Easy and fun, the book provides hours of art-full entertainment.

    The New Yorker published its first Addams cartoon in 1932, and his cast of genial ghouls, friendly freaks, and the famous family brought a touch of gleeful creepiness to its pages for more than five decades. This classic collection of more than 200 cartoons, from the master of the macabre at his most diabolical, contains the best cartoons from his first six books and is sure to delight both fans and cartoon connoisseurs.

    Back in print for the first time in nearly thirty years, here is Yoko Ono's whimsical, delightful, subversive, startling book of instructions for art and for life."A dream you dream alone may be a dream, but a dream two people dream together is a reality.""Burn this book after you've read it." -- Yoko Ono"This is the greatest book I've ever burned." -- John Lennon

    The phantasmagoric imagery of Hieronymus Bosch (d. 1516) has been the source of widespread interest ever since the painter's lifetime, and is still so enigmatic that scholars have theorized that it contains hidden astrological, alchemical, or even heretical meanings. Yet none of these theories has ever seemed to provide an adequate understanding of Bosch's work. Moreover, the considerable professional success that the artist enjoyed in his native Hertogenbosch, not to mention his membership in a traditional religious organization, suggests that he pursued not a sinister secret agenda but simply his personal artistic vision.This intriguing new monograph by noted art historian Larry Silver interprets that artistic vision with admirable lucidity: it explains how Bosch's understanding of human sin, morality, and punishment, which was conceived in an era of powerful apocalyptic expectation, shaped his dramatic visualizations of hell and of the temptations of even the most steadfast saints. Silver's account of Bosch's artistic development is one of the first to benefit from recent technical investigations of the paintings, as well as from the reexamination of the artistGÇÖs drawings in relation to his paintings. Hieronymus Bosch is also unique in how securely it places its subject's work in the broader history of painting in the Low Countries: Silver identifies sources of BoschGÇÖs iconography in a wide range of fifteenth-century panel paintings, manuscript illuminations, and prints, and describes how, despite their own religiousness, Bosch's pictures helped inspire the secular landscape and genre scenes of later Netherlandish painters. Augmented by 310 illustrations, most in color, including many dramatic close-ups of BoschGÇÖs intricately imagined nightmare scenes, this is the definitive book on a perennially fascinating artist.

    His voluminous notebooks, the great storehouse of his theories and discoveries, are presented here in 1566 extracts that reveal the full range of Leonardo's versatile interest: all the important writings on painting, sculpture, architecture, anatomy, astronomy, geography, topography, and other fields are included, in both Italian and English, with 186 plates of manuscript pages and many other drawings reproduced in facsimile size.The first volume, which contains all of Leonardo's writings on aspects of painting, includes discussions of such basic scientific areas as the structure of the eye and vision, perspective, the science of light and shade, the perspective of disappearance, theory of color, perspective of color, proportions and movements of the human figure, botany for painters, and the elements of landscape painting. A section on the practice of painting includes moral precepts for painters and writings on composition, materials, and the philosophy of art. The second volume contains writings on sculpture, architecture (plans for towns, streets, and canals, churches, palaces, castles, and villas, theoretical writings on arches, domes, fissures, etc.), zoology, physiology (including his amazingly accurate theories of blood circulation), medicine, astronomy, geography (including has famous writings and drawings on the movement of water), topography (observations in Italy, France, and other areas), naval warfare, swimming, theory of flying machines, mining, music, and other topics.A selection of philosophical maxims, morals, polemics, fables, jests, studies in the lives and habits of animals, tales, and prophecies display Leonardo's abilities as a writer and scholar. The second volume also contains some letters, personal records, inventories, and accounts, and concludes with Leonardo's will. The drawings include sketches and studies for some of Leonardo's greatest works of art — The Last Supper, the lost Battle of Anghiari, The Virgin of the Rocks, and the destroyed Sforza monument.

    The culmination of a lifetime of aesthetic investigation, Aesthetic Theory is Theodor W. Adorno's magnum opus, the clarifying lens through which the whole of his work is best viewed, providing a framework within which his other major writings cohere.

