Its graphic depictions of sex, violence, and drug abuse in the youth culture of Oklahoma were acclaimed by critics for stripping bare the myth that Middle America had been immune to the social convulsions that rocked America in the 1960s. The raw, haunting images taken in 1963, 1968, and 1971 document a youth culture progressively overwhelmed by self-destruction -- and are as moving and disturbing today as when they first appeared. Originally published in a limited paperback version and republished in 1983 as a limited hardcover edition commissioned by the author, rare-book dealers sell copies of this book for more than a thousand dollars. Now in both hardcover and paperback editions from Grove Press, this seminal work of photographic art and social history is once again available to the general public.

    In her revolutionary essay, Nochlin refused to answer the question of why there had been no “great women artists” on its own corrupted terms, and instead, she dismantled the very concept of greatness, unraveling the basic assumptions that created the male-centric genius in art.With unparalleled insight and wit, Nochlin questioned the acceptance of a white male viewpoint in art history. And future freedom, as she saw it, requires women to leap into the unknown and risk demolishing the art world’s institutions in order to rebuild them anew.In this stand-alone anniversary edition, Nochlin’s essay is published alongside its reappraisal, “Thirty Years After.” Written in an era of thriving feminist theory, as well as queer theory, race, and postcolonial studies, “Thirty Years After” is a striking reflection on the emergence of a whole new canon. With reference to Joan Mitchell, Louise Bourgeois, Cindy Sherman, and many more, Nochlin diagnoses the state of women and art with unmatched precision and verve. “Why Have There Been No Great Women Artists?” has become a slogan and rallying cry that resonates across culture and society. In the 2020s, Nochlin’s message could not be more urgent: as she put it in 2015, “There is still a long way to go.”

    It is considered a pioneering essay for both feminist art history and feminist art theory.In this essay, Nochlin explores the institutional – as opposed to the individual – obstacles that have prevented women in the West from succeeding in the arts. She divides her argument into several sections, the first of which takes on the assumptions implicit in the essay's title, followed by "The Question of the Nude," "The Lady's Accomplishment," "Successes," and "Rosa Bonheur." In her introduction, she acknowledges "the recent upsurge of feminist activity" in America as a condition for her interrogation of the ideological foundations of art history, while also invoking John Stuart Mill's suggestion that "we tend to accept whatever is as natural". In her conclusion, she states: "I have tried to deal with one of the perennial questions used to challenge women's demand for true, rather than token, equality by examining the whole erroneous intellectual substructure upon which the question "Why have there been no great women artists?" is based; by questioning the validity of the formulation of so-called problems in general and the "problem" of women specifically; and then, by probing some of the limitations of the discipline of art history itself."

    This small volume, first published in 1971, became one of his signature works. Taken between 1920 and 1970, these photographs capture people reading in many parts of the world. Readers in every conceivable place—on rooftops, in public parks, on crowded streets, waiting in the wings of the school play—are caught in a deeply personal, yet universal, moment. Kertész's images celebrate the absorptive power and pleasure of this solitary activity and speak to readers everywhere. Fans of photography and literature alike will welcome this reissue of this classic work that has long been out of print.

    The original French edition, now a rare collector's item, was published in 1889 and was probably used as a resource by Renoir, Braque, Degas, Bazille, and many others. The English-language edition, first published 35 years ago, brings together the nineteenth century's greatest teacher of artistic anatomy, Paul Richer, and the twentieth century's most renowned teacher of anatomy and figure drawing, Robert Beverly Hale, who translated and edited the book for the modern reader. Now Watson-Guptill is proud to reissue this dynamic classic with an anniversary sticker, sure to inspire drawing students well into our century.

