A companion volume to 14th Century Colour Palettes -Volume 2, this book covers painting on the wall and on wood panel from Cennino Cennini, The Book of Art, of the late 1390s (extracts). The pigments and methods are drawn from the practice of Giotto, as Cennino writes.

15th century Italian painting mastered the art of painting light in the world. As Leon Battista Alberti wrote in On Painting (1435), "light has the power to vary colour", hence a rich palette of pigments and how to mix colours was necessary to capture every nuance. Countless recipes are provided by the anonymous author of "Secrets for Colours" (c. 1450), called the Bolognese Manuscript, intended for use in fresco and in oil on panel, accompanied by instructions on how to make varnishes for paintings.

From Italy to France to Flanders, the arts of painting in the 14th century were practised in manuscript illumination, on panel, and in fresco. Recipes for pigments appropriate to all these arts are included in this collection. "Experiments upon Colours" were dictated by painters to a Frenchman, Jehan Alcherius, while the Italian artist, Cennino Cennini, was especially attentive to the practice and the pigments to be used in fresco painting in The Book of Art / Il Libro dell' Arte, of c. 1390. His descriptions reveal the craft of Giotto, whose works make up the plates in this collection.

This is the first study to investigate the sources of the creative processes in the painting of Kazimir Malevich, from Neo-Primitivism to Suprematism, 1911-1920. These sources are found in 19th century scientific investigations into optics, especially those of Hermann von Helmholtz, the artist adapting the laws of optical light and colour and the laws of optical structures of seeing in space and in depth to his painting. Malevich's creative processes culminated in his non-objective canvases, Suprematism, between 1915 and 1920, the painting of pure seeing.

The French Impressionist painters discovered new means for painting light - they used a "solar palette", the pigments matched to the colours the eyes see. They are the colours of a ray of light. This little book reproduces palettes by 8 of the plein-air painters - Cezanne, Manet, Monet, Pissarro, Renoir, Seurat, Signac, and Van Gogh. It describes the pigments they used, and includes short excerpts by the scientists whose work was the foundation of the new painting - complementary colours, optical mixing, and the pigment-colour correspondences.

Pigments described by the English chemist, Robert Dossie, the French artists' colourman, Jean Felix Watin, and the London-based pigment maker, Constant de Massoul. 18th century European painting saw the introduction of new pigments to the painters' palettes, from Prussian Blue to the early synthetics such as Patent Yellow. It was a century rich in pigments, the authors of the treatises listing over 150 pigments that could be bought in the shops in London and Paris.

Collection of 30 texts, 1915-1928, & 3 facsimiles, some in first English translation, plus Nina Kogan on Cubism and Ilya Chashnik on Suprematism. Chronological sections trace Malevich's analyses of Cubism and Futurism, the Supremus Society of Artists, Suprematism Triumphant, UNOVIS, Theory of Creativity as Artistic Culture, and the Non-Objective World of Sensations. A presentation of sensations from Cezanne to Suprematism is followed by a discussion of how consciousness and the environment influence artistic creativity in P. Railing, Malevich on Creativity.

The sources of pigments used in European painting are found in classical antiquity, 1st. century B.C. to 1st century A.D. The over 40 pigments in use were described by Vitruvius, Pliny the Elder and Dioscorides, complemented by 3rd century B.C. Theophrastus. The principles of painting were also described by Pliny, to be picked up by Italian Renaissance painters of the 15th century, and they are discussed by the Editor. The pigments in the four extant treatises are described in full which, together with the artistic principles, make this little book a basic primary source for both classical painting and subsequent European painting.

A collection of 16 essays on the artist's painting and works for the theatre between 1910 and 1924. The essays explore the colour theories that gave rise to her abstract painting and the basic laws of structure that gave order to her Cubist, Simultaneist, Non-Objective painting and her stage and costume design. Contemporary accounts of her three plays, Famira Kifared, Salome, and Romeo and Juliet are included together with extracts from Alexander Tairov's, Notes of a Director (1921). The book closes with a detailed and illustrated Chronology of Exter's exhibitions and paintings.

Three texts by two Italian Renaissance painters - Leonardo da Vinci and Gian Paolo Lomazzo - and a compendium of the 53 standard pigments commonly found on artists' palettes for painting in oil on panel and on canvas as outlined by the writer, Raffaello Borghini, make up this 16th century collection of pigments. Leonardo's studio advice on the use of colours for capturing light and dark picks up this theme from Italian 15th century and classical painting and lays the foundation for this practice as it would develop in European painting. The plates are of works by Titian found in the National Gallery in London, whose pigments have been identified and matched to the paintings.

A facsimile edition of Kazimir Malevich, SUPREMATISM 34 Drawings, was published in 1990 by Artists Bookworks accompanied by an introduction to the drawings by Patricia Railing; it is now out-of-print. This 2014 reprint of Malevich's little book contains a new translation from the Russian and a new introductory text by Patricia Railing, "Reading the 34 Drawings". The Russian text and plates were scanned from an original copy and the size of this little book conforms to the lithographed Russian edition of 1920.

From Italy to France to Flanders, the arts of painting in the 14th century were practised in manuscript illumination, on panel, and in fresco. Recipes for pigments appropriate to all these arts are included in this collection. "Experiments upon Colours" were dictated by painters to a Frenchman, Jehan Alcherius, while the Italian artist, Cennino Cennini, was especially attentive to the practice and the pigments to be used in fresco painting in The Book of Art / Il Libro dell' Arte, of c. 1390. His descriptions reveal the craft of Giotto, whose works make up the plates in this collection.