His Doré Bible was a treasured possession in countless homes, and his best-received works continued to appear through the years in edition after edition. His illustrations for Dante's Divine Comedy constitute one of his most highly regarded efforts and were Doré's personal favorites.The present volume reproduces with excellent clarity all 135 plates that Doré produced for The Inferno, Purgatory, and Paradise. From the depths of hell onto the mountain of purgatory and up to the empyrean realms of paradise, Doré's illustrations depict the passion and grandeur of Dante's masterpiece in such famous scenes as the embarkation of the souls for hell, Paolo and Francesca (four plates), the forest of suicides, Thaïs the harlot, Bertram de Born holding his severed head aloft, Ugolino (four plates), the emergence of Dante and Virgil from hell, the ascent up the mountain, the flight of the eagle, Arachne, the lustful sinners being purged in the seventh circle, the appearance of Beatrice, the planet Mercury, and the first splendors of paradise, Christ on the cross, the stairway of Saturn, the final vision of the Queen of Heaven, and many more.Each plate is accompanied by appropriate lines from the Henry Wadsworth Longfellow translation of Dante's work.

    This elegant coffee-table book includes classic Avedon studies of Marilyn Monroe and Truman Capote, as well as portraits of political and intellectual figures. The reproductions are superb.

    The reception was divided and passionate. The book and show unabashedly forced the art world to deal with color photography, a medium scarcely taken seriously at the time, and with the vernacular content of a body of photographs that could have been but definitely weren't some average American's Instamatic pictures from the family album. These photographs heralded a new mastery of the use of color as an integral element of photographic composition. Bound in a textured cover inset with a photograph of a tricycle and stamped with yearbook-style gold lettering, the Guide contained 48 images edited down from 375 shot between 1969 and 1971 and displayed a deceptively casual, actually super-refined look at the surrounding world. Here are people, landscapes and odd little moments in and around Eggleston's hometown of Memphis--an anonymous woman in a loudly patterned dress and cat's eye glasses sitting, left leg slightly raised, on an equally loud outdoor sofa; a coal-fired barbecue shooting up flames, framed by a shiny silver tricycle, the curves of a gleaming black car fender, and someone's torso; a tiny, gray-haired lady in a faded, flowered housecoat, standing expectant, and dwarfed in the huge dark doorway of a mint-green room whose only visible furniture is a shaded lamp on an end table. For this edition of William Eggleston's Guide, The Museum of Modern Art has made new color separations from the original 35 mm slides, producing a facsimile edition in which the color will be freshly responsive to the photographer's intentions.

    Painter, sculptor, writer, and filmmaker, Salvador Dali (1904-1989) was one of the century's greatest exhibitionists and eccentrics - and was rewarded with fierce controversy wherever he went. He was one of the first to apply the insights of Sigmund Freud and psychoanalysis to the art of painting, approaching the subconscious with extraordinary sensitivity and imagination. This lively monograph presents the infamous Surrealist in full color and in his own words. His provocative imagery is all here, from the soft watches to the notorious burning giraffe. A friend of the artist for over thirty years, privy to the reality behind Dali's public image, author Robert Descharnes is uniquely qualified to analyze Dali - both the man and the myth.

    Escher, I am absolutely crazy about your work. In your print Reptiles you have given such a striking illustration of reincarnation.' I replied, 'Madame, if that's the way you see it, so be it, '" An engagingly sly comment by the renowned Dutch graphic artist Maurits Cornelis Escher (1898-1972)--the complex ambiguities of whose work leave hasty or single-minded interpretations far behind. Long before the first computer-generated 3-D images were thrilling the public, Escher was a master of the third dimension. His lithograph "Magic Mirror" dates as far back as 1946. In taking that title for this book, mathematician Bruno Ernst is stressing the magic spell Escher's work invariably casts on those who see it. Ernst visited Escher every week for a year, systematically talking through his entire oeuvre with him. Their discussions resulted in a friendship that gave Ernst intimate access to the life and conceptual world of Escher. Ernst's account was meticulously scrutinized and made accurate by the artist himself. Escher's work refuses to be pigeonholed. Scientific, psychological, or aesthetic criteria alone cannot do it justice. The questions remain. Why did he create the pictures? How did he construct them? What preliminary studies were necessary before he could arrive at the final version? And how are the various images Escher created interrelated? This book, complete with biographical data, 250 illustrations, and explications of mathematical problems, offers answers to these and many other questions, and is an authentic source text of the first order.