    This introductory photography text teaches students how to use the medium confidently and effectively by emphasizing both technique and visual awareness.

    A study of the artist and illustrator, Norman Rockwell, which reproduces 600 of his best illustrations, providing a panorama of nearly 60 years of American social history.

    This new edition includes 52 tritone photos printed in a large format. The text from the original edition--by John Szarjowski, former director of photography at the Museum of Modern Art--is reprinted here, along with a new Introduction by Susan Sontag.

    This comprehensive collection of drawings by Gustave Doré, France's most celebrated graphic artist of the period, presents a panoramic portrait of that engrossing city — from fashionable ladies riding in a sunlit park to ragged wretches in a shadowy side street. Here are amazingly perceptive sketches of workaday London, busy market places, the Christy Minstrels, a waterman's family, thieves gambling, the Devils' Acre in Westminster, flower girls, waifs and strays, a wedding at the Abbey, provincials in search of lodgings, a garden party, prisoners in the Newgate exercise yard, stalls at Covent Garden Opera House, and many other scenes that capture the London of a bygone era.

    His voluminous notebooks, the great storehouse of his theories and discoveries, are presented here in 1566 extracts that reveal the full range of Leonardo's versatile interest: all the important writings on painting, sculpture, architecture, anatomy, astronomy, geography, topography, and other fields are included, in both Italian and English, with 186 plates of manuscript pages and many other drawings reproduced in facsimile size.The first volume, which contains all of Leonardo's writings on aspects of painting, includes discussions of such basic scientific areas as the structure of the eye and vision, perspective, the science of light and shade, the perspective of disappearance, theory of color, perspective of color, proportions and movements of the human figure, botany for painters, and the elements of landscape painting. A section on the practice of painting includes moral precepts for painters and writings on composition, materials, and the philosophy of art. The second volume contains writings on sculpture, architecture (plans for towns, streets, and canals, churches, palaces, castles, and villas, theoretical writings on arches, domes, fissures, etc.), zoology, physiology (including his amazingly accurate theories of blood circulation), medicine, astronomy, geography (including has famous writings and drawings on the movement of water), topography (observations in Italy, France, and other areas), naval warfare, swimming, theory of flying machines, mining, music, and other topics.A selection of philosophical maxims, morals, polemics, fables, jests, studies in the lives and habits of animals, tales, and prophecies display Leonardo's abilities as a writer and scholar. The second volume also contains some letters, personal records, inventories, and accounts, and concludes with Leonardo's will. The drawings include sketches and studies for some of Leonardo's greatest works of art — The Last Supper, the lost Battle of Anghiari, The Virgin of the Rocks, and the destroyed Sforza monument.

    He takes seriously Hegel's claim that art has exhausted its spiritual vocation, that it is no longer through art that Spirit principally comes to knowledge of itself. He argues, however, that Hegel by no means proclaimed the "death of art" (as many still imagine) but proclaimed rather the indefinite continuation of art in what Hegel called a "self-annulling" mode.With astonishing breadth and originality, the author probes the meaning, aesthetics, and historical consequences of that self-annulment. In essence, he argues that the birth of modern aesthetics is the result of a series of schisms—between artist and spectator, genius and taste, and form and matter, for example—that are manifestations of the deeper, self-negating yet self-perpetuating movement of irony.Through this concept of self-annulment, the author offers an imaginative reinterpretation of the history of aesthetic theory from Kant to Heidegger, and he opens up original perspectives on such phenomena as the rise of the modern museum, the link between art and terror, the natural affinity between "good taste" and its perversion, and kitsch as the inevitable destiny of art in the modern era. The final chapter offers a dazzling interpretation of Dürer's Melancholia in the terms that the book has articulated as its own.The Man Without Content will naturally interest those who already prize Agamben's work, but it will also make his name relevant to a whole new audience—those involved with art, art history, the history of aesthetics, and popular culture.

    First, a presentation on the biblical and patristic vision of beauty, applied then to contemporary movements in art. A 'theology of the icon' from a personal point of view, as well as in the context of the Church. Finally, the author includes a section and commentaries on 10 icons, from Riblev's Holy Trinity to the Novgorodian Angel.

