In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible.In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films--Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre--most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.

    A fun but informative guide, this "professor in your pocket" features chronologically organized chapters-from the pyramids to Picasso-that explain the forces behind Europe's most important cultural and artistic periods. Other features include handy lists of sights that allow you to link your newly acquired knowledge with the specific paintings, sculptures, and buildings you'll see on your trip, a humorous, readable style that is a joy to read compared with the history textbooks you slept on in school, and timelines, maps, drawings, and photos that illustrate Europe's story and round out your education.

    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.

    Two gifted photographers have documented every aspect of this extraordinary urban subculture, complete with 239 full-color photographs.

    This lens is the secret of narration, and it is ground anew in every story, ground between the temporal and the timeless . . . . In our brief mortal lives, we are grinders of these lenses."This brooding, provocative, and almost unbearably lovely book displays one of the great writers of our time at his freest and most direct, addressing the themes that run beneath the surface of all his work, from Ways of Seeing to his Into Their Labours trilogy.In an extraordinary distillation of his gifts as a novelist, poet, art critic, and social historian, John Berger reveals the ties between love and absence, the ways poetry endows language with the assurance of prayer, and the tensions between the forward movement of sexuality and the steady backward tug of time. He re-creates the mysterious forces at work in a Rembrandt painting, transcribes the sensorial experience of viewing lilacs at dusk, and explores the meaning of home to early man and to the hundreds of thousands of displaced people in our cities today.A work of unclassifiable innovation and consummate beauty, And Our Faces, My Heart, Brief as Photos reminds us of Nabokov and Auden, Brecht and Lawrence, in its seamless fusion of the political and the personal.

    The text investigates all aspects of photography - aesthetic, documentary, commercial and technical - while placing it in historical context. It includes three technical sections with detailed information about equipment and processes. This edition also updates important new international work from the 1980s and 1990s.

    A collection of illustrated poems about the plants and flowers seen in the winter months.

    A PROPOS DE PARIS presents the renowned photographer's personal selection of more than 130 of his best photographs of Paris taken over 50 years. This is a unique gallery of urban landscapes rendered by a great sensibility. 131 illustrations.

    

    Librarian's note: Alternate cover edition of ISBN 9780553050660.Recounts legends, folk stories, and fairy tales dealing with castles from the traditions of England, Norway, Germany, and other countries

    A documentation of the incredible panoply of African jewelry and body adornment, surveying every major tribal style and every material used.

    The twelfth edition of this classic reference has been revised and updated to provide all the information creative professionals need to keep up with current trends and compete in an ever-changing industry.

    Originally published in 1984 (Johns Hopkins University Press), and now available in paperback for the first time, this highly original book draws on insights from semiotics and from psychoanalytic, feminist, and Marxist criticism. Addressing the relations of language to experience, the body to scale, and narratives to objects, Susan Stewart looks at the "miniature" as a metaphor for interiority and at the "gigantic" as an exaggeration of aspects of the exterior. In the final part of her essay Stewart examines the ways in which the "souvenir" and the "collection" are objects mediating experience in time and space.

    King, and Howlin' Wolf; the multicolored psychedelic hallucinations promoting the Grateful Dead, Dylan, and the Doors; the deliciously tasteless art for the Sex Pistols, Crime, and the Clash. From the Red Dog Saloon in San Francisco, where the psychedelic scene started, to CBGB, New York's punk Mecca, and beyond. 1,500 images searched out world-wide from clubs, attics, and bedrooms—as well as more formal collections—are reproduced in their original blazing colors. Replete with firsthand history—including exclusive interviews with scores of insiders, poster artists, musicians, and promoters—this is the ultimate high for the rock music fan, required reading for the poster collector, a treasure trove for the graphic artist, and a riotous feast for anyone who digs pop culture.

    Carefully rendered reproductions of Giger's best paintings are accompanied by his own commentary. 70 color illus. 75 b&w illus. 25 b&w photos.

    Rockwell senior, who said he depicted life “as I would like it to be,” chronicled iconic visions of American life: the Thanksgiving turkey, soda fountains, ice skating on the pond, and small-town boys playing baseball-not to mention the beginning of the civil rights movement. Now, the best-selling collection of Rockwell’s most beloved illustrations, organized by decade, is available in a refreshed edition. With more than 150 images-oil paintings, watercolors, and rare black-and-white sketches--this is an uncommonly faithful Rockwell treasury. The original edition has sold nearly 200,000 copies.

    St Frumble’s Day, 1892.A peepshow of eight die-cut sections, view from a peephole in the front pictorial board through to the rear pictorial board.

    In this fascinating study, Rozsika Parker traces a hidden history--the shifting notions of femininity and female social roles--by unraveling the history of embroidery from medieval times until today.

    His 1955 novel Pedro Paramo is considered one of the foundational classics of magic realism, predating One Hundred Years of Solitude by more than a decade. Lesser known are his haunting photographs of Mexico, which exhibit remarkable parallels to his prose.The photographs, mainly taken between 1945 and 1955, do not tell stories: they present thoughts. The images of people and their land, women in their traditional dress, musicians with their instruments, capture the calm, quiet, inner rhythms of Mexico's rural population. Rulfo extracts unique moments through his photographs; his images of desolate, abandoned buildings, their walls destroyed by artillery shells, are expressions of his nation's painful history. His quietly dramatic landscapes recall the work of Ansel Adams and Edward Weston while displaying a style that is truly his own.This collection of 175 images is the only comprehensive collection of Juan Rulfo's photographs available. The six essays preceding the images illuminate the photographs and pay tribute to one of Mexico's most enduring literary and visual artists.