    His immediately recognizable style--featuring bulbous noses, wild sound effects, and the legendary "hinged feet"--was filled with broad and daring slapstick and routinely broke new ground. A surprisingly quiet man, Martin's work spoke volumes as he left an indelible mark on several generations, influencing the style of many illustrators while shaping the sense of humor of countless misguided youths. He was inducted into the Comic Book Hall of Fame in 2004. Says Gary Larson, creator of The Far Side: "Don Martin was the one who really stood out."Now, it is with great pride that Running Press, in collaboration with MAD, launches the MAD’s Greatest Artists: The Completely MAD Don Martin (MAD’s Greatest Artists Series). For the first time ever, here is the complete collection of every piece of art Don Martin published in MAD throughout his extraordinary thirty-year tenure (1957-1987). With all of Martin's strips, covers, posters, and stickers--presented in chronological order--it is nothing less than a masterpiece of comic genius. Complementing Martin's opus of published works are letters, sketches, and rare photos providing an in-depth look at the artist at work. Plus, scattered throughout are notes and original illustrations--commissioned for this volume--paying tribute to the artist and penned by MAD's most-notable personalities, including Al Jaffee, Mort Drucker, Jack Davis, Sergio Aragonés, and more. There are also notes by the likes of Jim Davis (Garfield) and a foreword by Gary Larson. A collector's item and object d'art in its own right, this deluxe two-volume slipcased edition will be the season's must-have gift book for the millions whose childhoods--and subsequent adulthoods--would not have been the same without MAD MAGAZINE and Don Martin.

    In many ways, her works were ”psychic models,” as Robert Smithson has said, of ”a very interior person.” In pioneering the use of ”soft” materials, her sculptures betrayed her awareness of the manner in which her experience as a woman altered her art and career. Although she died before feminism affected the art world to any great extent, her major works have since become talismans for succeeding generations of women artists. Eva Hesse was designed by Hesse's friends and colleagues Sol LeWitt and Pat Stier; her sculptures, drawings, and paintings are reproduced and discussed; and the text includes numerous quotations from her diaries. First published in 1976 but long out-of-print, this classic text is both an insightful critical analysis and a tribute to an artist whose genius has become increasingly apparent with the passage of time.

    I mean thigh-slapping, roll-on-the-ground, can’t-catch-my-breath howling. And every time I go back to it, I find some new detail to chuckle at.”—Charles M. Young, Rolling Stone.

    Guptill's classic Rendering in Pen and Ink has long been regarded as the most comprehensive book ever published on the subject of ink drawing. This is a book designed to delight and instruct anyone who draws with pen and ink, from the professional artist to the amateur and hobbyist. It is of particular interest to architects, interior designers, landscape architects, industrial designers, illustrators, and renderers. Contents include a review of materials and tools of rendering; handling the pen and building tones; value studies; kinds of outline and their uses; drawing objects in light and shade; handling groups of objects; basic principles of composition; using photographs, study of the work of well-known artists; on-the-spot sketching; representing trees and other landscape features; drawing architectural details; methods of architectural rendering; examination of outstanding examples of architectural rendering; solving perspective and other rendering problems; handling interiors and their accessories; and finally, special methods of working with pen including its use in combination with other media. The book is profusely illustrated with over 300 drawings that include the work of famous illustrators and renderers of architectural subjects such as Rockwell Kent, Charles Dana Gibson, James Montgomery Flagg, Willy Pogany, Reginald Birch, Harry Clarke, Edward Penfield, Joseph Clement Coll, F.L. Griggs, Samuel V. Chamberlain, Louis C. Rosenberg, John Floyd Yewell, Chester B. Price, Robert Lockwood, Ernest C. Peixotto, Harry C. Wilkinson, Bertram Grosvenor Goodhue, and Birch Burdette Long. Best of all, Arthur Guptill enriches the text with drawings of his own.

    His subject is the forbidden Paris of the 1930s, its opium dens, its brothels and its whores, where high society mingled with the underworld.

    We see a network of walls, columns, cables, pipes and tunnels required to satisfy the basic needs of a city's inhabitants.