    Because Billy feels like a Blah, he creates an army of Blahs with which to play.

    He is widely acknowledged to be one of the leading marine artists of his generation and his paintings of square-riggers, sea battles and naval operations, as well as deck and port scenes, truly evoke the era and workings of Nelson's Navy and those of its enemies during the 'Age of Sail'. "The Marine Art of Geoff Hunt," written by the artist himself, presents over 100 paintings and sketches for the first time in a beautifully produced single volume. Geoff Hunt's prolific career, his painting techniques and artistic influences and the trademark meticulous primary research, which contributes to each of his canvases, are examined in a lengthy introduction. This is followed by a series of five copiously illustrated 'Case Studies' where the artist explains the initial inspirations, the exploration of source material and the often lengthy artistic progression that leads to the creation of a finished painting. The major part of the volume is dedicated to a plate section focusing on four distinct themes exhibited in the artist's output: Painting Nelson's Navy, The American Revolution, Illustrating the Naval Writers, and The Modern Marine Scene.

    Why long hair? Why the turn to drugs and the inner trip? But the changes do not only affect the young, they are part of all of us. Why the new, intense concern with fashion? Why the rapid expansion of the old limits of what was "proper"? Why that "gap" that divides the generations?"'Daddy, are we live or on tape?'"The book takes the form of a notebook of images and commentaries juxtaposed in dramatic contrasts and continuities. Its rhythms are more concentrated and more violent than those experienced in conventional work. They belong to the world of icon, graffiti, cartoon—our world.

    It's a poem, I guess.

    One of the first, and still one of the most beloved, photographic journals is the big and exuberant Diary of a Century. Juxtaposing family snapshots taken by Lartigue (many of them during his youth, but some from later in life) with texts from his daily journals, the boldly designed pages give new life to the belle époque of French history. Only seven years old when he started to photograph, Lartigue used his camera to record the happy times - the travels, hobbies, and pranks - of his wealthy, beautiful, and privileged family. Filled with the wit, openness, curiosity, and spontaneity of childhood, these dynamic images of early airplanes and fashionable women, pets and pools were literally taken out of the family albums and moved into the museum in the 1960s; exchanging their private life for a public one, they paved the way for younger photographers like Bea Nettles, Esther Parada, Deborah Willis, and Lorie Novak to focus on family imagery in their art.

    "The Magic Box" was intended by Pintauro to be the Autumnal book of the collection, and speaks to themes of everyday magic, spirituality and relationships with mixed media art by Norman Norman Laliberté.

    His sister's deformity, a grocer's moonlight indiscretion, the passionate illusions of the women who love him - all are used as fodder for his art. It is only when Hurtle meets an egocentric adolescent whom he sees as his spiritual child does he experience a deeper, more treacherous emotion in this tour de force of sexual and psychological menace that sheds brutally honest light on the creative experience.

    

    Caillois examines patterns that are revealed by polishing sections of minerals such as agate, jasper, and onyx. He considers the impact these configurations have had upon the human imagination throughout history and he reviews man's attempt to categorize and explain them.Marguerite Yourcenar [in her introduction] points out that "there had taken place in [his] intellect the equivalent of the Copernican revolution: man was no longer the center of the universe, except in the sense that the center is everywhere; man, like all the rest, was a cog in the whole system of turning wheels. Quite early on, having entered 'the forbidden laboratories,' Caillois applied himself to the study of diagonals which link the species, of the recurrent phenomena that act, so to speak as a matrix of forms." Caillois found the presence throughout the universe of a sensibility and a consciousness analogous to our own. One way which this consciousness expresses itself is in a "natural fantasy" that is evident in the pictures found in stones. Man's own aesthetic may then be no more than one of many manifestations of an all-pervasive aesthetic that reveals itself in the natural world.Caillois also studies the artist's collaboration with nature in the modification of these picture stones. By cutting and framing a picture found or by elaborating the pattern in the stone, the artist admits that nature, with or without an artist, can produce shapes and colors that are works of art. Caillois reminds us that "nature not only provided a stock of models but also directly created works worthy of admiration--works capable of competing on equal terms with human achievements without having to pass through the alchemy of human art."Where, then, do these speculations lead us? By turning on its head, as it were, the quintessential modern dilemma--whether expressed as a dualism of mind and body, as an antithesis of matter and soul, or as the separation of subject and object--Caillois carries the reader beyond the usual arguments about what is and what is not human.The Writing of Stones will interest all who wish to understand what can be learned about the world and its slow and patient formation. Archeologists, gemologists, sculptors, students of art, aesthetics, history, literature, and philosophy will confront questions that they have felt but have not possessed, so far, a way to study in new ways. Here Caillois offers many fresh approaches that we have yet to resolve.

