A discussion of sensibility, sensation, perception and painting, Scotland and the Origins of Modern Art is an original work which argues that the eighteenth-century Scottish philosophy of moral sense played a central role in shaping ideas explored by figures such as Cezanne and Monet over one hundred years later. Proposing that sensibility not reason was the basis of morality, the philosophy of moral sense gave birth to the idea of the supremacy of the imagination. Allied to the belief that the imagination flourished more freely in the primitive history of humanity, this idea became a potent inspiration for artists. The author also highlights Thomas Reid's method in his philosophy of common sense of using art and artists to illustrate how perception and expression are intuitive. To be truly expressive, artists should unlearn what they have learned and record their raw sensations, rather than the perceptions that derive from them. Exploring the work of key philosophical and artistic protagonists, this thought-provoking book unearths the fascinating exchanges between art, philosophy and literature during Enlightenment in Scotland that provided the blueprint for modernism.

Mist and fog engender fascination and mystery, enticing with their wispy veils and vapourous moods, and they are the stuff of dreams and visions. 'The mists of time' and 'in a fog' are common expressions that substantiate the long association of mist and fog with the passage of time, the vagaries of memory and feelings of uncertainty. Mist and fog obscure, conceal and when they dissipate, reveal. Vapourous atmosphere in art and life masks evil and can elicit presentiments of death. It also has been used in art to convey the splendours of the spiritual world and the terrors of the supernatural. The metaphorical meanings that have accrued to mist and fog, encouraged by their indeterminate and transitory nature, and the emotions to which they give rise, are variously evident in the work of major artists and their contemporaries. This book focusses on mist and fog from the late eighteenth to the early twentieth centuries in the places they most proliferated. Examples of literature that employ mist and fog as metaphor and in allegory from antiquity to Joseph Conrad serve to amplify many of the paintings discussed.

One of the best-loved painters in English history, Thomas Gainsborough (1727-1788) was also one of the most personally engaging. Bon vivant, wit, amateur and enthusiastic musician, he charmed sitters and friends alike. His ebullient, if not always reliable, personality comes to life in these two memoirs, written by two very different friends.

A selection of works by Augusto Ferrer-Dalmau, including some never previously released, together with his latest creations, come to life through the work of a large group of military miniaturists who have found inspiration in his paintings for their models. One of the most famous artists of historical realism at both a national and international level, the artist's work can be seen along with the figures and dioramas based on them. These works have been crafted by some of the most outstanding Spanish miniaturists, which today are among the best in the world in this field and can rightly join the world of the arts.

Seeing the Inside is the first detailed study of one of the world's great visual art traditions and its role in the society that produces it. The bark painting of Aboriginal artists in western Arnhem Land is the product of a unique tradition of many thousands of years' duration. In recent years it has attracted enormous interest in the rest of Australia and beyond, with the result that the artists, who live primarily as hunters in this relatively secluded region of northern Australia, now paint for sale to the world art market.
Though the richness and power of Aboriginal arts are now, belatedly, finding wide recognition, they remain insufficiently understood. In this thoroughly illustrated book Luke Taylor examines the creative methods of the bark painters and the cultural meaning of their work. He discusses, on the one hand, the arrangements which allow the artists to project their culture onto an international stage, and on the other, the continuing social and religious roles of their paintings within their own society. The result is a remarkable and fascinating picture of artistic creativity in a changing world.

Having travelled extensively throughout his life, Grant has drawn inspiration from landscapes from Antarctica to the tropics, While attracted to northerly territories (he has lived in Norway since 1996), the subject matter of Grant's bold images varies from marine volcanoes and rainforests to icebergs and glaciers. Dynamic and vital, elemental palettes conjure up abstracted fiery drama to figurative icy stillness. Seen collectively, the work reveals a creative energy that finds many forms of expression. This translates into an original visual language that questions and probes how we see the world around us. Much more than images, Grant's remarkable artistic contribution not only provides paintings that capture the world's beauty, but also extend our understanding of the environment, climate and the fundamental importance of nature. 