    To draw the figure, the artist must "have an idea of what the figure to be drawn is doing" — he must "sense the nature and condition of the action, or inaction." In this book, Mr. Bridgman, who for nearly 50 years lectured and taught at the Art Students League of New York, explains in non-technical terms and illustrations in hundreds of finely rendered anatomical drawings how best to find the vitalizing forces in human forms and how best to realize them in drawing.Mr. Bridgman begins by examining movement. After abstracting the main masses of the body — head, chest, and hips — into their rough geometrical equivalents, he gives complete instructions for building a simple model which mounts these masses on wire. By manipulating this scale model, the student may observe how these masses move in space and into what relationships such movement brings them.Once the student understands how the human form moves, the author tackles the actual problems of drawing the human figure in motion. He first covers simple drawing and building of the figure, then balance, rhythm, turning or twisting, wedging, passing and locking, and the more complex relationship of the masses — distribution, light and shade, mouldings (concave and convex), proportion and how to measure it, and movable masses. From here instruction turns to specific areas of the anatomy; the head and features, including the neck; the torso, front and back views; the abdominal arch; the shoulder girdle; the upper limbs, hands, and fingers; and the lower limbs, thigh and leg, knee, and finally foot. Every point of instruction and principle is illustrated in one of nearly 500 of Mr. Bridgman's own "life" drawings.There is no student nor serious artist, either amateur or professional, who cannot profit greatly from Bridgman's instruction. Like his famous anatomy course at the Art Students League, it is likely to vitalize your work with the human form.

    Nine feet square by twelve feet high, it contains over 2000 miniature objects from around the world. This volume contains photographs of the castle and its garden.

    Escher / J.L. Locher --Escher : science and fiction / C.H.A. Broos --Approaches to infinity / M.C. Escher --Structural sensation / G.W. Locher --The mathematical implications of Escher's prints / H.S.M. Coxeter.

    “It will...meet a deeply felt need to draw the human figure from a vantage point of understanding and visual acuity.”—Arts & Activities.

    Conceived as a handbook and teaching aid for artists, instructors, and students, this timeless book presents Albers’s unique ideas of color experimentation in a way that is valuable to specialists as well as to a larger audience.Originally published by Yale University Press in 1963 as a limited silkscreen edition with 150 color plates, Interaction of Color first appeared in paperback in 1971, featuring ten representative color studies chosen by Albers. The paperback has remained in print ever since and is one of the most influential resources on color for countless readers.This new paperback edition presents a significantly expanded selection of more than thirty color studies alongside Albers’s original unabridged text, demonstrating such principles as color relativity, intensity, and temperature; vibrating and vanishing boundaries; and the illusions of transparency and reversed grounds. Now available in a larger format and with enhanced production values, this expanded edition celebrates the unique authority of Albers’s contribution to color theory and brings the artist’s iconic study to an eager new generation of readers.

    Features 80% exclusive, hitherto-unpublished archive photos and footage sequences of all the key players in situ, together with lyric sheets, Yoko's art installations, and exclusive new insights and personal testimonies from Yoko and over forty of the musicians, engineers, staff, celebrities, artists and photographers who were there-including Julian Lennon, Klaus Voormann, Alan White, Jim Keltner, David Bailey, Dick Cavett and Sir Michael Parkinson. "A lot has been written about the creation of the song, the album and the film of Imagine, mainly by people who weren't there, so I'm very pleased and grateful that now, for the first time, so many of the participants have kindly given their time to 'gimme some truth' in their own words and pictures" -Yoko Ono Lennon, 2018 In 1971, John Lennon & Yoko Ono conceived and recorded the critically acclaimed album Imagine at their Georgian country home, Tittenhurst Park, in Berkshire, England, in the state-of-the-art studio they built in the grounds, and at the Record Plant in New York. The lyrics of the title track were inspired by Yoko Ono's "event scores" in her 1964 book Grapefruit, and she was officially co-credited as writer in June 2017. Imagine John Yoko tells the story of John & Yoko's life, work and relationship during this intensely creative period. It transports readers to home and working environments showcasing Yoko's closely guarded archive of photos and artifacts, using artfully compiled narrative film stills, and featuring digitally rendered maps, floorplans and panoramas that recreate the interiors in evocative detail. John & Yoko introduce each chapter and song; Yoko also provides invaluable additional commentary and a preface. All the minutiae is examined: the locations, the key players, the music and lyrics, the production techniques and the artworks-including the creative process behind the double exposure polaroids used on the album cover. With a message as universal and pertinent today as it was when the album was created, this landmark publication is a fitting tribute to John & Yoko and their place in cultural history.