    Traces in detail the evolution of the chief genres of architecture, sculpture, painting, and draughtsmanship. Essays link individual works to the history & ideas of the time. 11" x 12 1/2". Color & b&w illus.

    Focusing on the multifaceted relation of architecture to society, Robert Hillenbrand covers public architecture in the Middle East and North Africa from the medieval period to 1700. Extensive photographs and ground plans-- among which are hundreds of newly executed three-dimensional drawings that provide an accurate and vivid depiction of the structure--are presented with an emphasis on the way the specific details of the building fulfilled their function.Included are chapters on religious and secular architecture and the architecture of tombs. Each building is discussed in terms of function, the links between particular forms and specific uses, the role of special types of buildings in the Islamic order, and the expressions of different sociocultural groups in architectural terms. Here the student or historian of Islamic architecture will find an astonishing resource, including Maghribi palaces, Anatolian madrasas, Indian minarets, Fatimid mausolea, and Safavid mosques, each rendered in lavish illustrations and explained with incomparable precision.

    The many illustrations of his work - sketches, drawings, paintings, graphics, and stills from his Surrealist films - are accompanied by photographs of Dali and his inner circle, quotations from his writings, and a detailed account of his life.

    From the eloquent poetry of Robert Browning to the passionate storytelling of Emily Bronte, this book captures the essence of all kinds of love through a combination of poems, songs, letters, folklore, and stories. Tasha Tudor's exquisite watercolor paintings make this a treasury that will be embraced by children and adults alike, all year long. Also included is a section about Tasha's own family traditions on that very special day of love -- Valentine's Day.A Caldecott Honor artist with over ninety books to her credit, Tasha Tudor has created many inspirational books for children and adults, including The Springs of Joy. She says this about All for Love: "I am proud to have been able to illustrate the words of many of my favorite poets and writers. I did so with humility fueled by low and admiration for their passion. It is my hope that this new edition might inspire you also to give all for love". Tasha Tudor lives in Vermont.

    First Edition.

    This is such a book. For more than two years, Linda Cateura has pursued teacher / artist David A. Leffel, notebook in hand, as he critiqued the work of students. Linda Cateura's succinct notes capture his insights, philosophy, painting hints, and general comments.Leffel's classic, painterly, twentieth-century old master style, much in the manner of Rembrandt or Chardin, affords ample illustration of the ideas expressed - through his many paintings, details, demonstrations, and diagrams, almost all in color.No matter what your level of ability, there is something here to apply to your own work, ideas that will cause you to rething your own ways of painting, hints to save you effort, or solutions to persistent painting problems.

    This magnificent book celebrates Adams' romance with the beguiling desert lands of Arizona, California, Colorado, New Mexico, Texas, and Utah -- places that he returned to again and again from 1928 to 1968. More than 100 superbly reproduced photographs, including "Moonrise, Hernandez, New Mexico" and other celebrated images, give us Adams' powerful and evocative record of this unique region. Here are indelible photographs of our National Parks and Monuments -- the Grand Canyon, Zion, Death Valley, and Joshua Tree, among others -- as well as striking images of Navajo Mountain, Hopi Buttes, Taos Pueblo, saguaro cactus, gravestones, and other varied subjects.Recently refurbished with a handsome new cover design, this stunning volume remains the ultimate gift for anyone who loves Ansel Adams and the American Southwest.

    Using just 4 simple shapes, Ed Emberley shows would-be artists how to draw a variety of patterns, animals, people, and more! This book is packed with cool things that kids-and not a few adults-really want to draw. Easy and fun, the book provides hours of art-full entertainment.

    

    Awarded the Order of Culture by his native Japan, his influence was also felt in both England and the USA. This book profiles the work of the artist and the legacy he left.

    J. Clark describes the painting of Manet, Degas, Seurat, and others as an attempt to give form to that modernity and seek out its typical representatives—be they bar-maids, boaters, prostitutes, sightseers, or petits bourgeois lunching on the grass. The central question of The Painting of Modern Life is this: did modern painting as it came into being celebrate the consumer-oriented culture of the Paris of Napoleon III, or open it to critical scrutiny? The revised edition of this classic book includes a new preface by the author.

    Covers this historical cemetery.

    

    While she is perhaps best known for her radiant canvases, it is in her intimate works on paper, which are less familiar, that she first experimented with aspects of her innovative style and techniques. In this body of work can be found her initial essays with staining, an important element in her work of the late 1960s, as well as her 'clumps' of paint set directly on the paper surface, which figure prominently in her most recent production. Over the past decade, in fact, the artist's works on paper have assumed a stature equal to that of her canvases and often catch the most highly charged and vibrant aspects of her art. By focusing on these works on paper, Frankenthaler's masterful use of drawing, space, and colour is redefined to shed new light on her entire career.