    Roger Dean, a well-known artist with a fairly similar style, was collaborating at the time with Hubert Schaafsma, their first aim being to set themselves up as a publishing company and to produce Roger's first book "Visions". Roger telephoned Patrick shortly after that, suggesting the production of a similar book. The title attempts to join together the two words "mythopoeic" and "ikon". There was no agreement on the pronunciation, so you can say it however you like!

    A nostalgic collection of Norman Rockwell's scenes of twentieth century American life includes all of the Saturday Evening Post covers plus paintings, drawings, and graphics from every period of the artist's career--with many foldout pages.

    His parents decorate Easter eggs. When the Abbotts go on vacation, they have lots of adventures. Orson likes decorating, but not as much as he likes to play. When a family wants their house decorated, Orson gets to do the high parts.A pilot wants his plane to have designs, and Orson gets a free ride!When the townspeople ask the Abbotts to paint the town bridge, Orson decides he wants to do the whole thing by himself? It takes a lot of hard work, but Orson loves it and never gets tired.

    From 1915 to 1936 Erté was associated with Harper's Bazar, furnishing readers with fashion designs, cover art, and word-pictures of the European fashion scenes. This book is a selection of Erté's remarkable work for Harper's Bazar, including 310 of his line drawings and 8 full-color images as well as selections from his letters for the magazine. Of these drawings, 12 have been reproduced directly from the original pen drawings at original size for this edition.In the illustrations, Erté shows gowns, coats, pajamas, hats, and accessories of all sorts and for each season. Tassels, fur muffs, capes, hair stylings, and other extravagant flourishes are second nature to Erté in these designs. The drawings themselves are striking evocations of the "temptress" type of feminine allure, and are works of art in their own right whose exotic styles are inseparable from the style of the fashions they depict. The original Harper's captions have been reprinted with each illustration.This selection from Erté's work has been made by Stella Blum, Curator of the Metropolitan Museum's Costume Institute, who has chosen the illustrations both for their interest as art and for their importance in the development of fashion. Copies of Harper's Bazar from the years of Erté's great work are very hard to find today, and students of fashion, fashion illustration, and others interested in Erté will find this a most welcome collection.

    

    Through surreal texts and images, Cohn and Peelaert paint an imaginary world where the great gods of mid-century popular music appear in their own settings (the drifters under the boardwalk, Otis Redding on the dock of the bay, the Beach Boys on the beach). Here, rock music is a "secret society, an enclosed teen fantasy" treated with the same kind of passion and obsession famously generated by the most fanatic of lovesick, pimply adolescents. All of the founding heroes of rock, soul, and pop appear in Peellaert and Cohn's colorful hallucinations, including Buddy Holly, Elvis, Ray Charles, Sinatra, Bob Dylan, Jimi Hendrix, James Brown, the Rolling Stones, the Beatles, the Who, Tina Turner, Stevie Wonder, and many more. Taschen's revival of this unique book comes at a time when rock is making a strong comeback and young musicians are taking inspiration from the very stars featured in rock dreams.

    Before his death in 1976 at age eighty-five, Strand combed his photographic prints and his many books with an eye to the completion of this volume. Seen here is the summation of a lifework, from the first abstract photographs to the series of plant photographs taken in the last years of his life. Also included is a rarely examined series of filmsÛbrilliant, unprecedented documentaries that foreshadowed Italian neo-realism and the new cinema of the post-war years. The re-release of this volume, which features the famous biographical profile by Calvin Tomkins and excerpts from Strand's correspondence, interviews, and other documents, makes one of photography's major artists newly accessible.

    Maurice Beebe calls it "a distinguished contribution to modern literary history." Jane Marcus hails it as "the first serious literary history of the period and its women writers, making along the way no small contribution to our understanding of the relationships between women artists and their male counterparts, from Henry James to Hemingway, Joyce, Picasso, and Pound."

    Freeman also covers every aspect of the tapestries from their production, source models, imagery, symbolism, context, and even offers a scientific discussion of the materials used from minute testing of each of the tapestries.

    Here are the posters of Shahn, Hohlwein, and Fougasse; the cartoons of Fitzpatrick, Low, Seppla, and Kukriniksi; stills from the films of John Huston, Noel Coward, and Leni Riefenstahl; photos of Tokyo Rose and Fritz Kuhn; comic books, magazine covers, paintings, leaflets, newspapers, postcards, sheet music; all the artifacts of the art of persuasion, more than 500 photographs, over 270 in full color, culled from government archives and private collections in the United States and abroad.