    It tells the majestic but heartbreaking tale of a genius - a novelist, playwright and painter, a man who wore "purple waistcoats and strange ties cut from curtains or scarves", and who died in 1968 of "premature senility". Maeve Gilmore is his widow.Their life together began gloriously. The early years of the two young artists' marriage were idyllic. Wherever they lived, the magnificent Merevyn Peake would write and draw and paint. Then struck a series of unpredictable blows. And then the final one. And Maeve Gilmore is left, indomitable, with the memory of a miraculously Modern Man - whose strength, for her, is eternal.A work of art - MAURICE COLLISWithout doubt one of the most moving books I have ever read. I am sure that even those not familiar with Peake's work will find this book engrossing - MICHAEL MOORCOCK

    

    

    

    

    The series has explored all the major aspects of photography: the technology of equipment; the techniques of taking pictures; developing film and making prints; photographic history; and the esthetics of photography as an art form.

    This book consists of one hundred black and white photographs including his work from the legendary photography magazine Provoke. However, forty years after the publication of the original book, we have not as yet had the opportunity to examine (and enjoy) his works enough with the exception of a few photographs that has been repeatedly introduced on various occasions (this is particularly true in Europe and the U.S. where the history of contemporary Japanese photography remains less appreciated). Through radical self-critique, Nakahira would repudiate much of this early body of work in his 1973 essay, “Why an Illustrated Botanical Dictionary?” and considered it as something that must be overcome. Yet, for us to reconsider the meaning of the author’s rejection of his inaugural work, it is extremely valuable to know what the works themselves show. Has our history of photography finally caught up with Nakahira? The 2010 republication of For a Language to Come with a new cover design is an attempt to engage Nakahira’s photographic point of departure again in the present, to discover this work as one that is more vibrantly resonant today.For a deeper appreciation of his critical thought and practice, the supplement to the republication presents three essays written by Nakahira in the early 70s.Contains:-An introduction by Akihito Yasumi, “Trajectory of Nakahira Takuma: Situating the Republication of For a Language to Come.”-Three Essays by Takuma Nakahira:“Has Photography Been Able to Provoke Language?”“Rebellion Against the Landscape: Fire at the Limits of my Perpetual Gazing . . .”“Look at the City or, the Look from the City” (All translations by Franz K. Prichard)

    In her late teens she escaped from her respectable middle-class home to enter the bohemian world of the Slade School of Art and the artistic and intellectual circles centred on Bloomsbury and Garsington. At the age of twenty-two she met Lytton Strachey. He was a homosexual and an intellectual; she detested her own femininity and had been haphazardly educated. Nevertheless, they formed a deeply affectionate relationship which survived their sexual difficulties, separations, and infidelities until Strachey's death. Three months later, unable to continue life alone, Carrington shot herself.Despite her suicide, Carrington was not made for melancholy or tragedy. She was warm-hearted and fiecely loyal to her friends; she fizzed with vitality. Her bubbling imaginatin could make an adventure out of gooseberry-picking or a drama out of the behaviour of her cats. Her letters and diaries, punctuated by enchanting drawings, testify to the childlike exuberence of spirit that retains its power to captivate. Michael Holroyd placed her among the great letter-writers, not because of the famous people she mentions but because of her evocative, unselfconscious literary power: 'Love, loneliness, beauty, elation and harrowing despair are what she wrote about with such freshness and immediacy...It is because she carried her instincts so miraculously intact from childhood into adult life that Carrington is unique'Superbly edited by David Garnett, this book constitutes one of the most candid, entertaining, and moving autobiographies ever written.

