This book chronicles their adventures across turnip fields, through barns and into bushes.

    The music and lyrics of the Beatles have proven them to be artists of the page as well as the stage and have here provided inspiration to dozens of artists. Rendered in full color on every page are extravagantly colorful scenes and images, from the psychedelic visions evoked by “Strawberry Fields” to the youthful innocence that springs from “She Loves You.” Witty commentary and candid insights from John, Paul, George and Ringo make this a very special and personal tribute.

    Art

    Each of the 20 cards forecasts a list of outcomes for the user ranging from the merely unpleasant (loss of hair, breakage, thwarted ambitions) to the downright horrible (catarrh, spasms, shriveling). The 32-page booklet provides interpretation of the cards courtesy of one Madame Groeda Weyrd, who Gorey tells us “is of mixed Finnish and Egyptian extraction, has devoted her life to divination, and is the author of, among a shelf of other works, Floating Tambourines, a collection of esoteric verse, and The Future Speaks Through Entrails.” Who but Gorey to make mirth from a kaleidoscope of catastrophe?

    Extensive glossary and updated bibliography. 833 illustrations, including 105 in full color.

    Hailed by the New York Times as a rare and original collection of "verbal and visual witticisms...as joyfully illustrated as it is absurd," ARM IN ARM has delighted children—and grown-ups—for years with its endless tales, gleeful riddles, circular poems, and fantastical drawings.

    "Death as a Friend," showing a man greeting his death as an old friend, with a hysterical mixture of joy and terror. "The People," in which a mother shields her offspring from phantoms of hate, poverty, and ignorance — and symbolizes woman as creator, begetter of the human race, link between past and future.These works represent the recurrent themes which most characterize the work of Käthe Kollwitz: social consciousness and a sense of the suffering of mankind, an urge to voice the basic maternal attitude, and a preoccupation with death. She has been called a propagandist, a crusader, yet her art is essentially apolitical. Her concern was not with partisan causes, but rather with universal rights.Fundamentally a dramatic artist, Käthe Kollwitz (1867–1945) brought to each of her works an uncanny ability to evoke human emotions through subtle gestures and facial expressions. The reactions of her characters were psychologically true primarily because she tested them on herself.The present collection contains 83 of Mrs. Kollwitz's finest works, including the last great print cycles: "The Weavers" of 1898; "The Peasant War" of 1908; "War" of 1925; and "Death" of 1935. These selections provide a full panorama of Mrs. Kollwitz's development as a master of the graphic techniques of etching, woodcutting and lithography. Over 69 of the illustrations have been rephotographed from the original works specially for this edition, and new techniques in photolithography and a larger format have resulted in reproductions that are as close as possible to the prints and drawings themselves.

    --Margarett Loke, "ARTnews""His coverage of the Spanish civil war established Capa's reputation as a peerless battlefield photojournalist... But he was also a man who loved making pictures of beautiful women, famous men and grand parties. Often overlooked when discussing the Capa legacy, those too, were his life's work. Both Capas--the raconteur of high society and the fearless witness to war--are evident in "Robert Capa: Photographs." The two sides of Capa's work may seem irreconcilable, but they're not. He was recording one world. His own."--Allison Adato, "Life Magazine"

    Basic fundamentals for the beginner, new principles and techniques for the professional. A detailed guide for everyone who enjoys—or wants to enjoy—drawing.

    While public attention was preoccupied with the Impressionists, many painters were reacting in a totally different...and more imaginative way...to the grim horrors of the new industrial society around them. The roots of the Decadents, as these artists came to call themselves, were to be found in the poetic visions of the English Pre-Raphaelites of the 1850s. Their first great Continental exponent was a brilliant and neglected painter of the fantastic, Gustave Moreau; their most obvious expression was 'Art Nouveau,' a style closely interwoven with sinuous and half-unconscious eroticism. Philippe Julian takes the reader on a conducted tour through the bizarre symbolism of this half-forgotten world, introducing him to a large number of writers and artists. Many of these artists...Moreau; Toorop, the brilliant half-Balinese, half-Dutch painter and draftsman; the French Odilon Redon, the great master of Symbolist art; the Viennese Klimt; and the Belgian Khnopff...have been known for some time to a few enthusiasts; In this lively study their inventiveness and skill are explored afresh, and their fantastic imaginings and weird symbolism exposed to a sometimes ironic light. Proud of their romantic appearance, extravagant habits, and outrageous conduct, the artists of the 'mauve nineties' drew on a wide range of writers for their ideas, including not only Poe, Baudelaire, Swinburne, and Wilde, but also less well-known and stranger poets. The book ends with a short anthology of Symbolist themes taken from these writers, and 149 pictures drawn from museums and collection in the Europe and the U.S.