    He examines Koranic calligraphy and illumination, arabesque, carpets and rugs, Persian miniatures, and much more while making illuminating comparisons with Christian, Hindu, and Buddhist art. Beautifully illustrated in color, this masterpiece is presented in a revised, commemorative edition containing 285 new illustrations and a new Introduction.

    edition in 1976. There are 48 photographs that are world famous because Karash had such an intense interest in each of his subjects. Each porrait is accompanied by Karash recollections of the moments when the picture was taken. A few of the 48 subjects are Churchill, Picasso, Helen Keller Martin Luther King Jr., Fidel Castro, Helen Taussig, Eunstein, Prince Charles, JFK.

    Concentrating on the more "democratic" media-especially etchings, lithographs, posters, and woodcuts, as well as sculpture and bronze reliefs-Kollwitz always created for the people, rather than for the upper class collector. Unlike the volputuous odalisques so often depicted by male artists, Kollowitz's women are joyous or grief stricken, thoughtful or shielding mothers; forlorn, pregnant, widows; tender friends; prostitutes; militant pacifists or revolutionaries in action. In her sensitive narrative, Martha Kearns establishes Kollwitz's contributions to western art, and especially to women's art. This original paperback is generously illustrated with many striking, seldom-see reproductions from private collections, assembled in one volume for the first time.

    Taped conversations with artist Louise Nevelson who is known largely for her abstract expressionist boxes.

    

    Author Edna Wilder, one of the world's best-known practitioners and modernizers of traditional Eskimo skin sewing techniques, takes would-be skin sewers through the step-by-step work involved in constructing traditional items of clothing such as mukluks, parkas, and mittens. She also includes sewing instructions for belts, baby booties, a trapper-style fur cap, and toys.Though natural fur and hides were the only ones known in traditional Eskimo lifeways, the book's guidance is completely adaptable to modern, synthetic leathers and artificial furs. Similarly, the guidance offered in these pages on traditional Native beadwork and basket making works just as well for plastic beads and basketry materials unknown to the Alaska wilderness.

    -- Covers artists' lives and careers, their contributions and style, and their influence on other artists-- Comics entries include information on artists who worked on them, description of plot, theme and character, and their place in the history of comics-- Extensive glossary illuminates the lingo of the industry-- Bibliography, listings of comic book publishers and syndicates, and a 10,000-entry index

    

    • 150 color and black-and-white drawings of Islamic patterns. • Explains how these patterns guide the mind from the mundane world of appearances to its underlying reality. For centuries the nature and meaning of Islamic art has been wrongly regarded in the West as mere decoration. In truth, because the portrayal of human and animal forms has always been discouraged on Islamic religious principles that forbid idolatry, the abstract art of Islam represents the sophisticated development of a nonnaturalistic tradition. Through this tradition, Islamic art has maintained its chief aim: the affirmation of unity as expressed in diversity. In this fascinating study the author explores the idea that unlike medieval Christian art, in which the polarization of such forms and patterns was relegated to a background against which to set sacred images, the geometrical patterns of Islamic art can reveal the intrinsic cosmological laws affecting all creation. Their primary function is to guide the mind from the mundane world of appearances toward its underlying reality. Numerous drawings connect the art of Islam to the Pythagorean science of mathematics, and through these images we can see how an Earth-centered view of the cosmos provides renewed significance to those number patterns produced by the orbits of the planets. The author shows the essential philosophical and practical basis of every art creation--whether a tile, carpet, or wall--and how this use of mathematical tessellations affirms the essential unity of all things. An invaluable study for all those interested in sacred art, Islamic Patterns is also a rich source of inspiration for artists and designers.

    Stunning photographs, illustrations, and fascinating text showcase Calder's best works in all mediums. A detailed chronology and other documentation, compiled with the assistance of Calder, his family, and close associates, make this an invaluable volume. "A magnificent treasure for Calder fans and scholars." --Library Journal

    Although he lived only twenty-eight years--dying quite suddenly of influenza in 1918 just as World War I came to an end--he left a stunning pictorial oeuvre. Schiele's obsession with sexuality, his own and that of others, made him at once a voyeur and a participant in that sexual imperative which Freud was concurrently plumbing with such unsettling results. The disturbing revelations of Schiele's unmasking portraiture and of the new science of psychology disclosed a collective cultural anxiety during the last years of the crumbling Austrian empire. Schiele was disturbingly dualistic: his provocative explorations of erotica with their startlingly modern sensibilities do not prepare the viewer for the tenderness revealed in his lyrical landscapes and mostly unpeopled town scenes. These emit a haunting loneliness and are related to an obsession with pathos expressed in the artist's melancholy allegories and existential portraits.

