As we approach the bicentennial, in 2017, of the birth of Henry David Thoreau, there is considerable debate and confusion as to what he may, or may not have, contributed to American life and culture. Almost every American has heard of Thoreau, but only a few are aware that he was deeply engaged with most of the important issues of his day, from slavery to "Manifest Destiny" and the rights of the individual in a democratic society. Many of these issues are still affecting us today, as we move toward the second quarter of the twenty-first century. By studying how various American artists have chosen to portray Thoreau over the years since the publication of Walden in 1854, we can gain a clear understanding of how he has been interpreted (or misinterpreted) throughout the years since his death in 1862. But along the way, we might also find something useful, for our times, in the insights that Thoreau gained as he wrestled with the most urgent problems being experienced by American society in his day.

Graphic artist Daz Girling creates a visual celebration of alternative counter cultures. 130 pages of art featuring alt models & performers from around the world, such as international fetish icon Masuimi Max, Las Vegas blood sucking metal models The Vamp Girls, Iconic adult performer April Flores and UK Bizarre Ultra vixens Amie Conradine, Star of 'Scruff City' graphic novels-Scruffy Kitten, plus many other dark themed doodles, work-in-progress sketches and photos of many of your favourite alt girls.

This book of 112 pictures is a selection of drawings and paintings representing Jindrich's artistic endeavours over the last three decades. The collection contains real-life portraits as well as images and portraits based on the works of other artists. Some of the works in the book are the product of Jindrich's own imagination. In addition, there is a section containing icons and symbols and two sections picturing animals (domestic and wild).

This selection of drawings of classical, romantic, and a few modern composers represents part of a larger collection of drawings made as cover illustrations for KMFA-FM, a listener-supported radio station in Austin, Texas.

This book explores the rich but understudied relationship between English country houses and the portraits they contain. It features essays by well-known scholars such as Alison Yarrington, Gill Perry, Kate Retford, Harriet Guest, Emma Barker and Desmond Shawe-Taylor. Works discussed include grand portraits, intimate pastels and imposing sculptures. Moving between residences as diverse as Stowe, Althorp Park, the Vache, Chatsworth, Knole and Windsor Castle, it unpicks the significance of various spaces - the closet, the gallery, the library - and the ways in which portraiture interacted with those environments. It explores questions around gender, investigating narratives of family and kinship in portraits of women as wives and daughters, but also as mistresses and celebrities. It also interrogates representations of military heroes in order to explore the wider, complex ties between these families, their houses, and imperial conflict. This book will be essential reading for all those interested in eighteenth-century studies, especially for those studying portraiture and country houses. -- .

The Women of the Grand Theater offers posters of some of the most glamorous women of the early 20th century. The Grand Posters of the Past collection provides a look into the magical world of theater, aristocracy, and cinema. From portraits of elite women to posters of famous actresses, these beautiful posters let you step into the world of the colorful past and experience the dynamics of that time. Great posters of great women of the theater, art, and movies.

About Red Social Red Social by Alejandro Garcia-Lemos and Cynthia Boiter is a visual and literary art book that evolved from a 2012 art exhibition of work by Garcia-Lemos at the Goodall Gallery at Columbia College in Columbia, SC. The title of the book and exhibition, Red Social, translates to Social Network in Garcia-Lemos's native Spanish. As he approached this body of work, which is made up of 24 unique portraits, Garcia-Lemos who is a native of Bogota, Colombia, focused on relationship-building and the community of fellow artists and arts lovers he had become enmeshed in in his new home of Columbia, SC. The sitters for each portrait, almost all of whom were close members of his newly formed community, were asked to bring symbolic icons for their sitting and many went so far as to collaborate on their specific portraits. (Several fellow-artists made actual artistic contributions to their portraits.) "The creative space that opened during these sessions provided an atmosphere of candor which mimicked that of the therapist," the artist says. "I came to realize the importance of a comfort level between the artist and subject and I chose people who have been supportive of me and are truly friends and family." Once the series was complete and had been exhibited, Garcia-Lemos hoped to continue in the collaborative spirit so he approached local writer and editor, Cynthia Boiter. It was his idea to have Boiter create short fictional stories about the characters in the portraits-whether she was personally familiar with the characters or not-based on nothing but the title of the portrait and the various icons represented. Boiter says that, "Many of the friends about whom I wrote had to become strangers before they could become subjects about whose inner lives-their worries, fantasies, and insecurities-I could write. But as unconnected as these stories are to the portrait models who inspired them, they are still real stories, I'm sure, that belong to someone else out there." The result is a fascinating reverse-process of illustration. Based upon Garcia-Lemos's paintings, Boiter uses fiction to illustrate the portrait subjects. Each piece of short fiction-few are over 250 words in length-tells the tale of a unique individual with subject matters ranging from love to loss to issues of gender roles, new roles, and throwing off the roles society attempts to impose upon all of us.

A mother... An artist... A publisher of human emotion... The art of M. Zapp (Marilyn Zapp) has been seen internationally acclaimed on prints and greeting cards. For the first time together, an autobiographical anthology of 40 FULL-COLOR art prints by "M. Zapp," expressing her love and experience as a mother. This current anthology collection of her art work is representative of the first project of this genre, which she completed as a mother, producing a series of over three dozen different original art prints, which sold out the first run of 1500 copies each in less than a year. This specific cycle of material she calls -- "The Family Series" -- reflecting a unifying theme expressing the joy and love of family life and raising children amazingly illustrated in her own famously unique style. She explains: "After my first born, Mark, was born, I created the first piece for The Family Series, 'Mother's Love', in my forties, I had three children a year apart. My time was now occupied marveling, inspired and caring. I had no relatives to share my beautiful children or my strong feelings and emotions of being a parent, so the artist within me shared them with you. I was a mother, an artist, and the publisher of the feelings I needed to share. These art pieces also served as a biography of my life and my love as a mother - the feelings of joy, anxieties and emotions. So, I became a publisher of the feelings I needed to share and over the years many mothers, and even fathers, have understood my work." "For the first time in a collection together, many of these prints are still owned by numerous people worldwide who have identified and collected my work. My son, Mark, modeled for 'Jesus and the Lamb' and then cut his hair and shaved so that he would not be recognized as the model. My daughter, Lea, poised as the Virgin Mary for me. This book includes some, but not all, of the work I have done on this quest, that ended with my models and the youngest daughter, Erika's, teen experiences."

The first in-depth exploration of the rise and evolution of abstract, symbolic, and conceptual portraiture in American art This groundbreaking book traces the history of portraiture as a site of radical artistic experimentation, as it shifted from a genre based on mimesis to one stressing instead conceptual and symbolic associations between artist and subject. Featuring over 100 color illustrations of works by artists from Charles Demuth, Marcel Duchamp, Marsden Hartley, and Georgia O'Keeffe to Janine Antoni, Felix Gonzalez-Torres, Roni Horn, Jasper Johns, and Glenn Ligon, this timely publication probes the ways we think about and picture the self and others. With particular focus on three periods during which non-mimetic portraiture flourished-1912-25, 1961-70, and 1990-the present-the authors investigate issues related to technology, sexuality, artist networks, identity politics, and social media, and explore the emergence of new models for the visual representation of identity. Taking its title from a 1961 work by Robert Rauschenberg-a telegram that stated, "This is a portrait of Iris Clert if I say so"-this book unites paintings, sculpture, photography, and text portraits that challenge the genre in significant, often playful ways and question the convention, as well as the limits, of traditional portrayal. Published in association with the Bowdoin College Museum of Art Exhibition Schedule: Bowdoin College Museum of Art (06/25/16-10/23/16)