This book discusses an important theme in art history - artistic emulation that emphasizes the exchange between Flemish and Dutch art in the seventeenth century. Since the Middle Ages, copying has been perceived as an important step in artistic training. Originality, on the other hand, has been considered an indispensable hallmark of great works of art since the Renaissance. Therefore, in the seventeenth century, ambitious painters frequently drew inspiration from other artists' works, attempting to surpass them in various aspects of aesthetic appeal. Drawing on this perspective, this book considers the problems of imitation, emulation, and artistic rivalry in seventeenth-century Netherlandish art. It primarily focuses on Rubens and Rembrandt, but also discusses other masters like van Dyck and Hals. It particularly results in expanding the extant body of knowledge in relation to Rubens's influence on Rembrandt and Hals. Moreover, it reveals certain new aspects of Rubens and Rembrandt as work-shop masters - collaboration with specialists, use of oil sketches, and teaching methods to pupils for example.

Though little known outside her native country, Helene Schjerfbeck (1862-1946) is one of Finland's best-loved artists. Her career, which stretched from the late 1870s to the end of the Second World War, encompassed both Impressionism and Modernism. This book records an exhibition that marks the first time her works have been seen in the UK since she exhibited in London herself in 1890. It presents the full range of her exceptional paintings and drawings, with 70 works in all genres, including portrait, landscape and still-life. Schjerfbeck's technique, her social and cultural context and her legacy are all examined in depth by the authors. The book also explores the role of the masquerade in Schjerfbeck's work, and the impact of old-master paintings on her practice.

The artist should not only paint what he sees before him, claimed Caspar David Friedrich, but also what he sees in himself . He should have a dialogue with Nature . Friedrich s words encapsulate two central elements of the Romantic conception of landscape: close observation of the natural world and the importance of the imagination. Exploring aspects of Romantic landscape drawing in Britain and Germany from its origins in the 1760s to its final flowering in the 1840s, this exhibition catalogue considers 26 major drawings, watercolors and oil sketches from The Courtauld Gallery, London, and the Morgan Library and Museum, New York, by artists such as J.M.W. Turner, Samuel Palmer, Caspar David Friedrich and Karl Friedrich Lessing. It draws upon the complementary strengths of both collections: the Morgan s exceptional group of German drawings and The Courtauld s wide-ranging holdings of British works. A Dialogue with Nature offers the opportunity to consider points of commonality as well as divergence between two distinctive schools. The legacy of Claude Lorrain s idealizing vision is visible in Jakob Hackert s magisterial view of ruins at Tivoli, near Rome, as well as in a more intimate but purely imaginary rural scene by Thomas Gainsborough, while cloud and tree studies by John Constable and Johann Georg von Dillis demonstrate the importance of drawing from life and the observation of natural phenomena. The important visionary strand of Romanticism is brought to the fore in a group of works centered on Friedrich s evocative Moonlit Landscape and Samuel Palmer s Oak Tree and Beech, Lullingstone Park. Both are exemplary of their creators intensely spiritual vision of nature as well as their strikingly different techniques, Friedrich s painstakingly fine detail contrasting with the dynamic freedom of Palmer s penwork. The most expansive and painterly works include Turner s St Goarshausen and Katz Castle, the luminous simplicity of Francis Towne s watercolor view of a wooded valley in Wales, and Friedrich s subtle wash drawing of a coastal meadow on the remote Baltic island of Rugen. Three small-scale drawings reveal a more introspective and intimate facet of the Romantic approach to landscape: Theodor Rehbenitz s fantastical medievalising scene, Palmer s meditative Haunted Stream, and lastly, Turner s Cologne, made as an illustration for The Life and Works of Lord Byron (1833).

Painting, Politics and the Struggle for the Ecole de Paris, 1944-1964 is the first book dedicated to the postwar or 'nouvelle' Ecole de Paris. It challenges the customary relegation of the Ecole de Paris to the footnotes, not by arguing for some hitherto 'hidden' merit for the art and ideas associated with this school, but by establishing how and why the Ecole de Paris was a highly significant vehicle for artistic and political debate. The book presents a sustained historical study of how this 'school' was constituted by the paintings of a diverse group of artists, by the combative field of art criticism, and by the curatorial policies of galleries and state exhibitions. By thoroughly mining the extensive resources of the newspaper and art journal press, gallery and government archives, artists' writings and interviews with surviving artists and art critics, the book traces the artists, exhibitions, and art critical debates that made the Ecole de Paris a zone of aesthetic and political conflict. Through setting the Ecole de Paris into its artistic, social, and political context, Natalie Adamson demonstrates how it functioned as the defining force in French postwar art in its defence of the tradition of easel painting, as well as an international point of reference for the expansion of modernism. In doing so, she presents a wholly new perspective on the vexed relationships between painting, politics, and national identity in France during the two decades following World War II.