    His works are immediately recognizable for their brilliant colors, elongated figures, and spiritual intensity.Initially trained in Crete, in around 1567 El Greco moved to Italy where he purportedly studied with Titian. A decade later he is documented in Toledo (south of Madrid), and he spent the rest of his long life in Spain. His paintings and writings offer a thoughtful, frequently inspired response to the varied environments in which he worked—and they reveal that he was deeply engaged with the religious and artistic thinking of his times.This lavishly illustrated book—the first comprehensive English-language publication on El Greco in many years—addresses the full range of the artist’s work in painting and sculpture, from his Byzantine icons to his late altarpieces. It considers his personality from both a religious and intellectual point of view, and presents the artist’s religious, mythological, genre, landscape, and portrait works, providing the historical context in which they were made.

    Vintage Books

    Unlocks the secrets of petroglyphs and pictographs, and opens the door to an understanding of prehistoric man.

    

    

    

    

    Book by Gervasio Gallardo

    As founder of the Photo Secession movement and editor of the influential Camera Work he eschewed the prevailing "artiness" of pictorialist photography, preferring clarity of vision and "crystallized awareness." In galleries such as "291" and An American Place he showed and championed the work of modern artists from the US and Europe. As a photographer, editor, and gallery director Stieglitz was a powerful influence on photography and on American art in general.

    One of these is Tales of Tono, first published in 1976, which features work shot in the countryside of northern Honshu, Japan. Taking its name from a collection of Japanese rural folk legends, its non-narrative diptychs display a nascent nostalgia, whilst the formal qualities of the photos embrace the grainy and raw techniques that Moriyama brought to his more urban subject matter. Published here for the first time in English, to coincide with a survey of the artist's work with William Klein at Tate Modern, Tales of Tono is the perfect introduction to one of the world's most beautifully unsettling photographers.

    Examines arts projects run during the 1930s which were funded by the Works Progress Administration.

    It reproduces works in every media and from every phase of her enormously inventive and productive career. Lavishly illustrated with over two hundred color plates and containing lively critical texts, a detailed chronology, and a complete bibliography, this volume is both a standard reference source and a keen meditation on the present-day re-assessment of figuration in painting.

    But while the look of a mask or figure has an immediate impact the intentions of the maker and the meaning it had in its original context are often obscure. In this book - as in the television films which it is based on - David Attenborough enriches our understanding by describing the making and use of tribal art in some of the few places where traditions are, more or less, intact.There are chapters on the Dogon - master mask makers, smiths and builders, on the tribes of the American North-west, who still carve poles and dance masks, on cult houses in Melanesia, bronze-casting in West Africa, and rug-making among the nomads of Iran. Sometimes the evidence is lost - in South America there are only tiny remnants of the pre-Columbian cultures: the chapter on their gold work must look backward to get some notion of the societies which produced it. The last chapter looks at what happens to tribal art when the culture that supported it breaks down under the pressures of trade, other cultures and colonisation.The illustrations - from the field and of museum objects - work together to make the book a splendid celebration of the richness of tribal culture.

    So it is fitting that these stories, many with their own familiar illustrations, should be brought together in one book. ... In the nineteenth century, Post writers Hans Christian Andersen, Mark Twain and Washington Irving created the classics whose familiar lines warm our Christmases today. ... These popular writers never forgot the real meaning of Christmas and there is a reverence in their work which makes them fit company for the Bible stories of the nativity. The Post Christmas Book presents a range of activities and readings for the family. It is at once a joyous homecoming for two centuries of Post writers and artists and we hope a source of inspiration for new and old readers.