    Here is a stunning collection of some of his last work—full-color reproductions of 56 dazzlingly inventive silkscreens reflecting Erté's elegance of wit and aversion to formulae. Erté enthusiasts will delight in these lush, exotic visions — each one charged with the richness of color and sensuous theatricality which were Erté's trademark. Here are exquisite conceptions of The Seven Deadly Sings, The Four Emotions, The Zodiac, At the Theatre, and more.

    For all its gifts, the Northwest Coast peoples held the cedar and its spirit in high regard, believing deeply in its healing and spiritual powers. Respectfully, they addressed the cedar as Long Life Maker, Life Giver and Healing Woman. Anecdotes, oral history and the accounts of early explorers, traders and missionaries highlight the text. Stewart’s 550 drawings and a selection of 50 photographs depict how the people made and used the finished products of the incomparable tree of life to the Northwest Coast Indians—the cedar.

    Missouri, where Booth grew up on a vegetable farm. Booth attended, but did not graduate from, the Corcoran College of Art and Design, the Chicago Academy of Fine Arts, the School of Visual Arts, and Adelphi College.Over time, his cartoons have become an iconic feature of the magazine. In a doodler's style, they feature every man beset by modern complexity, goofballs perplexing their spouses, cats, and very often a fat dog. One signature element is a ceiling light bulb on a cord pulled out of vertical by another cord attached to an electrical appliance such as a toaster. Most of the household features in his cartoons are taken from his own home, such as the rugs, chairs, ferns, and cats. One of his own cats, adopted later in his career, was described as being "more like my drawing than the drawings...when he lies down, his back feet go out in back-straight out."[1]The National Cartoonists Society recognized his work with the Gag Cartoon Award in 1993 and the Milton Caniff Lifetime Achievement Award in 2010.

    Hardcover with dust jacket. Author, Maxine Masterfield. Has cloth boards and shows some yellowing or aging on the board color. The spine is tight and straight, the pages are clean and free of tears and marks. Total 144 pages. Approximate size is 8.25 x 11. Contains 50 black and white illustrations and 120 color plates. Manufactured in Japan. Edited by Bonnie Silverstein. There is a couple light tan soil spots on the inside front two pages, not bad. The dust jacket flaps are taped to the inside boards by the previous owner. The only other negative is that the dust jacket shows some partially crackle look where the mylar has aged, does not affect the illustration on the dust jacket nor the book itself. Very minor shelf wear. Contents include: Demonstrations of basic techniques; Materials and equipment; color and composition; abstract naturalism; form and texture; painting out - simplifying the foreground by painting out; collage and monoprint; finding new directions; experimenting with new materials; letting a painting create itself and much more! A very good art book! Priced quite reasonable for its worth too! *3BC2

    Beginning with early agricultural and religious practices, Professor Itoh describes how the major garden types-from microcosmic stone-and-gravel compositions and tea-ceremony settings to spacious landscapes for strolling-evolved from a rich mingling of native and foreign influences. While never totally rejecting outside influence, the Japanese nevertheless willfully misinterpreted rigid Chinese models to suit their own tastes and infused Zen gardens with a sensitivity to material born of their native Shinto animist faith. Even today, garden designers responding to new building styles and ways of living still preserve the impeccable sense of design and intimacy with nature that are the hallmark of the Japanese tradition. Each page is packed with information, anecdote, and every kind of illustration-maps, plans, sketches, reproductions from ancient books, and photographs of great gardens and historical figures. One chapter is wholly devoted to Kyoto's famous Moss Temple, while another visits modern-day temple, tea, and country gardens to offer a rare look beyond the private gates and into the hearts of people who actually enjoy these gardens in their daily lives. There is an examination of the important elements-stones, lanterns, pathways, basins, plantings, fences-and at the end a special appendix gives Teiji Itoh's personal choice of gardens to visit in Japan, including addresses, descriptions, and hints on when to go and what to look for. The Gardens of Japan is by far the most delightful and informative volume in the field. With 96 pages of superb color, it is in every detail a fitting celebration of nature's beauty, joy, and meaning.

    

    Includes 20 painstakingly reproduced paintings; excerpts from the critics.

    An entire chapter is devoted to field sketching as a preliminary study for finished pieces of art for either artistic or scientific purposes.

    These delightful pencil, ink, and watercolor drawings by the great Japanese master Hiroshige Ando range from everyday scenes of a worker in a rice field stopping to smoke or fishing boats at work, to episodes of classic Japanese folklore and fantasy.

    Lessons and practical exercises highlight the instruction.

    "This book is a historical survey of the original clothes worn by the dolls made in France, Germany, and the English-speaking countries from 1700 to 1929, a documented chronological record, almost a social history of childhood itself."

