"Life, Legend, Landscape" presents a rich selection of Victorian drawings and watercolors from the Courtauld Gallery collection, ranging from finished watercolors intended for public exhibition to informal sketches and preparatory drawings for paintings or sculpture. The selection includes a study by Edwin Landseer for the famous lions used at the base of Nelson's column in Trafalgar Square, London; the Pre-Raphaelite painter Dante Gabriel Rossetti's intimate portrait of his muse, Elizabeth Siddal, seated at her easel; Whistler's delicate study of the young Elinor Leyland, and Fredrick Walker's outstanding The Old Farm Garden.

British painter William Tillyer (born 1938) is regarded as one of the most accomplished and consistently inventive artists working in watercolor. His work luxuriates in translucent color and sensuous brushwork. Some of his pieces, in their untrammeled expressive zeal and readily apparent love of color as a pure quality call to mind the canvases of Morris Louis; in other paintings, flamboyantly voluptuous shapes confront geometric abstractions and Minimalist blocks of color. With 224 full-color images, "William Tillyer: Watercolours" provides a comprehensive look at the titular aspect of Tillyer's oeuvre, looking back over nearly 40 years of work. It includes three texts by the American poet and art historian John Yau, an essay describing the development of Tillyer's watercolors and linking his work to the tradition of the English watercolor, an essay on the latest body of work and an interview with the artist.

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.

Bob Jones Jr. founded the collection as an educational effort and opened it on the campus of the university named after his father in Greenville, South Carolina, in 1951. Those first 25 paintings included works by Bicci di Lorenzo, Luca Giordano, El Greco, and Tintoretto, and today the collection comprises over 400 paintings, as well as a wide range of sculpture, decorative arts, and antiquities. It is widely recognized among scholars as one of the finest collections of Renaissance and Baroque paintings in America, and a document of the revival of the taste for Baroque pictures in the mid-20th century. Erin Jones’s introduction provides an overview of the history of the various iterations of the Museum & Gallery, even as it looks forward to a new home in the centre of its community. Richard P. Townsend’s essay presents the most in-depth examination to date of Bob Jones Jr. as a collector, extensively using letters, invoices, and photographs to paint a picture of Jones hitherto not available. At the heart of the volume is the presentation of 55 paintings, featuring works by great European masters including Botticelli, Bouts, Cranach, Guercino, Jordaens, Preti, Reni, Ribera, Rubens, Tiepolo, and Zurbarán.

This is the first publication that narrates the significant contributions of Greek women in the various genres of the arts in a historical perspective from antiquity to contemporary Greece. It discusses Greek women in the disciplines of music, the visual arts, poetry and literature, film and theatre, and history. The historical roles of Greek women in music are examined including the first woman composer with preserved music that is a Byzantine-Greek. Readers will discover that it was a Greek woman philosopher who influenced the formation of Socrates' thinking and that the Iliad and Odyssey were actually written by a Hellenic woman but were later appropriated by Homer. Classic and contemporary Greek female writers are in the foreground as well as the modern art music and popular music by Greek women composers. The roles of Greek women in drama are examined and the significant works of contemporary Greek women artists are recognized.

Terry Harrison's painting style and easy-going humour makes painting fun and enjoyable. Pick up a brush, pull out one of the included outlines, and before you know it, you'll have a painting you can be proud to hang on your wall! This collection of Terry Harrison's highly-successful Ready to Paint books expands on the rock-solid painting advice in the originals by including all of Terry's clever and simple techniques. Together with more information on his preferred materials, the book makes painting the huge range of landscapes and rural scenes included approachable and enjoyable. The book includes pull-out outline paper that you can transfer to watercolour paper as well as full instructions on how to do so for each of the 15 step-by-step projects, and Terry's beautiful artworks are scattered throughout for inspiration.

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 and two bookmarks. These are perfect for personal use and make a dazzling gift. This example is based on Vincent van Gogh's Wheat Field with Cypresses. Vincent Van Gogh composed this painting while he was in the Saint-Remy mental asylum, near Arles. The bold use of impasto and the beauty of the towering trees have made this one of his most recognisable works. There are various other versions of the painting, one of which features a closer view of the cypresses painted vertically, as well as a replica of this version that Van Gogh painted for his mother and sister.