    In 1971 she surprised her readers with this important book, for in One Time, One Place many of them discerned for the first time that this revered writer was also a gifted photographer. Throughout her writing career, Welty's camera was a close companion. The one hundred pictures included here are her selections from many she took during the Great Depression as she traveled in her home state of Mississippi. These pictures are poignant images of human endurance. For her, looking back, they showed a record of a time and a place, an impoverished world that against great odds sustained a sense of community. Both black and white, the men, women, and children she photographed, unaware that they are coping with dire conditions, press onward with their lives. "The Depression, in fact," Welty says in her introduction, "was not a noticeable phenomenon in the poorest state in the Union." In the foreword to this Silver Anniversary edition of One Time, One Place, William Maxwell, Eudora Welty's dear friend and esteemed colleague in literature, offers an appreciation of this photographer's special genius and a loving glimpse into her artistic world.

    A man is distressed. A thief scampers over rooftops. A child is in danger. A harangued salesclerk weeps. A dog save the day.The intriguing story of The Sopping Thursday is unlike any other Edward Gorey book, both because of its unique gray-and-black illustrations and because it has a happy ending (if one is to dismiss any worry about the child featured in the last frame). In just thirty images and thirty short lines of text, Gorey manages to create a complex tableau of characters and a plot worthy of film noir.

    First he covers the basic proportions of the head and the proper placement of facial features. Then he shows you how to render light and shadow, as well as exploring simple techniques for capturing an array of facial expressions and depicting differences in type and character. This comprehensive guide is a welcome addition to any artistÆs drawing reference library!

    Many in Japan regarded the suicide as a sensational act. However, the publication of Mishima's final cycle of novels, which had been conceived eight years prior to his death, revealed that his death was carefully considered--a gesture of historical import in perfect accord with the morbid and esoteric aesthetic that pervades his writing. In 1961 Mishima asked Eikoh Hosoe to photograph him, giving him full artistic direction in making these surreal and alluring photographs. The props that surround the writer and the baroque interior of his home are antithetical to the pure Japanese sensibility of understatement and reveal Mishima's dark, theatrical imagination.

    Auguste Rodin spoke candidly to his protégé, Paul Gsell, who recorded the master's thoughts not only about the technical secrets of his craft, but also about its aesthetic and philosophical underpinnings.Here is the real Rodin—relaxed, intimate, open, and charming—offering a wealth of observations on the relationship of sculpture to poetry, painting, theater, and music. He also makes perceptive comments on Rembrandt, Michelangelo, Raphael, and other great artists, and he shares revealing anecdotes about Hugo, Balzac, and others who posed for him. Seventy-six superb illustrations of the sculptor's works complement the text, including St John the Baptist Preaching, The Burghers of Calais, The Thinker, and many others, along with a selection of exuberant drawings and prints.

    Diadems, armlets, earrings, pendants, rings, bracelets, breastplates, amulets ...wrought in the rare and precious gems and metals that have stirred man's greed and wonder for centuries...Nubian gold, vivid lapis lazuli, bright-colored camelian. Cyril Aldred, one of the world's foremost Egyptologists, tells their enchanting and dramatic story...the myths and legends, the discoveries and thefts, that have marked each treasure's history. He explains the fascinating uses and significance of Egyptian jewels and describes the amazing techniques that created them.

    

    Among the best of Sorrentino's novels, Imaginative Qualities is also, quite simply, the best American novel ever written about writers and artists.

    The outstanding success of “The Beatles Illustrated Lyrics” has made the publication of a successor imperative. “Beatles 2” contains the most recent lyrics—“The Long and Winding Road,” “Let It Be,” etc. in addition to earlier lyrics which could not be included in the first book. This selection will give a complete picture to date of the Beatles’ work.Alan Aldridge, a brilliant artist and designer, is again involved in the production of the book. Internationally famous artists such as John Alcorn, Michael English, Etienne Delessert, Allen Jones, Eduardo Paolozzi, Peter Vos, Tadanori Yokoo, et al., have been commissioned to contribute original full-color art illustrating the lyrics. The psychedelic design and format reflects the world of the Beatles and that of the whole generation and pop culture they have influenced.

    One of the country's foremost portrait painters reviews materials and tools and offers step-by-step demonstrations that include portraits of author Tom Wolfe and actress Liv Ullman.