    Painstakingly constructed to a scale of one inch to one foot, their fascinating models recreate 68 European and American interiors from the 16th to the 20th century. The rooms were conceived by Ms. James Ward Thorne, who carefully researched every detail, then had master craftsmen execute the pieces to her exacting specifications. Each room in this charming book is reproduced in color. An introductory text chronicles Mrs. Thorne's creation of the rooms, while individual commentaries provide information about each interior. This is a volume that will prove irresistible to collectors, miniaturists, architects, historians, interior designers, and anyone who has ever loved a dollhouse. Other Details: 142 full-color illustrations 168 pages 11 x 11" Published 1984amateur architect of Monticello and the University of Virginia. Benjamin Franklin, who always listed his trade as printer, invented the stove that bears his name and helped write the Constitution. The word "amateur" comes from the Latin amare, to love. An amateur, simply put, is one who pursues an activity for love rather than for money. And love is what Mrs. Thorne lavished upon her work. A member by marriage of an important Chicago family, she devoted many years of her life and considerable portions of her substantial financial resources to the creation of her beloved rooms. What she lacked in formal artistic training she made up for with diligence, aptitude, and a keen sense of mission. It was her passion, combined with a unique confluence of historic and economic opportunities, that made the Thorne Rooms a reality. Born Narcissa Niblack in Vincennes, Indiana, in 1882, she was the daughter of a prominent businessman. Her early schooling was at the hands of a governess. At the age of 11 she was sent to public school and, subsequently, to a private school. Looking back in later years, she commented somewhat wistfully, "The trouble with my childhood was that I was given no education. Knowing how to put my hat on straight was supposed to be enough." True, it was not much of an education by modern standards, but by the standards of the day it was not uncommon. The world was a far smaller and more intimate place at the turn of the century than it is today. London and Paris were the capitals of gracious society; Boston, Washington, and Philadelphia were their American counterparts. Any young lady "of means" was expected to absorb the manners of these places and not pay much attention to anything else. Narcissa Niblack absorbed her lessons well. She accompanied her family on their travels to the East Coast and to Europe. Her sparse education was augmented considerably by tours of castles and fine country homes on both sides of the Atlantic. When her family moved to Chicago, sometime before 1900, she saw even more. In 1901 she married James Ward Thorne, whom she had known since childhood. He was the son of George R. Thorne, co-founder of Montgomery Ward and Company with A. Montgomery Ward. James and his three brothers all worked for the company. A vice-president and director, James retired in 1926 at the age of 53, enabling him to travel extensively with his wife. By the time she married, Narcissa Niblack had achieved all the success to which a young lady of her background could aspire. She was beautiful, gracious, and well-liked. By all accounts, she was delightful company—warm and open-hearted. Her marriage to James Ward Thorne gave her both wealth and social connections. It is no surprise that she quickly became prominent in Chicago society, giving her time to cultural institutions like The Art Institute of Chicago and the Chicago Historical Society, and to various charities like the Woman's Exchange and several hospitals. The Thornes had two sons, Ward and Niblack. The couple continued to travel, and she continued to indulge in her childhood passion: collecting miniatures. Her son Niblack recalls his mother's explanation of her lifelong fascination with miniatures as a compulsion; when she saw one, she just had to have it. A variety of reasons probably contributed to her love of miniatures. Certainly, dollhouses and toy soldiers were a common feature of childhood in her day. We do know that she was quite fond of dollhouses; in later years she recalled with affection one particular dollhouse with which she had played during her first years in Chicago. We also know that her uncle Rear Admiral Albert P. Niblack sent her miniatures that he picked up in his travels around the world. Many people have similar experiences without going further, but Mrs. Thorne was able to convert this childhood pastime into a lifetime work that would entertain and educate millions. During the 1920s, and especially after Mr. Thorne's retirement, the Thornes spent much time abroad. The world they saw on these trips was quite different from that in which they had grown up. World War I had seen to that. The great empires had been shattered. The supremacy of England and France in matters of art, manners, and taste was on the decline. The new powers of Russia and China had emerged as the result of violent revolutions. New styles of art had burst onto the scene as well—Cubism, Expressionism, and Surrealism—styles that were quite divorced from the grand and genteel traditions of earlier centuries. With these social and cultural upheavals came opportunities. The shifting economic order left many a once-wealthy family in need of money. Precious artifacts, including miniatures which had once graced elegant dollhouses and private collections in Europe, came onto the market at prices undreamed of ten years earlier. Mrs. Thorne was not one to let such opportunities pass. By 1930 the Thornes' apartment on North Lake Shore Drive in Chicago was so overflowing with miniatures that she rented a studio on Oak Street, a few blocks away, to relieve the crush. It was sometime during the 1920s that Mrs. Thorne conceived the idea of creating miniature rooms. There are several stories about just how the idea came to her, including one that traces it to her discovery of a miniature shadow box in a bazaar in Istanbul. But there were other important influences as well. The single most important catalyst was the appearance in American museums of full-scale period rooms. The idea of the period room—one that is carefully fashioned to recreate a real or imagined room from a bygone era—had been around for a half-century. The Essex Institute in Salem, Massachusetts, is generally credited with