    Concise analyses of scenes and characters accompany reprints of 170 of Wyeth's drawings and paintings of American people and their surroundings.

    First published in France in 1970 and now available in English for the first time, Highs and Lows will appeal to cartoon connoisseurs and general audiences alike.

    That's why I tried to go into different forms of activity -- purely optical things and kineticism". When Gabrielle Buffet discovered Duchamp's Rotoreliefs, she emphasized this point further: "Duchamp's aim was to primarily to modify all plastic matter, to reject once and for all from his working arsenal all the traditional tools and equipment (tubes of paint, canvas, and brushes); to obtain the effect by mechanical means instead of through the expression of personal dynamism inherent in a particular individuality; to substitute technical value for expressive value".

    This work of the brilliant British music critic Charles Osborne covers Verdi's complete operatic oeuvre--including the missing choral works, songs, a string quartet, and the Messa da Requiem. The operas of Shakespeare's Falstaff and Othello show how the legendary composer added both depth and dignity to the Italian operatic repertoire.In this volume, every Verdi opera is explored from four points of view: Verdi's life at the time each was written; the story, and the way it links with the music; the libretto and librettist, and Verdi's relations with his publishers; and the music itself, analyzed with examples from the score.

    

    You’d never guess it was from 1970, now would you?

    In the early sixties, at the birth of what we now recognise as the pop revolution, Melly began work as a broadsheet journalist, commenting upon this new cultural phenomenon. Revolt into Style (1970) is his first-hand account of those turbulent and exciting years when all things creative - whether music, fashion, film, art or literature - were changed utterly.Central to the book are The Beatles - the epitome of the swinging sixties - who charted the decade's changes and about whose significance the Liverpudlian Melly had a special feel and insight. Alongside the Fab Four is a large cast of movers and shakers, of wannabes and taste-makers, all dissected by Melly's surgical mind.

    Offering imaginative insight into the area where mathematics and the arts meet, this book may be used as a practical tool by the architect, designer or scientist who has to deal with such problems as defining space, distributing patterns, packing and stacking, and communication links.

    

    

    The occupation and war have not diverted him from his path, which is at one with the path of revolution.— Benjamin PéretPublished posthumously in 1970 as Dreams, Štyrský’s dream journal spanning the interwar years comprises prose, sketches, collages, and paintings. The present volume includes the complete series of texts and full-color and halftone images based on Štyrský's layout for its publication in the 1940s, his sole volume of poetry (also published posthumously), as well as a selection of his most important essays, articles, manifestos, and assorted other texts. This edition presents in English for the first time the broad range of Štyrský's contribution to the interwar avant-garde and Surrealism.

    Excellent copy, bright, unmarked in original green boards and pictorial dustjacket.

    The book includes his art from 1913 to the present. 30 full-color illustrations and 125 black-and-white half-tones.

    and the Southern Christian Leadership Conference, and carried out under the leadership of Ralph Abernathy in the wake of Dr King’s assassination. Three thousand people set up camp for six weeks in a makeshift town that was dubbed Resurrection City, and participated in daily protests. Freedman lived in the encampment for its entire six weeks, photographing the residents, their daily lives, their protests and their eventual eviction.This new 50th-anniversary edition of the book reprints most of the pictures from the original publication, with improved printing and a more vivid design. Alongside Freedman’s hard-hitting original text, two introductory essays are included, by John Edwin Mason, historian of African history and the history of photography at the University of Virginia, and by Aaron Bryant, Curator of Photography at the National Museum of African American History and Culture.

    This helpful guide offers guidelines for correctly placing features in relation to one other, with emphasis on the structural differences between male and female faces. It also explores important techniques such as how to accentuate features and create realistic shadows. This essential resource is a must for any artistÆs collection!

    This is the only known book to contain reproductions of all of Van Goghs work paintings and drawings.