Without question, the tache (blot, patch, stain) is a central and recurring motif in nineteenth-century modernist painting. Manet's and the Impressionists' rejection of academic finish produced a surface where the strokes of paint were presented directly, as patches or blots, then indirectly as legible signs. Cezanne, Seurat, and Signac painted exclusively with patches or dots. Through a series of close readings, this book looks at the tache as one of the most important features in nineteenth-century modernism. The tache is a potential meeting point between text and image and a pure trace of the artist's body. Even though each manifestation of tacheism generates its own specific cultural effects, this book represents the first time a scholar has looked at tacheism as a hidden continuum within modern art. With a methodological framework drawn from the semiotics of text and image, the author introduces a much-needed fine-tuning to the classic terms index, symbol, and icon. The concept of the tache as a 'crossing' of sign-types enables finer distinctions and observations than have been available thus far within the Peircean tradition. The 'sign-crossing' theory opens onto the whole terrain of interaction between visual art, art criticism, literature, philosophy, and psychology.

First published in 1984. The late nineteenth and early twentieth centuries represent not only era of rapidly changing artistic methods but a crucial evolution in art criticism. This book gathers together a wide-range of the criticism that greeted the work of the Impressionists artists in the English Press. The selected examples of praise and antagonism reflect the sentiments expressed in the comments of prominent newspaper and periodical critics. The selection shows the importance of Impressionist art to English art criticism and wide comprehension of the formal qualities in painting. It also demonstrates how forward-looking critics created new criteria for the discussion of modern painting.

Winslow Homer was the antithesis of the unkempt bohemian artist of the nineteenth century. Yet he is ranked as one of America's greatest painters. The reason is not hard to discover, for Winslow Homer's powerful epic statements spoke for America with a breadth that few other artists have achieved. This is a lively, intimate, and immensely readable portrait of the artist that throws a new light on Homer's life and puts it in fresh perspective, concentrating on Homer's years at Prout's Neck on Maine's rugged coast, where he would create his finest paintings, from 1883 until his death in 1920.

In 1939, Scottish artist and sculptor J.D. Fergusson was commissioned to write a fully illustrated book on modern Scottish painting. The Second World War made this difficult and the first edition of Modern Scottish Painting was published in 1943 without illustrations. This new edition – edited, introduced and annotated by Alexander Moffat and Alan Riach – finally brings Fergusson’s project to fruition, illustrating the argument with colour reproductions of Fergusson’s own work. Moffat and Riach frame Fergusson’s important art manifesto for the 21st-century reader, illuminating his views on modern art as he explores questions of technique, education, form and what it means for a painting to be truly modern. Fergusson relates these aspects of modern painting to Scottishness, showing what they mean for Scottish identity, nationalism, independence and the legacy that puritanical Calvinism has left on Scottish art – a particular concern for Fergusson given his recurring subject matter of the female nude.

From refined portraits of resplendent maharajas to earthy depictions of divine rogues cavorting with milkmaids, Indian miniature paintings depict the world as it should be: radiant, plentiful and passionate. These manuscript illustrations combine vibrant color with exquisite delicacy, offering immediate impact while also rewarding lengthy examination. Alone on the market, this beautiful volume presents the art form for non-specialists, surveying the most notable styles and periods of Indian painting and offering an introduction to the legends and historic personalities that inspire its entertaining subjects. The text covers such diverse topics as scriptures written on palm leaves, likenesses of favorite animals, images inspired by music, techniques and materials, and Indian reactions to European art. The Boston Museum of Fine Art's collection of Indian paintings, assembled by the esteemed scholar A. K. Coomaraswamy, is justly renowned as one of the finest in the world, and "Indian Painting," one of the only readily available comprehensive histories of the subject, is the first book since Coomaraswamy's seminal catalogues of the 1920s to draw so extensively on the MFA's collection. It includes 120 of the most remarkable pieces, many of which are reproduced here in color for the first time.