being the first American museum to install period rooms, which it did as early as 1907. By the 1920s the idea caught fire. In 1924 The Metropolitan Museum of Art in New York opened its collection of period rooms, spanning four centuries. The Art Institute of Chicago, The Detroit Institute of Arts, and The Brooklyn Museum followed suit in short order. It was during the 1920s also that the Rockefeller family undertook the restoration of Colonial Williamsburg. The period room, and by extension, the period village, was intended to serve an educational purpose. Mrs. Thorne, with her long years of volunteer work at major cultural institutions, found the concept appealing. She also saw that the creation of enough full-sized rooms to offer anything approaching a comprehensive look at European and American interior design would require more space than any museum could possibly spare. Constructing such rooms in miniature was a perfect way to solve the problem. In choosing this method, Mrs. Thorne was following another tradition of long standing: the royal dollhouse. Because the royal dollhouse had quite a different purpose from its present-day counterpart, it is worth a brief examination. An invention of the 16th century, it was intended to serve as a three-dimensional catalogue of its owner's possessions, a testimony to his greatness, wealth, and position. Duke Albert V of Bavaria, whose Baby House of 1558 is generally regarded as the first royal dollhouse, commissioned several such elaborate structures to display tiny replicas of his belongings. Throughout the 16th and 17th centuries, other such dollhouses were built by teams of craftsmen for nobles and wealthy burghers alike. The value placed on such houses was closely related to the intricacy of the workmanship. The vital difference between royal dollhouses and modern ones is that the royal versions were never intended to be playthings for children. Indeed, the very idea of "playing" with a dollhouse was completely absent. Instead, children were encouraged to view the houses as examples of proper living; it was assumed that they would absorb the "lessons" in decorum and manners that such houses displayed. Thus, royal dollhouses were instruments of instruction rather than sources of amusement. One of the most recent examples, still on display today at Windsor Castle, was Queen Mary's Dollhouse, created during the 1920s. Its elaborate workmanship and exquisite detail certainly provided some inspiration for Mrs. Thorne. A third phenomenon that influenced the creation of the Thorne Rooms was the growing fashion among wealthy Americans during the early decades of this century, and in the 1920s in particular, for building and furnishing their residences in various historical styles. By the 1930s, the way of life exemplified by the elegant estates of England, France, Germany, and what had been the Austro-Hungarian Empire was rapidly disappearing. The displacement of the old by the new appears to have made many of the well-to-do all the more nostalgic for the styles and manners of the pre-World War I era. The most emulated period was the 18th century, both in England and in France. The great appeal of the art, architecture, and decorative arts of this particular epoch for these Americans seems to have been its comfortable elegance, aristocratic associations, and compatibility with their gracious way of life. But homes or rooms of other periods—Tudor or French Renaissance, for example—were also frequently designed. Among the most spectacular and best known homes built in this historicizing spirit are Henry E. Huntington's San Marino in California, James Deering's Vizcaya in Florida, and, most notably, William Randolph Hearst's San Simeon, also in California. It should be noted that innumerable city apartments and suburban homes were designed and decorated in this taste, as well. Some of these environments incorporated genuine articles imported from Europe, sometimes even whole rooms. Dealers like Sir Joseph Duveen scoured Europe and Russia for his clients to find authentic paintings and sculpture, furniture, porcelain, and other objects. Most interiors, however, were pure pastiches, approximating the look of the period being imitated. Interior decorating firms like P. W. French of New York and Alavoine of New York and Paris were hired to design and produce paneling, furniture, draperies, upholstery, and carpets, which they then arranged and maintained; they were even asked to purchase appropriate silver, crystal, dishware, and linens. Understandably, the creation of such ambitious and expensive decorating projects slowed down considerably after the Depression and all but ceased after World War II. It was the confluence of all these social, economic, and cultural factors that gave Mrs. Thorne a rare chance to turn her private hobby into an extraordinary public display. She plunged into the creation of her rooms with the same passion that had marked her collecting. Her son Niblack recalls that she went to the studio nearly every day, often for long hours, and that at times there were 30 rooms in various stages of completion in her tiny studio quarters. Often there were several craftsmen at work in the studio at the same time—one creating architectural shells, another doing plasterwork, while a third carved the miniature moldings. In 1932 the first set of Thorne Rooms—30 in all—was put on display at the Chicago Historical Society for a benefit for the Architectural Students' League. One year later, the same thirty rooms were displayed to a much larger audience when they were installed in their own special building at Chicago's Century of Progress Exposition. Hundreds of thousands of people lined up to see them. Much encouraged by the popularity and success of the rooms, Mrs. Thorne began work on a new and even grander project. In the first set of rooms Mrs. Thorne for the most part had used miniatures that she already owned, so that the contents of her collection had in large measure dictated the historic periods she depicted. For this new set of rooms Mrs. Thorne fixed upon a comprehensive approach. She decided to follow a chronological scheme, and so to present a history of European design, creating the furniture and accessories from scratch where necessary. This enabled her to maintain a consistent scale of one inch to the foot in every room from this point on, except for the interior of the church Our Lady Queen of Angels (E-29). Mrs. Thorne has been