Renowned botanical artist and professional gardener, Carolyn Jenkins combines her love of art and gardening to create stunning compositions (often very different from traditional botanical painting) with vibrant colours that leap from the page.The first part of this book - Botanical: Grow - explores time well-spent in the garden and covers much of the traditional details of botanical painting, from observation to capturing light, colour and texture. The second part - Contemporary: Paint - explores how Carolyn works with photography, using the computer to help with crop and composition, achieving maximum impact and creating luminous paintings that shine from the page. Her stunning illustrations are full of vibrant colour, and her larger-than-life artworks have gained an enthusiastic following on Instagram.This practical guide contains all the techniques and practice you need to create beautiful botanical art, plus step-by-step photography, crop, composition and photoshop demonstrations, to bring luminous colours, textures and impact to your own work.

This special 10th-anniversary collection combines two of the best-loved North Light watercolor guides available--"The Watercolorist's Essential Notebook" and "The Watercolorist's Essential Notebook: Landscapes." Clarifying and simplifying the various aspects of painting with watercolor, Gordon MacKenzie's "The Complete Watercolorist's Essential Notebook" will encourage and challenge you with new possibilities.

Rather than a list of rules, this is a collection of principles, concepts and general information designed to expand your creative process. Mackenzie shares with you tips, techniques, ideas and lessons for a sure path to creative fulfillment and better watercolor paintings.

"Inspiration is for amateurs. The rest of us just show up and get to work."
Chuck Close
Inside an art gallery, it is easy to forget that the paintings there are the end products of a process involving not only creative inspiration, but also plenty of physical and logistical details. It is these "cruder," more mundane aspects of a painter's daily routine that motivated Brooklyn artist Joe Fig to embark almost ten years ago on a highly unorthodox, multilayered exploration of the working life of the professional artist. Determined to ground his research in the physical world, Fig began constructing a series of diorama-like miniature reproductions of the studios of modern art's most legendary painters, such as Jackson Pollock and Willem de Kooning. A desire for firsthand references led Fig to approach contemporary artists for access to their studios. Armed with a camera and a self-made "Artist's Questionnaire," Fig began a journey through the workspaces of some of today's most exciting contemporary artists.
Inside the Painter's Studio collects twenty-four remarkable artist interviews, as well as exclusive visual documentation of their studios. Featured artists were asked a wide range of questions about their day-to-day creative life, covering everything from how they organize their studios to what painting tools they prefer. Artists open up about how they set a creative mood, how they choose titles, and even whether they sit or stand to contemplate their work. Also included are a selection of Fig's meticulously detailed miniatures. In this context Fig's diminutive sculpturesreproducing minutiae of the studio, from paint-tube labels and paint splatters on the floor to the surface texture of canvasesbecome part of a fascinating new form of portraiture as diorama. Inside the Painter's Studio offers a rare look into the self-made universe of the artist's studio. Inside the Painter's Studio features interviews with Gregory Amenoff, Ross Bleckner, Chuck Close, Will Cotton, Inka Essenhigh, Eric Fischl, Barnaby Furnas, April Gornik, Jane Hammond, Mary Heilmann, Bill Jensen, Ryan McGinness, Julie Mehretu, Malcolm Morley, Steve Mumford, Philip Pearlstein, Matthew Ritchie, Alexis Rockman, Dana Schutz, James Siena, Amy Sillman, Joan Snyder, Billy Sullivan, and Fred Tomaselli.

Big art for little hands - this new "Salvador Dali Colouring Book" in Prestel's new "Colouring Book" range is a beautifully produced colouring-in book. With plenty of space to colour outside the lines, the book is also designed to give children an early interest in some of the great masters. Sections of Dali's masterpieces are there to inspire children's creativity, whatever their age.