    The marks are arranged in categories that include entertainment, education, real estate, insurance, food and beverage, retailing, transportation, utilities, heavy industry, and others, and are chosen from local and internationally known examples. Reprinted in black-and-white, the marks appear here in their standard form on signs, letterheads, book bindings, T-shirts, sugar bags, household appliances, bank checks, drinking cups, coasters, screened commercials and printed ads, ashtrays, clothing labels, shopping bags, awnings, and so on. For several current trademarks, earlier versions are also illustrated and dated, tracing trademark genealogies of possible interest both as history and design. Captions identify the trademarks, giving year of design, and, when known, the name of the designer. The editor in her introduction describes the development of American trademarks from Ralston Purina's homespun "checkerboard square" to the Cities Service corporate "triangle." Notes on the specialized uses and requirements of various kinds of marks introduce each section. This is a remarkable sourcebook for graphic artists, students, and commercial designers. Social psychologists, market researchers, and others interested in group behavior may find it the starting point of ideas and experiments. This book also has a curious fascination as browsing, illustrating at a glance how familiar, memorable, and widespread trademarks seem to be.

    The text provides a systematic and sound course of instruction, beginning with an introduction to the nature of drawing, an invitation into the initial experiences of drawing, both underscored by an emphasis on the importance of learning how to see and see deeply. The text moves through chapters on art elements, drawing media and subject matter, concluding with more advanced topics that can be used in subsequent courses, encouraging students to keep this text as a reference through their program and on into their careers as artists.

    

    For years, the editors of du have talked about collaborating once again with the most important living Swiss photographer (Frank was born in Zurich in 1924). Though the photographer has long since finished with photo journalism, dedicating himself, since 1962, to filmmaking, he has made here a magical exception. Together with du, Frank has developed an idea for an issue that stretches the concept of photography to its limits. An all-encompassing self-examination, sometimes looking back with melancholia, sometimes moving ahead with a visisionary impetus, this publication assembles classic images, new Polaroid works, traces of thoughts, rediscoveries of never-before-shown photographs, and visual diary notes, together with Frank's selections of favorite texts by Kerouac, Burroughs, and Elio Vittorini.

    The paintings of Carl Larsson (Pan books)

    In this stunning collection, 247 photographs of masks, identified by tribe, place, and ritual use, are featured. Dogon, Senufo, many more.

    In her introduction, Betsy Wyeth explains that her husband begins with scores of quick prestudies in pencil, dry brush and watercolor which he spreads on the floor and tacks on the walls of his studio when he is ready to start on a tempera painting. Many of these still bear the splash marks of raindrops, the paw prints of family dogs, the artist's footprints, and in one case added drawing by Wyeth's young son Jamie. She also points out that nearly all of Wyeth's work.. and soul it almost seems as well.. has centered on only two locations: The Olson farm in Maine and the Kuerner farm in Pennsylvania. In presenting the material she lets us see not only how the artist works but allows us to share with him his deepest feelings about the place and the people who live there. Sequence after sequence of drawings grows dynamically toward the final painting. People, animals and objects appear and fade in an eerie way as the concept develops, and one gets a subtle understanding of why Andrew Wyeth's work is so charged with those unseen presences that create the compelling depths and tensions in his work.

    This text serves as an excellent introduction to the fields of architectural drawing and construction. It covers drafting and drawing principles, light frame construction principles, and the building design documentation process. The text covers both manual drawing techniques and the use of computer-aided design and drafting software to create drawings. The text presents the concepts with easy-to-follow text and numerous illustrations to highlight and provide examples of key concepts. Other features of this text include: *Review questions and exercises that allow students to apply both the theory and the skills presented in the text. *CADD boxes that highlight the use of design and drafting software to create drawings. *Updates of examples, standards, and methods that reflect current industry standards and practices. *Examples and drawings from the field to reinforce the application of the concepts to real-world situations.

    In this practical guide, the author reveals the secrets of composition, characterization, and rendering used by professional cartoonists in such areas as single-panel gags, editorial cartoons, strips, comic books, greeting cards, and even animation. You'll learn what tools and techniques to use in drawing your cartoons, as well as how to prepare them for such printing processes as letterpress, halftone, and color. Including a section on how to get your work published, The Complete Book of Cartooning could be the first step to an interesting and rewarding career. he author, John Adkins Richardson, has been a sports cartooinist, a commercial illustrator, and a technical illustrator and has in recent years contributed to underground commix. Holder of a doctorate from Columbia University, he is the author of two previous books: "Modern Art and Scientific Thought" and "Art: The Way It Is". He is Professor of Art and Design at Southern Illinois University where he teaches art history and criticism, drawing, and cartooning.