credited with establishing one of the standard proportions used by miniaturists. The design and construction of this second set of rooms occupied her until 1937. She went to Europe several times expressly to collect miniatures and to study rooms she might wish to copy. Her husband accompanied her and, since he was a dedicated amateur photographer, no doubt helped her in her research by photographing the homes they visited. Mrs. Thorne had all of Europe to choose from, which makes her final choice of rooms quite interesting. (The Chinese and Japanese rooms appear to have been added as an afterthought, perhaps in recognition of the important influence of Oriental design on European decorative styles.) Of the twenty-nine European rooms in the Art Institute, all but one are either English or French. None dates from earlier than the 16th century. There are no ancient or medieval rooms; no rooms from Italy, Spain, Russia, Scandinavia; and few rooms from the houses of any but the well-to-do. There is just one room representing Germany (E-28). (Mrs. Thorne did create another German room—a Rococo hallway—which was initially exhibited with both sets of rooms. It was dismantled around the time that the rooms were placed in their present gallery in the Art Institute.) The rooms are arranged precisely in chronological sequence, with the greatest proportion (13 of 31, or 40 percent) depicting interiors from the 18th century. There are only four rooms from the 19th century and only two from the 20th. But Mrs. Thorne was not concerned with being comprehensive; that would have been impossible to accomplish. For the most part, she chose to portray the styles and periods she felt were significant. As we have seen, for Mrs. Thorne and others of similar background, the grace of English and French interiors during the 18th century was the standard of good taste and breeding. Her notes contain references to her belief that in the 18th century, interior design reached its zenith, and it was this period that provided the styles with which she surrounded herself in her everyday life. Thus, the European Rooms, taken as a whole, can be seen as a reminder of a style of living that had virtually come to an end with World War I. The second set of rooms was shown along with the first set at the World's Fairs in San Francisco and New York, in 1939 and 1940, respectively. Extensive publicity accompanied the rooms, including major articles in newspapers and in Life magazine. In the course of the next few years the rooms traveled to such cities as Baltimore, St. Louis, Boston, and Washington, D.C. Not one to rest on her laurels, Mrs. Thorne now embarked on a set of 37 American Rooms to complement the European ones. These were designed and executed between 1937 and 1940. As with the European Rooms, Mrs. Thorne's selection of places and periods is revealing. Of the thirty-seven rooms, twenty-one date from the 18th century and all but eight depict interiors on the East Coast. Certainly, Mrs. Thorne's selections can be accounted for, in part, by the fact that the East Coast was settled first and therefore displayed the greatest variety in interior design. But, her choices seem to have been determined as well by a conviction, held by most experts of her day, that in America the dominant and most important cultures were those of the Atlantic Seaboard, New England, and the Old South. Examples of such styles as Arts and Crafts, Art Nouveau, Prairie School, and Bauhaus modernism are noticeably absent. Only three rooms—from the West and Southwest—are contemporary ones, and the one room representing the entire Midwest (A-33) dates from the post-Civil War era. Once again, as she had with the European Rooms, Mrs. Thorne seems to have chosen periods and styles she admired and with which she was most familiar. Thus, what we have in the Thorne European and American Rooms is not the history of interior design, but a history. That history was Mrs. Thorne's; she had her own vision of what was important, and she followed it. Mrs. Thorne presented all three sets of rooms to The Art Institute of Chicago in 1940. Shortly afterwards, the museum sold the first set of 30 rooms to the IBM Corporation, which, in turn, sent them on tour for a number of years. In 1960 Mrs. Thorne's son Niblack happened to see some of them on display in a New York store window. They were, in his words, "the worse for wear." Years of travel had taken a heavy toll on the fragile rooms. Through the generosity of IBM, Niblack Thorne arranged to have the rooms returned to Mrs. Thorne. Repairs were made and the rooms were extensively refurbished. Sixteen of them were then donated to the Phoenix Art Museum in Phoenix, Arizona as a tribute to Niblack Thorne's late wife, Marie. Nine of the rooms were presented by IBM to the Dulin Gallery of Art in Knoxville, Tennessee, at about the same time. The remaining rooms were dismantled. Today both the Phoenix Museum and the Dulin Gallery have the rooms on permanent display. The Art Institute's Thorne Rooms were installed permanently in the museum in 1954 with a fund Mrs. Thorne provided for their exhibition and care. A personal triumph for Mrs. Thorne occurred in 1936, when she escorted members of the British royal family through an exhibition of her second set of rooms. Later, she was told that the family would accept a room made by her, and so she created an interior depicting a library in Windsor Castle. She intended it as a gift for the coronation of Edward VIII. When Edward abdicated, the room entered the collection of the Victoria and Albert Museum, London. Mrs. Thorne continued to work with miniatures for the remainder of her long life, but she never again produced such rooms for public display. She did, however, make many more modest rooms for her son Niblack and for friends and relatives in the Chicago area. In her last years she began to make shadow boxes, many of which were sold through the Woman's Exchange for charity. Shortly before her death in 1966 she created two rooms for Children's Memorial Hospital in Chicago. In her late miniatures Mrs. Thorne broke away from her earlier emphasis on periods to include Parisian street scenes with people and soldiers, and fanciful interiors with Peter Rabbit and other Beatrix Potter characters. She also continued to create dining rooms and parlors. She seems to have loved miniature books, for among her later works are libraries and bookstores with curved windows displaying their wares.