    The rest is darkness and dismay." Finally, though, The Iron Tonic could be seen as Edward Gorey's version of a winter afternoon in one of the great Russian novels of the nineteenth century.

    A flowing collection of poetry that is also a guide for life.

    First published in 1969 by the MIT Press, Arcology: The City In The Image of Man has become legendary among scholars, architects, artists, and librarians around the world. It established Paolo Soleri as one of the most innovative minds of our time. The challenging concept of Arcology, Soleri's fusion of architecture and ecology, is illustrated with outstanding graphics.

    Styles of Radical Will, Susan Sontag's second collection of essays, extends the investigations she undertook in Against Interpretation with essays on film, literature, politics, and a groundbreaking study of pornography.

    She makes them carefully, seriously, lovingly--and they are irresistible. Children who own them treasure them and keep them for years and years. Many children will feel the same way about his book. Here M.B. Goffstein creates Goldie's world, a world whose center is the little house in the forest where she lives all alone, a world alive with warmth and love. In the simple words and pictures of Goldie the Dollmaker there is the same gentleness and quiet joy that endear Miss Goffstein's earlier books to a growing audience.

    Now this definitive work on Bauhaus is available again in a boxed hardcover edition.Documents in Bauhaus are taken from a wide array of sources--public manifestos, private letters, internal memoranda, jotted-down conversations, minutes of board and faculty meetings, sketches and schemata, excerpts from speeches and books, newspaper and magazine articles, Nazi polemics, official German government documents, court proceedings, budgets, and curricula. The illustrations include architectural plans and realizations, craft and industrial model designs (furniture, ceramics, metalwork, textiles, stained glass, typography, wallpaper), sculpture, paintings, drawings, etchings, woodcuts, posters, programs, advertising brochures, stage settings, and formal portraits of such Bauhaus masters as Walter Gropius, Lyonel Feininger, Wassily Kandinsky, Paul Klee, L�szl� Moholy-Nagy, Josef Albers, Hebert Bayer, Marcel Breuer, and Ludwig Mies van der Rohe.

    In this seminal work, Arnheim, author of The Dynamics of Architectural Form, Film as Art, Toward a Psychology of Art, and Art and Visual Perception, asserts that all thinking (not just thinking related to art) is basically perceptual in nature, and that the ancient dichotomy between seeing and thinking, between perceiving and reasoning, is false and misleading. An indispensable tool for students and for those interested in the arts.

    This collection of his images of youthful, dynamic women offers an informative and arresting reflection of the era's social life. Sentimental, humorous, and often gently satirical, these images portray the Gibson Girl at the theater, in the drawing room, flirting and courting, vacationing at the beach, and engaging in other genteel pursuits. Several of Gibson's "common man" illustrations provide a contrast, along with a section devoted to one of the artist's best-known and most beloved characters, the curmudgeonly Mr. Pipp.This gallery features more than 100 carefully selected images from vintage editions. A rich source of royalty-free art, it offers graphic artists, fashion designers, social historians, and nostalgia lovers a lovely and accurate chronicle of a bygone era.

    It examines the theological summary of their views as contained and expressed in the Second London Confession (1677/89), fleshed out in various published works, and recorded in manuscript church books. It describes in detail a wide variety of ecclesiological practices, demonstrating that these churches and their leaders sought to work out in practice the principles they publicly confessed. The book demonstrates that confessional subscription was taken seriously and practiced carefully within the Particular Baptist churches.

    An extremely diverse selection of musical notations that throughly documents just how expanded such notation had become by the middle of the 'twentieth' century.

    Withdrawn in manner, conventional in dress, and virtually unknown for the first half of his career, the French painter and graphic artist drew upon his own startlingly complex and fantastic inner world to create haunting works that reveal an existence beyond that of everyday vision. He transformed common subjects and models into strange, eerie images and exhibited a predilection for spiders and serpents, skeletons and skulls, gnomes and monsters — all rendered in a distinctive style of controlled, delicate realism.Redon's popularity arose chiefly among young progressive artists, who considered his works as visual correspondence to the literary symbolism of Mallarmé. Modern devotees regard Redon's translation of the subconscious world of dreams into visual reality as a precursor to Surrealism. This modestly priced volume offers a rich compilation of the influential artist's graphic works, with 209 illustrations — 72 lithographs, plus 37 etchings and engravings — depicting unforgettable scenes of fantasy and mystery.