    Because this collection makes clear the ways in which the philosophy of art relates to and is part of general philosophical positions, it will be an essential sourcebook to students of philosophy, art history, and literary criticism.

    Come join in the 20th-anniversary fun as gnomania strikes again!Did you know that gnome couples always have twin children? Or that a gnome is seven times as strong as a human? Do you want to hear some gossip from the gnome who knew Rembrandt? Dutch artist Rien Poortvliet's charming illustrations and physician Wil Huygen's detailed observations of the gnomes' habits, anatomy, and lifestyle are a delight for readers of all ages. Children will adore the gnome family's underground home and the constant interaction with animals; adults will appreciate the tongue-in-cheek scientific data. Gnomebody is immune to the gnomes' tremendous appeal--and a whole new generation is waiting to love them for the first time!

    This is a collection on 116 Vassos illustrations.which brings together examples of his ad designs with the astonishing illustrations he prepared during the 20's and 30's for nine illustrated books and limited edition.s

    By placing screen over the patterns, you get an infinite number of effects.

    Humorous quasi-erotic short stories told in photograpgs with hand-written narratives as captions.

    104 plates, 8 in color. Introduction, captions, notes by Draper Hill.

    Photos of famous stupas, line drawings, diagrams.

    

    

    French opera of this time was like the Eiffel Tower, a spectacle of gaiety and epic passions, and, like the Tower, the posters reprinted in this book are theatre pieces of surprising charm. Rare opera souvenirs, most of which advertise premiere performances, these posters also illustrate the full flowering of the illustrated poster which, at mid-nineteenth century, was virtually a new graphic art.This collection concentrates on the French poster (and opera) of the Belle Epoque, while also dipping back to include rare early examples of the illustrated poster and forward to some remarkable pieces of French Art Deco design. Included are posters by Jules Chéret (the acknowledged father of the modern poster), Steinlen, Grasset, and over 30 other artists. Jules Massenet, the most prolific composer for the French operatic stage, is amply represented by posters for Manon, Le Cid, Grisélidis, his ballet Cigale, and others. Offenbach, Ambroise Thomas, Léo Delibes, Gabriel Fauré and Henry Février are among the other composers whose works these posters herald.The posters have been reproduced by originals in the collection of Lucy Broido, who has also provided an introduction, a bibliography and extensive notes on each poster with biographies of the artists, printers and composers, anecdotes about the premiere performances and plot summaries. Poster and opera buffs, historians of art and the stage and everyone even slightly fascinated by this time in French music and graphic arts will find this book a particular delight.

    

    The 40's were a busy time for Rockwell and a time when he was to produce perhaps his finest and most famous works. Poignant scenes of American soldiers away from home and in joyous reunions with family and loved ones fill the covers of the war years. Rockwell's post-war covers provided a healing humor with scenes of everyday life as only he could depict it, and a record of America building and developing. The April Fool covers from this period were a source of great enjoyment to the artist himself as well as to his admiring public. Rockwell depicted the candidates in several presidential elections and met and painted portraits of many U.S. Presidents.Rockwell ended his 47 year career with the Curtis Publishing Company in December 1963 with republication of his famous Kennedy portrait--his way of honoring the fallen president. In 1971, the Curtis Publishing Company honored Rockwell by publishing an issue of The Saturday Evening Post fully devoted to his life and times. In 1973, he received the prestigious Franklin Award from the printing industry, and later that year he accepted an award from the Boy Scouts of America for his outstanding contributions to scouting. For his eighty-second birthday in February 1976, Rockwell was again honored when the Curtis Center Museum of Norman Rockwell Art opened in Philadelphia's Curtis Publishing Building, the very building he had frequented during his years as foremost artist-illustrator for the Post. In 1977, a presidential citation, The Freedom Award, was given him by President Gerald Ford.

    Book of full-page illustrations of paintings by these two turn-of-the-twentieth century painters and brothers.

    Beginning with simple flowing phenomena of water and air, Schwenk gradually builds up, with the help of marvelous photographs and drawings, the "letters" of an alphabet that will allow us to "read" the living meaning of water. The spiritual, formative processes are gradually brought to light, and we come to recognize the Creative Word in the universe. Fully illustrated.