    The Wonderful Shirt (Russia)*2. The Frog (Ukraine)3. Jack and the Beanstalk (England)4. Knurremurre (Zeeland)5. Bottle Hill (Ireland)6. The Nine Doves (Greece)7. The Goblins at the Bath House (Esthonia)8. Johnny and the Witch-Maidens (Bohemia)9. Sven and Lilli (Denmark)10. Aniello (Sicily)11. Aladdin (Arabia)12. Essen and the Witch (Denmark)13. Sneezy Snatcher and Sammy Small (England)14. Mons Tro (Denmark)*15. Rake Up! (Denmark)16. King Johnny (Slavonia)17. The Enchanted Prince (Hungary)18. The Adventures of Billy MacDaniel (Ireland)19. Little Hiram (India)*20. Prince Loaf (Rumania)21. Hans and his Master (Hungary)22. Golden Hair (Corsica)23. Constantes and the Dragon (Greece)24. Tatterhood (Norway)25. The Princess’s Slippers (Archangel)26. Jack and the Wizard (Wales)27. The Two Wizards (Africa)28. The Three Mermaids (Italy)29. The Girl Who Picked Strawberries (Germany)30. The Magic Lake (Ireland)31. Old Verlooka (Russia)*32. Stan Bolovan (Rumania)

    He provides a wealth of information for rendering the human form in motion, exploring ways of capturing movement and establishing lines of rhythm with helpful information on proportion and suggesting the ôsweepö of the pose. The author explains a number of drawing methods, including point techniques and brush-and-spatter illusion. This comprehensive guide is a welcome addition to any artistÆs drawing reference library!

    Featuring charming illustrations and hand-drawn maps. Also available are Back Roads of Washington and Back Roads of Oregon.

    Originally published in the 1960s, this standard illustrated work covers the gods and heroes of the Classical world, with special emphasis on the influence Classical mythology has had on literature, art and music in Western civilization.

    Foreword by Wayne Higby "A moving book based on the knowledge of facts together with their overtones and resonances. . . . Its method is valid for an appreciation of art in all its branches."--Stella Kramrisch "With the unassuming title of Ceramics, Rawson has presented a very clear, orderly and thought-provoking guide for discussion. He provides words for those nebulous, or nonexistent, thoughts that students avoid talking about in critiques, and our professional associates talk all around, using whatever art language is being worn out at the time--'Is your work postmodernist yet?' Now we have no excuse to complain that there is no vocabulary. . . . "There is enough material in this little 223 page book to last a long time as a stimulus for thought and work in clay. It would be an excellent gift to your local newspaper art critic and a great reference book for teachers. . . . "Rawson defines a clear framework for discussing both the visual and psychological elements of the pottery tradition. The book presents a way to analyze and understand which particular elements touch or SPEAK to us across cultures and history. And there are enough pictures and diagrams to help out the less verbal."--National Council on Education for the Ceramic Arts Newsletter 1984 240 pages 5 1/2 x 8 1/2 203 illus. ISBN 978-0-8122-1156-6 Paper $27.50t �18.00 World Rights Arts and Crafts Short copy: "It is rare to find a book on art that presents complex aesthetic principles in clear readable form. Ceramics, by Philip Rawson, is such a book. I discovered it ten years ago, and today my well-worn copy has scarcely a page on which some statement is not underlined and starred."--Wayne Higby, from the Foreword

    His influence on modern art, both during his lifetime and today, has never stopped growing; in the eyes of the world, he is the French painter par excellence.Henri Matisse is all the more cherished because his work celebrates the positive aspects of life, as evidenced by the titles of many of his major paintings: Luxe, Calme et Volupté, La Joie de Vivre, La Danse, Musique, to mention but a few. His explosions and juxtapositions of color and pattern inspire pure delight in the beholder, and his mastery of line, volume, and form are perhaps unequaled in the art of our time. The vitality, energy, and life-enhancing qualities that radiate from his art represent distillation of all that is affirmative in the human condition and are given immortality through that rare and indefinable quality known as genius.The art of Matisse describes a trajectory leading from realism to abstraction, from darkness to light, from the cold of the north to the heat of the south, a route marked off by such revolutionary innovations as the burst of color found in Fauvism or the invention of his cut-outs. Matisse was still creating at a time in his life when many artists are content to rest on their laurels.Since its original publication in 1984, this book by Pierre Schneider stands alone as the bible on the art of Matisse. The author spent fourteen years amassing a prodigious amount of information on the artist, and includes his own personal and original views on the work. Including over nine hundred illustrations, this is the most substantial reference of the works of Matisse ever published.The reader will discover Matisse watercolorist, draftsman, ceramist, and the architect-- and unquestionably one of the greatest artists of the twentieth century.