Portraits of Queen Marie Leszczinska (1703-1768) were highly visible in eighteenth-century France. Appearing in royal chateaux and, after 1737, in the Parisian Salons, the queen's image was central to the visual construction of the monarchy. Her earliest portraits negotiated aspects of her ethnic difference, French gender norms, and royal rank to craft an image of an appropriate consort to the king. Later portraits by Maurice-Quentin de La Tour, Carle Van Loo, and Jean-Marc Nattier contributed to changing notions of queenship over the course of her 43 year tenure. Whether as royal wife, devout consort, or devoted mother, Marie Leszczinska's image mattered. While she has often been seen as a weak consort, this study argues that queenly images were powerful and even necessary for Louis XV's projection of authority. This is the first study dedicated to analyzing the queen's portraits. It engages feminist theory while setting the queen's image in the context of portraiture in France, courtly factional conflict, and the history of the French monarchy. While this investigation is historically specific, it raises the larger problem of the power of women's images versus the empowerment of women, a challenge that continues to plague the representation of political women today.

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.

Drawing and painting realistic flowers is achievable! Create a wide variety of blooms and greenery using an easy step-by-step method, then add watercolor for gorgeous effects. In Drawing and Painting Beautiful Flowers, discover how to draw flowers such as cosmos, hibiscus, canola, lily of the valley, hydrangea, foxglove, and more from various angles, and learn about perspective and shading. Once you have the skills to draw a single flower, learn how to draw groupings and wreaths. Mix in leaves and smaller flowers to create a variety of looks. Then, learn simple techniques to add luscious watercolor, using shading, blending, and gradient techniques for eye-catching results. Popular Instagram artist Kyehyun Park shares her secrets for capturing realistic flower, leaf, and plant shapes. Artists of all levels love drawing and painting nature, and with these techniques they'll confidently render lifelike botanicals in an array of lovely palettes. The book also includes: Ideas and techniques for drawing and painting charming potted plants Instructions for drawing and painting smaller flowers, buds, and branches Watercolor techniques showing how to expertly blend colors, use brush strokes and brush pressure to create various shapes, and how to use color to shade and highlight Warm-up exercises that help develop skills Simple methods for understanding perspective and composition, making it effortless to draw flowers from different angles Add these striking florals to sketchbooks, stationery, journals, and more. With Drawing and Painting Beautiful Flowers, creating true-to-life florals and plants is within your reach!

The first specialized critical-aesthetic study to be published on the concept of hybridity in early Mughal painting, this book investigates the workings of the diverse creative forces that led to the formation of a unique Mughal pictorial language. Mughal pictoriality distinguishes itself from the Persianate models through the rationalization of the picture's conceptual structure and other visual modes of expression involving the aesthetic concept of mimesis. If the stylistic and iconographic results of this transformational process have been well identified and evidenced, their hermeneutic interpretation greatly suffers from the neglect of a methodologically updated investigation of the images' conceptual underpinning. Valerie Gonzalez addresses this lacuna by exploring the operations of cross-fertilization at the level of imagistic conceptualization resulting from the multifaceted encounter between the local legacy of Indo-Persianate book art, the freshly imported Persian models to Mughal India after 1555 and the influx of European art at the Mughal court in the sixteenth and seventeenth centuries. The author's close examination of the visuality, metaphysical order and aesthetic language of Mughal imagery and portraiture sheds new light on this particular aspect of its aesthetic hybridity, which is usually approached monolithically as a historical phenomenon of cross-cultural interaction. That approach fails to consider specific parameters and features inherent to the artistic practice, such as the differences between doxis and praxis, conceptualization and realization, intentionality and what lies beyond it. By studying the distinct phases and principles of hybridization between the variegated pictorial sources at work in the Mughal creative process at the successive levels of the project/intention, the practice/realization and the result/product, the author deciphers the modalities of appropriation and manipulation of the heterogeneous elements. Her unique