    Frank H. Netter's works, this fully illustrated single book from the 8-volume/13-book reference collection includes: hundreds of world-renowned illustrations by Frank H. Netter, MD; informative text by recognized medical experts; anatomy, physiology, and pathology; and diagnostic and surgical procedures.

    The anti-climatic ending to this story pokes gentle fun at the childhood encounter with butterfly metamorphosis.

     The Tokaido Street was the main highway linking Edo, the administrative capital, with Kyoto, the imperial old capital, and its route can still be traced to this day. It was first laid out some 400 years ago, after Edo became the shogun’s capital. The 53 Stations of the Tokaido series includes 55 prints,depicting the 53 stops along the route, plus the starting and end points, Edo and Kyoto. The series was the creation of the celebrated ukiyo-e artist Utagawa Hiroshige,also known as Ando Hiroshige. Hiroshige’s vibrant portrayals of the varied people, seasonal landscapes and weather conditions found along the route tapped into people’s yearning to travel. The Tag line was “ Views as realistic as actually being there. They were so popular - they made people feel they’s been transported to these scenes. The 53 Stations of the Tokaido series is a timeless masterpiece that still captivates people around the world .

    Twenty, one-page, humorous stories illustrated with drawings by Norman Rockwell.

    The daughter of artists details the lives of her parents and her struggle to find her own identity.

    

    

    A collection of photographs, reminiscences and songs with music and discography.

    

    1786) was the most famous of Chippendale's successors among England's master cabinetmaker-designers. So synonymous with excellence in design and craftsmanship was his name that it has been given to one of the most influential styles of English furniture.In 1788 Hepplewhite's widow, Alice, issued a catalog of his designs, a magnificent folio of engraved plates representing the prevailing furniture styles, particularly the characteristic "taper-leg Hepplewhite" and the various chair and chair-back styles most often associated with the Hepplewhite school. The Cabinet-Maker and Upholsterer's Guide, second only to Chippendale's Director in importance and thoroughness, was enormously influential, spreading quickly throughout the Continent and the colonies and guiding the style and construction of furniture everywhere. A second edition was issued the following year, and an extensively revised third edition in 1794. Today this classic collection is a very rare and highly valued work.This present volume is an unaltered and unabridged republication of the enlarged third edition of The Guide. The articles of furniture depicted are extremely varied: chairs, stools, sofas, sideboards, beds, pedestals, cellarets, desks, bookcases, tables, chests of drawers, dressing glasses, wardrobes, brackets, fire-screens, and many other items. The plates contain elegant drawings which reveal the practical and unpretentious craftsmanship that sets the Hepplewhite style apart, along with many special enlargements of accessories such as chair backs, table-tops, bed-pillars, cornices, trims for busts and moldings, and other details.

    His prolific oeuvre ranges from American coastal marshes and marine landscapes to the lush tropical splendor of South and Central American landscapes, birds, and flowers. An independent thinker as well as a world traveler, Heade developed a singular approach to landscape and still life painting, adapting some elements of the style and practice of the Hudson River School to his own more Darwinian vision. While Heade had only a minor reputation in his own day and was completely forgotten for many decades after his death, he is now rightly regarded as an artist of great significance and originality, and as the only American whose landscapes and still lifes are equally important.In this elegantly illustrated book, the catalogue for the second major retrospective of Heade's work in thirty years, Theodore Stebbins and his collaborators focus on the major themes of Heade's work: seascapes, salt marshes, landscapes, tropical landscapes, the "gems" of Brazil (as hummingbirds are known), passion flowers, orchids, and his late work in Florida. There are also chapters on Heade's critics and the development of Heade's painting technique.

    

    This study cencompasses virtually the entire Homer Winslow watercolour collection of The Brooklyn Museum of Art and The Metropolitan Museum of Art.

    Rawson’s writing style and tone will appeal to the beginning student of drawing; his observations, definitions, and theories will also be edifying to the well-established patron or scholar of art.Numerous reproductions of works from as early as 400BC, serve as case studies and examples of Rawson’s theories on various drawing materials and techniques, including format, the hand as drawing implement, pen and brush, chiaroscuro, calligraphy, studies “after nature,” and the cartoon.