    Redrawn from the original Smithsonian Rickett plates by Paul Kennedy, well-known illustrator of children's books, each of the 46 renderings is ready to be colored as realistically — like the cover illustrations — or as imaginatively as you may choose. Includes 46 illustrations: lady's slipper, black-eyed susan, bird's foot violet, cardinal flower, pitcher plant, trout lily, and others. Botanical identifications, common names, and information on habitats are also included.

    Distinguishing between "image" and "luster" colors, he lays the foundation, based on his spiritual scientific research, for a practical technique of working with color that leads to a new direction in artistic creativity.His many penetrating remarks on some of the great painters of the past are supplemented by a deep concern to see a cultural, spiritual renewal emerge in the present time. "If you realize," he states, "that art always has a relation to the spirit, you will understand that both in creating and appreciating it, art is something through which one enters the spiritual world."This volume is the most comprehensive compilation of Rudolf Steiner's insights into the nature of color, painting, and artistic creation. It is an invaluable source of reference and study not only for artists and therapists, but also for anyone interested in gaining an appreciation of art as a revelation of spiritual realities.

    

    In these interviews, and through her drawings and prints, Pitseolak makes what Inuit call the old way come alive, reflecting on life on the land, its pleasure and trials. Her story later became an NFB animated documentary. This second edition, appearing more than 30 years after the first, contains additional drawings and prints by Pitseolak Ashoona and a new introduction by Eber that provides more information about the artist and the circumstances under which her groundbreaking oral biography came about. Pitseolak Ashoona, who died in 1983, was known for lively prints and drawings showing the things we did long ago before there were many white men and for imaginative renderings of spirits and monsters. She began creating prints in the late 1950s after James Houston started printmaking experiments at Cape Dorset, creating several thousand images of traditional Inuit life. Pitseolak Ashoona was elected a member of the Royal Canadian Academy of Arts in 1974 and was also a member of the Order of Canada.

    This book grew out of his desire to share all that he had learned from the African pioneers of pottery.

    This royalty-free volume reprints 200 plates from rare 18th-century edition, Hertel’s Historiae et Allegoriae, with English translations of the German and Latin captions, and full descriptions, interpretations and analyses of Ripa’s work.

    A study of Leonardo treats the work of art, & art itself, not as ends in themselves, but rather as instruments of the artist's inner situation. Two other essays discuss the relation of art to its epoch & specifically the relation of modern art to our own time. An essay on Chagall views this artist in the context of the problems explored in the other studies.

    The description for this book, Prints and People: A Social History of Printed Pictures, will be forthcoming.

    

    

    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.

    YorktownBoth masterpieces by the leaders of the Classical Age in music (1750-1820) and relatively unknown works by less familiar composers such as Kuhlau, Reichardt, Dittersdorf, and others, are included.

    As an inexpensive source of unusual themes, this volume is unparalleled.The designs were found on malacates, small clay spindle weights or whorls made by the pre-Conquest peoples of Mexico and discovered in archeological digs. The unknown artists showed great imagination and originality in decorating the essentially round objects, each with its hole at center. In the large outer circles appear motifs of the humanlike deities, animals both real and fantastic, reptiles, birds, flowers, masks, geometrical figures, wheels, foliage, maze-like patterns, frets—employed with all the boldness and fanciful ideas characteristic of pre-Columbian art.Rendered in sharp black-and-white, the designs may be reproduced, enlarged, reduced, or altered at will. Wherever a novel, strong, rhythmic effect is desired—in advertising, book design, packages, wrappings, labels, bookplates, textiles, wallpapers, leather craft, woodwork, jewelry, metalcraft—these motifs will serve beautifully.The designs were selected by Jorge Enciso, an outstanding figure in the cultural life of Mexico, from malacates in the archeological museums of Mexico City, Teotihuacán, and Tuxtla Gutiérrez, and the collections of Diego Rivera, William Spratling, Roberto Montenegro, and others.

    

    A collection of images that shows the striking effects of industry and development on the American landscape.