Waiting at the Shore chronicles the extraordinary life of the Spanish artist Luis Quintanilla, championed by Ernest Hemingway, John Dos Passos, Elliot Paul, and many other American and European writers and artists. In 1912, at the age of 18, he ran off to Montmartre where, under the influence of his fellow countryman Juan Gris, he began his artistic career as a Cubist. Returning to Madrid before the war he befriended prominent Spaniards, including Juan Negrin, the Premier during the Spanish Civil War. In April 1931 he and Negrin participated in the peaceful revolution which ousted the monarchy and installed the Second Spanish Republic. When civil war broke out Quintanilla helped lead troops on Madrid's Montana Barracks, which saved the capital for the Republic. "Because great painters," as Hemingway put it, "are scarcer than good soldiers," the Spanish government [Negrin] ordered Quintanilla out of the army after the fascists were stopped outside Madrid. The artist completed 140 drawings of the various fronts of the war which were exhibited at New York's Museum of Modern Art, with a catalogue by Hemingway. After the Republic lost the war Quintanilla was forced into an exile which lasted several decades. Living in New York and in Paris he strove to perfect his art, shunning the modernist vogues of the time. Although a celebrity when he first arrived in the United States he eventually fell into obscurity. This volume, which is heavily illustrated, brings him out of the shadows of neglect, and provides the compelling story of an artist who led not just an extraordinary life but left a legacy of paintings and drawings which, in both their skill and great imaginative variety, should be known to all art lovers.

Following the success of A Dog a Day and Old Dogs, Sally Muir returns with an adorable collection of beautiful rescue dog portraits that will melt even the coldest of hearts. Several years ago, Sally Muir began a Facebook project, posting dog art daily, which became the best-selling book A Dog a Day. Through the project she was introduced to endless people and their dogs, and the distinct personalities and complex emotions that owners attribute to them. This was followed with Old Dogs, where Sally asked the public to send in photos of their elderly canines. She was drawn to the tales behind their greying whiskers and so the natural next step was rescue dogs with their eventful life stories. Rescue Dogs is a beautiful collection of loveable hounds with colourful histories and expressive faces. From Mr Bojangles who was rescued after being hit by a car to Molly who found a new lease of life after being rescued from a shelter at age 15, Rescue Dogs will tug at the heartstrings and leave you with a profound sense of optimism for life, new beginnings and kindness. This is the perfect gift for your dog-loving friends, or for yourself to enjoy some mindful moments flicking through delightful, heart-warming canine portraits.

This book awaited artist's manual is the first definitive sourcebook of its kind. In it, William Veasey teaches decorative decoy artists to accurately paint the details of waterfowl and gamebird bills and feet, as well as those of birds of prey. Bills and Feet is an authoritative work which will allow the craftsman to achieve a more lifelike effect with his carvings. Illustrated in full color, it is a must for the serious decoy artist.

Richard Wollheim is one of the dominant figures in the philosophy of art, having focused on two core, interrelated questions: How do paintings depict? and how do they express feelings? In this collection, a distinguished group of thinkers in the fields of art history and philosophical aesthetics offers a critical assessment of Wollheim's theory of art. In the final essay Wollheim himself responds to the contributors. This book will be eagerly sought out by all serious students of the theory of art, whether in departments of philosophy or art history.

This book reinterprets Wifredo Lam's work with particular attention to its political implications, focusing on how these implications emerge from the artist's critical engagement with 20th-century anthropology. Field work conducted in Cuba, including the witnessing of actual Afro-Cuban religious ritual ceremonies and information collected from informants, enhances the interpretive background against which we can construe the meanings of Lam's art. In the process, Claude Cernuschi argues that Lam hoped to fashion a new hybrid style to foster pride and dignity in the Afro-Cuban community, as well as counteract the acute racism of Cuban culture.

This practical guide is perfect for those looking to try this ancient art form for the first time! In this book, Japanese master artist Shozo Koike reveals the simple secrets of Sumi-e, offering step-by-step instructions with clear photographs and online video tutorials showing you how to paint 19 traditional subjects. Sumi-e is the meditative Japanese form of ink painting taught by Zen Buddhist monks to encourage mindfulness and an awareness of our surroundings. It uses only ink, water, a brush and paper to capture natural objects and landscapes in a vivid, spontaneous fashion. Koike begins with the basics--what to buy and how to prepare the ink in a traditional inkstone. Next, he shows you how to practice the 11 basic brushstrokes used for all Sumi-e paintings. The 19 traditional subjects taught in this book include: Flowers like orchids, chrysanthemums, camellias, roses and peonies Plants and fruits including bamboo, eggplants, grapes and chestnuts Animal figures including small birds, butterflies, chicks, crabs and goldfish Koike also explains the philosophy of Sumi-e, which emerges from the use of negative white space to enhance the painted forms. Readers will enter into a world not just of black and white, but of infinite shades of gray which are capable of evoking all the sensations of color using these techniques.