    58 naturalists and writers, including John George, John Steinbeck, Jacques Yves Cousteau, and others.

    It contains an incredibly rich collection of bright, modern design material that is immediately usable — all selected especially for this volume from historical periods that are popular today, and from such favorite styles as op art and Art Nouveau. And everything in this book is copyright free! Just select the designs you need, use them alone or in combination with other elements, apply them intact or altered to your needs, and repeat individual items in form patterns. All the designs are in line, and can be used as they are or colored to achieve new optical effects. Included are designs based on sprigs of flowers, fruits and vegetables, birds, animals, and scenic; ancient motifs; Pennsylvania Dutch designs; folk art of Mexico, South America, and Scandinavia; dozens of paisley patterns; op art stripes, plaids, and geometrics; Art Nouveau florals and medallions; designs suggestive of cross-stitching, antique valentines, snowflakes, and quilt patterns. There is almost no limit to the ways in which this material can be used. It is suitable for textiles, wallpapers, commercial packaging, crewel-work and needlework patterns, ornamental tiles and chinaware, stencil patterns, leather work, belt buckles, and jewelry, book and record jackets. In fact, it will be useful in almost any instance where illustrative material is needed.

    In his introduction, Higgins argued that "architects ... have only just begun to escape from the drawing board mentality," and articulated the need for "creating space, which may or may not be functional, but which is at least relevant to the sensory environment in which we live. The economics of building has led to an aridity in our experience which is not consistent with the richness of our time." Against this, Higgins and Vostell advocate the approach of polymath artists such as Kurt Schwitters, Raoul Hausmann, Erich Buchholz, John Cage and Buckminster Fuller. From their contemporaries and friends, artists such as Carolee Schneemann, Ben Vautier, Richard Hamilton, Douglas Huebler, Lawrence Weiner, Dennis Oppenheim, Jan Dibbets, Jean Tinguely, Robert Filliou, Daniel Spoerri, Geoff and Bici Hendricks, Philip Corner, Joseph Beuys, Ay-o, Claes Oldenburg and others also made contributions, which range from the visionary to the absurd to the political, from the epistolary to the outright manifesto. Joseph Beuys submitted a recommendation to raise the height of the Berlin Wall; Claes Oldenburg's proposals included a colossal replacement for the Washington Obelisk and a monument for war heroes. Vostell and Higgins considered it the artist's responsibility to research and revolutionize structures in space, recognizing that artists could reconceive buildings without the bureaucracy of government and urban planning. The missives and artworks made for this book show how much visionary architecture was intertwined with all facets of culture and critique. Fantastic Architecture is a prime example of a 1960s Fluxus artist's book and of imaginative cross-media thinking.

    

    

    

    As Superior, Newman wanted his community to consist of responsible persons bound together by tact and discretion, obeying an unwritten law of love. He exercised endless patience in his desire to preserve this 'weaponless state' of the Oratory in spite of tensions, dissensions, opposition and even separation.Each paper has been transcribed from the original manuscripts in the Birmingham Oratory Archives, and has been provided with a succinct introduction and notes.The editor has, moreover, furnished a full-length introductory study on Newman's spirituality as a priest against the background of the Anglican Ministry (1824-45), since it is true to say that Newman learned to live as a priest while still an Anglican. Four major areas of his Anglican ministry - the Care of Souls, Preaching, the Eucharistic Ministry and Prayer - have been closely examined both in themselves and in their renewed appearance in Newman's life as a Catholic priest.The editor, Fr Placid Murray, is a Benedictine monk of Glenstal Abbey, Ireland.

    

    From the vibrant Blaue Reiter movement to Surrealism at the end of the 1930s and throughout his teaching years at the Bauhaus, he attempted to capture the organic and harmonic nature of painting by alluding to other artistic mediums such as poetry, literature, and, above all, music. While he collaborated with artists like August Macke and Alexej von Jawlensky, his most famous partnership was with the abstract expressionist, Wassily Kandinsky.

    

    Russell.

    

    

    Abrams, New York in Association with the Amon Carter Museum of Western Art

    

    : ill. (some col.) ; 35 cm. Notes; Texts by Y. Brynhammer, L. Buffet-Challié and others. Includes bibliographical references (p. 312) and index. Subjects; Furniture - History. Furniture. History. Genres; Bibliography. Illustrated.