    This comprehensive text, enriched by over 300 illustrations, 24 of which are full-page color plates, includes instructions and advice for creating fantastic watercolor paintings. Thirty-six step-by-step demonstrations and over 200 monochrome illustrations vividly guide the reader through every phase of painting the landscape.Zoltan Szabo discusses color, texture, and other characteristics of watercolor, as well as the materials and equipment needed to complete a watercolor master-piece. He describes various techniques-the basic washes, direct painting, dry brush, painting on wet paper, handling the painting knife-and suggests ways of achieving texture, pattern, and special effects by using masking techniques, razor blades, and many other objects and approaches. The reader learns what to looks for in the environment, how to choose a subject, and how to handle both simple and complex subjects. Szabo also introduces the basics of composition-relationships of shapes, center of interest, three-dimensionality and perspective, value and form, white space, the sequence of painting, and sketching.Step-by-step demonstrations and auxiliary illustrations demonstrate how to paint the seasons, trees, forests, undergrowth, rocks, sand and soil, water (still and moving), reflections, fog, mist, rain, snow, sky and clouds, sunsets, fences, buildings, and people and animals in landscape.This book is sure to appeal to novice and professional painter alike and will provide, with its handsome gallery of illustrations, inspiration as well as instruction for every watercolor enthusiast.Zoltan Szabo was born in Hungary in 1928 and studied at the National Academy of Industrial Art in Budapest. He emigrated to Canada in 1949, and made a name for himself as one of Canada's foremost landscape painters. In addition to teaching workshops and seminars on watercolor painting, Szabo has exhibited his work in London, Canada, and the United States. Zoltan Szabo's paintings are found in public and private collections worldwide, including those of the prime ministers of Canada and Jamaica and in the National Gallery of Hungary. Other books by Zoltan Szabo include Painting Nature's Hidden Treasures, Painting Little Landscapes, and Zoltan Szabo Paints Landscapes.Readers interested in related titles from Zoltan Szabo will also want to see: Creative Watercolor Techniques (ISBN: 9781626541368), Painting Little Landscapes (ISBN: 9781626549173), Painting Nature's Hidden Treasures (ISBN: 9781626549180), Zoltan Szabo Paints Landscapes: Advanced Techniques in Watercolor (ISBN: 9781626549005).

    As edited by Jean Stewart, they are divided into four sections: the first letters were written in his teens and early twenties, and show the essential loneliness that would dominate his life; the second, stretching to the age of 35, detail the travels that indelibly marked him; the third group dates from his return to France in 1833, telling of his grand commissions and of his relationships with George Sand and Mme. de Forget; and last are the letters from his final years, a time of official acceptance and relations with such notable figures as Stendhal and Merimee. Intelligently edited and fluently translated, these Selected Letters bring to life, in his own words, one of the greatest artistic geniuses of the 19th century.

     First used for identification on the battlefield beginning in the twelfth century, mon developed into symbols of family pride and fortune and quintessential expressions of the Japanese design sensibility—especially in their economy of means, exquisite detailing, and boldness of composition. The motifs employed in these family crests are also a fascinating window into the symbolic system of traditional Japan, which drew from a rich palette of natural phenomena, plants, animals, abstract devices, and manmade objects. This book will be a source of pleasure and inspiration to anyone interested in the basic elements of Japanese design, and of valuable information to anyone wishing to know more about the remarkable culture that produced it.

    

    

    Photographs of 405 exhibits which toured the world as examples of masterworks in Eskimo carving.

    Bullock felt that his photographs were more than surface reflections, that they portrayed the interaction of "space and time" defined by light. This volume contains Bullock's most influential and best-known images, spanning his entire photographic career. An essay by David Fuess illuminates Bullock's life and work, drawing from a series of revealing interviews conducted with Bullock just prior to his death. Wynn Bullock devoted most of his life to exploring the natural universe and man's relationship to it; the vehicle of his search was the photograph. The penetrating, enigmatic and almost mystical nature of his images is accomplished through formal beauty matched with provocative imagery. Bullock wanted to jolt people to new heights of visual and self-awareness by encouraging them to relate to nature directly, unencumbered by traditional modes of visual and abstract thinking. His dramatic photographs have been characterized as showing the inner essence of nature, powerfully reflecting its mysterious beauty on a level extending beyond the everyday.