    large format, 1988 2nd revd ed

    From the aerial view of a Mexican sombrero to the wiggle of the Great Wall of China, images have met her eye and been interpreted through her own intensely personal vision, boldly making their way into the highest realms of fashion. In looking back over sixteen celebrated years of printing and designing she has been intrigued by the quixotic way in which her themes have related to journeys of various kinds and, in resolving to chart these, she has aimed at pinning down the creative process itself, in order to share it with others. Her 'departure point' on this Fashion Odyssey was the realisation that she and her textile designs (which she had already, unconventionally, physically printed onto the fabric herself) had too strong a personality to fit into other designers' fashions. So she made clothes the way she wanted them to be, letting the textiles influence the garment shapes - creating prints, printing, designing clothes, patternmaking, cutting out dresses and hand-rolling edges all herself. She still works fourteen hours a day, seven days a week.

    Well-loved landscapes, like Tom Thomson’s Jack Pine, appear beside some unexpected treasures like Edwin Holgate’s Nude in a Landscape. The essays by Joan Murray and Harris give historical context to the Group of Seven, and fascinating captions provide biographical notes and insightful critiques of each member’s style. No Canadian library is complete without this beautiful volume.

    Full color.

    Detailed coverage of where to stay and eat. The depth of information and quality of research make this book the best guide for the independent cultural traveller as well as for all students of art history, architecture and Italian culture. Ideal as an on-site guide as well as a desk resource. With maps and plans.

    Accompanied by over 400 color photographs, a guide to the art of the carousel, or merry-go-round, traces its development by describing style variations and identifiable features of carousel animals.

    It also looks at the roots of American Impressionism, explaining its progress from the avant-garde to more diverse manifestations.

    Miss Piggy takes the reader on a tour of her art museum which houses several muppet masterworks including Gainsborough's "Green Boy."

    

    Amano's first fantasy book publication. It is a compilation of Amano's acrylic, watercolor, and pen and ink work.Contains lots of art of Vampire Hunter D and also has a big section on Fairies. 71 fully colored pages and 33 black and white pages.

    It reads: "Never has there been such intense interest in a particular quilt style as there was in the crazy quilt during 1876-1900." This is a definitive book on this fascinating subject. A very interesting book for quilters and anyone interested in the art of fabric.

    

    Color paintings and faked photographs of strange lands, fantastic creatures, and magical events are accompanied by poems.

    Less famous than his huge paintings of floating rectangles in glowing colours, these were hitherto unavailable and largely unknown. The text emphasises how essential these works are to an understanding of Rothko's career.

    Batik, the legendary fiber art of painting and dyeing fabrics using a waxing process, has been influenced by cultures as diverse as the Chinese, Indians, Arabs, Portuguese, Dutch, and English. Like no other book before it, Batik takes the reader on a spellbinding tour of Java, revealing batik's history, motifs, and methods of production.

    The Big Book of Oil Painting: The History, the Studio, the Materials, the Techniques, the Subjects, the Theory and the Practice of Oil Painting

    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 Volupte, 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 prodigiousamount 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.

    The informative text and detailed captions will provide inspiration and fresh insight for all who admire great painting.This elucidating book documents the passion that Edgar Degas had for pastels, his radical experiments with color, texture, distortions of space, and unorthodox lighting that widely influenced other painters.

    

    Pencil Drawing Techniques brings together six of today's best artists, all of whom are incredibly fine instructors as well.The artists show you how to develop your skill and ability in handling pencil technique. Ferdinand Petrie shows you how to handle pencils and produce a controlled variety of lines, values, and textures. Then he shows you exactly how to use these techniques to draw landscapes in a range of styles and compositions.Rudy De Reyna explains pencil basics, and explores perspective, size relationships, form, and structure. Douglas grave teaches you how to begin drawing portraits by building a drawing step-by-step. Norman Dams and Joe Singer demonstrate how you can use the pencil to produce spectacular drawings of animals. John Blockley and Richard Bolton show you how pencil drawings can capture the essence of a subject and help you work out a plan for painting it. Finally, Bet Borgeson teaches you all the secrets of colored pencil work and demonstrates a whole new dimension. The book is divided into seven sections: how to handle a pencil, fundamentals of drawing, drawing landscapes, drawing portraits, drawing animals, drawing for watercolors, and handling color pencils. The copious illustrations show in detail how the artists use their techniques. For the artist who uses the pencil, Pencil Drawing Techniques is an an excellent instructional book of ideas for using the pencil creatively.

    

    

    Even worse, he often got into trouble by drawing pictures on the walls of his house. His mother didn't know what to do with him! But his father soon discovered a secret about this unruly child. When given paints and canvas, Pablito could make pictures that were very special. It wasn't long before the entire world would discover the genius that Pablito 's father first saw.

    A legend grew up around Modigliani, who, along with others, engendered the concept of the peintre maudit – the accursed painter – whose poverty, corruption and excess were the very seeds from which his remarkable works of art were conceived.Unlike the Italian Futurists, who stormed at their own overwhelming tradition, Modigliani seemed to sense the possibility of returning to it for renewal. His interpretation of a central theme of the tradition, the reclining female nude, produced a series of uniquely beautiful works, outstanding in the grace and harmony of their linear designs and the quality of their colour. Nude, portraits and studies of a surprising range of personalities and psychological types are represented in this ideal introduction to the artist, as is a selection of his remarkable stone carvings, of which about 25 survive.

    Rose-Petal almost dies when Nastina, the spider, does a nasty deed.

    The opening chapter deals with such innovative artists as Robert Smithson, Nancy Holt, Walter De Maria, and Christo, who in the 1960s began to free their art from the confines of tradition by constructing monumental sculptures in the environment. The following chapters discuss their predecessors, peers, and successors, including Constantin Brancusi, Herbert Bayer, Richard Long, James Turrell, and many others. The final four chapters (chapter 7 is entirely new) explore at length the increasing involvement of artists in land reclamation and urban design, featuring projects by Michael Heizer, Nancy Holt, Mel Chin, Maya Lin, and many others.

