gsm premium watercolor art paper—no color bleed-through!
- Easy-to-follow instructions that can be completed in 30 minutes or less
- Beautiful floral and plant artwork, including: wild roses, poppies, sunflowers, buttercups, dandelions, and more
- Easy-to-follow instructions, including suggested paint and paintbrush materials, so you can start painting today
Artist and author Sarah Simon, a.k.a. @themintgardener, has taught thousands of people how to paint with watercolor. Her first book Modern Watercolor Botanicals provides everything you need to know about the art of watercolor and, now in this new workbook, Simon offers 25 watercolor projects that you can sit down and enjoy painting today!
The recent rediscovery of Rubens's Massacre of the Innocents
(bought by Lord Thomson for GBP50 million in 2002) offers an
important opportunity to reassess the painter's early career. Of
Rubens's works immediately following his return to Antwerp in 1608,
it is the most assured, achieving a remarkable complexity both
compositionally and emotionally. David Jaffe, Senior Curator at the
National Gallery, London, considers the work in its context,
discussing the numerous sources and influences - both visual and
literary - from which Rubens drew. He also compares it to
contemporary works by the artist, such as the London National
Gallery's Samson and Delilah, and publishes new research
illuminating the career and profile of the Massacre's first owner,
the Milanese merchant resident in Antwerp Jacopo Carenna. In
association with the Thomson Collection, the Art Gallery of Ontario
and Skylet.
Nicholas Hilliard has helped form our ideas of the appearance of
Elizabeth I, Mary Queen of Scots, Sir Francis Drake and James I
among others. His painted works open a remarkable window onto the
highest levels of English/British society in the later years of the
sixteenth and the early years of the seventeenth century, the
Elizabethan and Jacobeans ages. In this book Karen Hearn gives us
an intimate portrait of Nicholas Hilliard, his life, his work and
the techniques he used to produce his exquisite miniatures. Karen
Hearn is curator of Sixteenth and Seventeenth-Century Art at the
Tate Britain. She has written on Marcus Gheeraerts II, Dynasties:
Painting in Tudor and Jacobean England 1530-1630 and In
Celebration: The Art of the Country House.
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Hopper
(Paperback)
Rolf G Renner
1
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R386
Discovery Miles 3 860
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Ships in 10 - 15 working days
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Edward Hopper (1882-1967) is something of an American success
story, if only his success had come swifter. At the age of 40, he
was a failing artist who struggled to sell a single painting. As he
approached 80, Time magazine featured him on its cover. Today, half
a century after his death, Hopper is considered a giant of modern
expression, with an uncanny, unforgettable, and utterly distinct
sense for mood and place. Much of Hopper's work excavates modern
city experience. In canvas after canvas, he depicts diners, cafes,
shopfronts, street lights, gas stations, rail stations, and hotel
rooms. The scenes are marked by vivid color juxtapositions and
stark, theatrical lighting, as well as by harshly contoured
figures, who appear at once part of, and alien to, their
surroundings. The ambiance throughout his repertoire is of an eerie
disquiet, alienation, loneliness and psychological tension,
although his rural or coastal scenes can offer a counterpoint of
tranquility or optimism. This book presents key works from Hopper's
oeuvre to introduce a key player not only in American art history
but also in the American psyche. 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
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. Sandro Botticelli, was one of
the most esteemed artists of the Florentine Renaissance. His Birth
of the Venus depicts the goddess Venus arriving at the shore after
her birth, when she had emerged from the sea fully-grown. The
painting is in the Uffizi Gallery in Florence, Italy. 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."
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