In the first three decades of the 20th century Augustus John (1878-1961) was widely considered one of the greatest living British artists, famous almost as much for his extraordinary Bohemian lifestyle as for his outstanding portraits, etchings and drawings. John was born in Wales in 1878 and educated at the Slade School of Art in London in the 1890s, where the onus of teaching was on the daily life class and a close study of the Old Masters. He soon emerged as a wonderfully gifted draughtsman - indeed, the American painter John Singer Sargent would declare that John's youthful drawings were amongst the fi nest seen since the Renaissance. Dividing his life between England, Wales and France, and reaching his prime in the years immediately before the outbreak of the Great War, by 1910 John would be likened to a British Gauguin, a Welsh Post-Impressionist using bold colours and a willfully naive and primitive style to explore the complex combination of romanticism, escapism and alienation engendered by 20th-century life. The great American collector John Quinn considered John and his sister Gwen key European artists, and his work would be included in the infl uential Armory Show in New York in 1913. After the War he would become Britain's leading society portraitist, earning a fortune in commissions - though it was his more personal paintings of friends, lovers, family and fellow artists and writers such as W.B. Yeats, T.E. Lawrence, Dylan Thomas, Ottoline Morrell and his muse/ mistress Dorelia McNeill that best revealed his great talents. Published to coincide with exhibitions at Poole Museum in Dorset in the summer of 2018 and at Salisbury Museum in Wiltshire in the summer of 2019, Augustus John: Drawn from Life re-examines the life and work of this signifi cant but increasingly overlooked British artist. Focusing on around sixty works drawn from private and public collections, including the Tate, the National Portrait Gallery and the National Museum of Wales, the book will off er new insights into John's life and development as an artist from the late 1890s to the outbreak of the Second World War.

In The Aesthetics of Qiyun and Genius: Spirit Consonance in Chinese Landscape Painting and Some Kantian Echoes, Xiaoyan Hu provides an interpretation of the notion of qiyun, or spirit consonance, in Chinese painting, and considers why creating a painting-especially a landscape painting-replete with qiyun is regarded as an art of genius, where genius is an innate mental talent. Through a comparison of the role of this innate mental disposition in the aesthetics of qiyun and Kant's account of artistic genius, the book addresses an important feature of the Chinese aesthetic tradition, one that evades the aesthetic universality assumed by a Kantian lens. Drawing on the views of influential sixth to fourteenth-century theorists and art historians and connoisseurs, the first part explains and discusses qiyun and its conceptual development from a notion mainly applied to figure painting to one that also plays an enduring role in the aesthetics of landscape painting. In the light of Kant's account of genius, the second part examines a range of issues regarding the role of the mind in creating a painting replete with qiyun and the impossibility of teaching qiyun. Through this comparison with Kant, Hu demystifies the uniqueness of qiyun aesthetics and also illuminates some limitations in Kant's aesthetics.

Take your art in a bold new direction-go gouache! In Creative Gouache, artist Ruth Wilshaw shares her step-by-step techniques for creating brilliantly vibrant effects with this easy-to-master medium, a perfect companion for transparent watercolor. In this comprehensive guide to gouache, you'll: Get an overview of essential materials and surfaces. Learn basic handling and coloring-mixing techniques, including layering, creating blends, and adjusting opacity, plus troubleshooting tips for common challenges, such as dealing with shifts in color and value from wet to dry. Explore how to paint fun, simple motifs, flowers, butterflies, landscapes, and lettering. Discover fun gouache techniques, such as adding texture and painting gradients and blends. Learn how to incorporate other mediums with gouache, including paint pens, colored pencil, and watercolor. Use what you learn to create inspiring projects such as dimensional artwork, clay decor pieces, and cheerful banners. See what you can create with gorgeous, wall-to-wall color with Creative Gouache! Perfect for creative beginners, the books in the Art for Modern Makers series take a fun, practical approach to learning about and working with paints and other art mediums to create beautiful DIY projects and crafts.

Discover the creative processes and intriguing inspirations behind the work of leading fantasy artist John Howe - conceptual designer on The Lord of the Rings movie trilogy - in this comprehensive practical art book. Brings together Fantasy Art Workshop and Fantasy Drawing Workshop into a combined volume, fully updated and with new art. Examines in fascinating detail over 150 of the artist's outstanding sketches, drawings and paintings, plus the techniques and stories behind each. Leads you step-by-step through a range of specially commissioned drawing and painting demonstrations that reveal John's renowned artistic approach in action. Discusses the rewarding journey into fantasy art, from the first steps of building a compelling portfolio to book illustration, graphic novels and the big screen. This book will appeal to artists and fans of John Howe's work by leading you step-by-step through a range of specially commissioned demonstrations, sketches and finished paintings, some designed specifically for this book, that reveal John's renowned artistic approach in action, plus the techniques and stories behind each. It covers a wide range of subjects, beginning with the creative process, exploring where inspiration comes from, looking at narratives and themes, gathering reference materials, organizing your working environment, and protecting and storing artwork. Howe covers drawing materials and explores drawing and painting fantasy beings from initial inspiration and approaches to characters, symbolism and accoutrements. He begins by showing how to create different types of male and female archetypes, humans in action, armour and weapons, faces, expressions and hands, hair and costumes, and goes on to explain how to create different types of fantasy beasts: talons, wings, fangs and fire, and noble animals, interspersed throughout with exciting case studies. The book also explores fantasy landscapes and architecture and balancing light and dark atmospheres. The final section of the book provides further inspiration and guidance on presenting work in various forms, including film work, book covers and advertising, all areas John Howe has vast experience in. The foreword is written by groundbreaking film director Terry Gilliam, with an afterword by Alan Lee, John's partner on the conceptual design for The Lord of the Rings movie trilogy and Oscar-winning illustrator.

Everybody loves flowers, and here are 100 beautiful blooms for you to draw! Whether you prefer the understated beauty of a simple daisy or the garish good looks of a flamingo lily, you're bound to discover a flower in this book that you will find irresistible - and you will just want to pick up your pencil and start drawing! There are everyday garden blooms such as roses and tulips, delicate wild varieties such as primroses and bluebells, and a whole range of exotics, too, if you want to try something a bit different. Each flower is broken down into six simple stages that lead you effortlessly through to the finished drawing. There are no written instructions to follow - just basic shapes and pencil strokes. Even if you've never drawn anything before, you will be amazed at how quickly you will achieve incredibly impressive drawings. Every project also shows two finished examples of the flower - one shaded with pencil and the other with colour. This is the perfect book for budding artists yearning to draw their favourite posies, or the experienced artist looking for a variety of subjects to inspire. The material in this book is taken from the following books in Search Press's successful How to Draw series: Flowers, Garden Flowers, Wild Flowers, Exotic Flowers.

Met die bundel beeldgedigte stel Marlene van Niekerk op ’n oorspronklike en toeganklike manier die minder bekende Nederlandse skilder Jan Mankes (1889-1920) bekend. Sy lewer daarmee nogeens ’n bewys van die vernuwende aard van haar werk. Die bundel bevat ’n dosyn of wat skilderye, in kleur afgedruk, telkens vergesel van ’n beeldgedig in Afrikaans met die Nederlandse vertaling daarvan op die volgende bladsy. Beskryf as “’n poetiese kragtoer”.

Paul Gauguin (1848-1903) played a seminal role in Post-Impressionist France. In his writings and work, he favored emotional responses to nature over intellectual uses of lines, color, and composition. In 1888 he and Emile Bernard developed a new style called Synthetism. Three groups of Gauguin's symbolist followers--Pont Aven, Les Nabis, and Rose + Croix pursued and extended the Synthetist vision. This sourcebook focuses on the most prominent adherents of the three schools directly affected by Gauguin's symbolism. This is the first comprehensive, single-volume guide and bibliography of artists in these three important French avant-garde movements. This work covers the entire careers of 16 artists by providing biographical sketches, chronologies, citations to primary and secondary literature and exhibitions.

Part of a series of exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed, then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. This example features Kew Gardens' Marianne North: Foliage and Flowers of a Chorisia and Double-Crested Humming Birds, Brazil. The Royal Botanic Gardens, Kew is a world-famous centre for botanical and mycological knowledge. Kew has a gallery dedicated to the paintings of the remarkable Victorian artist Marianne North, who had a great eye for botanical detail. She set out in 1871 on a painterly progress through world flora. She arrived in Brazil in 1872 and stayed until September 1873.

Ink is the first in an exciting new practical-art series on popular mediums, including acrylic, oil, pencil and gouache. The books will cover painting techniques, creative ideas and applications, and the fun of mixing with other mediums. Many of the techniques and ideas will be demonstrated through the work of some of the world's greatest artists and illustrators. The first book explores ink's use in painting, illustration and lettering. With its contemporary aesthetic and accessible content, the series will appeal to artists of all abilities.