    Madeleine Hours, as Conservateur en Chef at the Louvre, in Paris, where many of Corot's works are on view, brings to her subject exceptional knowledge and insight.

    

    With all-new photographs, the Atlas of Foreshortening features: * Over 530 high-quality photographs * Both male and female nudes * Poses with slight, moderate, and marked foreshortening * Detail shots and full-body photographs * Many poses shot from multiple angles

    It has since been constantly reprinted to meet demand and has become a classic of its kind. For all those mystified by the strange pontifications of wine-buffs, Ronald Searle's The Illustrated Winespeak is the perfect guide to the meaning behind "distinctive nose", "full bodied" and "elegant but lacks backbone".

    Almost immediately, Genthe was attracted by Chinatown, or "Tangrenbu" — a teeming ten-block area of crowded buildings, narrow streets, and exotic sights and sounds in the shadow of Nob Hill.Fascinated by a living culture totally foreign to his experience, Genthe began to photograph Tangrenbu and its inhabitants. Today, these photographs (over 200 are known to exist) are the best visual documentary record of Chinatown at the turn of the century, offering priceless glimpses of the rich street life of the district before it was leveled by the great earthquake and fire of 1906.Rediscover the lost world of old Chinatown in serene and enduring images of cobbled streets and bustling shops, street vendors and merchants, fish and vegetable markets, Devil's Kitchen, the Street of the Gamblers, Portsmouth Square and more. But most of all, enjoy distinctive candid portraits of the people of old Chinatown: a pipe-bowl member, a paper gatherer, itinerant peddlers, toy merchants, boys playing shuttlecock, a fortune-teller, a sword dancer, women and children in ornate holiday finery, an aged opium smoker and many other unaffected and revealing images.Rich in detail and atmosphere, the photographs are complemented by historian John Tchen's informative and well-researched text, which outlines the turbulent history of Chinese-Americans in California, dispels numerous myths about Chinatown and its residents, and illuminates the role of Genthe's photographs in capturing the subtle flavor and texture of everyday life in the district before 1906.

    

    small crease upper rt. front cover,small crease rear,upper left cover as well as 2 blank pages preceding.New/Never Used.Satisfaction Guaranteed

    An art book on the techniques and details of painting on vellum and paper.

    

    

    They rank with those of southern France, northern Spain, northwest Africa, and outback Australia. These Great Murals, created by an unknown people, are without doubt the most distinctive trove of rock art in the Western Hemisphere. The site was unveiled to the modern world in the 1960s by adventure/mystery writer Erle Stanley Gardner who brought in UCLA archaeologist Clement Meighan to validate the importance of his find. But it was not until the 1970s, when author/photographer Harry W. Crosby undertook a systematic search for the largely unknown works hidden in the mountains of central Baja that the scope and significance of the find became known. He documented his search and discovery of over 200 previously unreported rock art sites leading to the original publication of The Cave Painting of Baja California by Copley Books in 1975 which first introduced this cave art to the general public. Since that time, Baja California's Great Murals have been designated a United Nations Heritage Site. This lavishly illustrated full-color account is greatly revised and expanded from the original edition and offers Crosby's unique perspective on the painted sites and painting styles found in different parts of the Great Mural area. Crosby's explorations, studies and writings since his original forays into the mountains of central Baja California have established him as one of the foremost authorities on Baja California's colorful past. This is the most complete treatment of this world-class archaeological site currently available. Every year, more andmore professional researchers, rock art aficionados, and curious tourists visit the caves and rock shelters of Baja California. To them as well as the armchair traveler, this is an invaluable reference work, field guide and adventure narrative to the magnificent art that survives on this rugged peninsula. This is a classic that will be read by the specialist and general reader for years to come. The Cave Painting of Baja California was named a selection of the Book-of-the-Month Club, History Book Club, and the Natural History Book Club. The book is endorsed by the Mexican government. Contributing photographer is Enrique Hambleton. Specifications: 256 pages; 10" x 10" hardbound with dust jacket; 71 full color photographs; 11 black and white photographs; 8 full color maps; 6 black and white maps; and 108 full color illustrations; bibliography; index; glossary of technical, colloquial, and Spanish terms.

    Covers color structure, modeling with color, rendering textures, using whites, capturing light, and using wet media.

    More than 550 full-color and 30 black-and-white photographs..

    An illustrated catalogue of imps, hobgoblins, demons, and witches taken from literature and the author's own imagination.

    As he traces the roots and evolution of the art, the story becomes one of prints, people, and events--from the printmakers, their artistic conceptions and works, to the curators, dealers, collectors, critics, printers, workshops, and exhibitions that played crucial supporting roles.

    

    It is based partly on the original importers catalogues and partly on the wide range of pieces handled by the author Bryan Catley - the leading specialist in the subject. Between the wars an entirely modern style of decorative sculpture emerged which was a complete break with the heavy romantic late nineteenth century schools, and was totally in sympathy with the vibrant young society of the 1920s. The use of bronze and ivory for a great number of these sensual figures in no way obscures the fact that many are of exceptionally high quality; add to this their sense of movement and rhythm and one realises that the large sums they now command is a reflection of a discriminative international collectors market.

    2 dolls and 20 costumes scrupulously rendered from original designs by legendary couturier. Gowns, capes, coats, sporting attire, theatrical costumes, more. Exotic inventive haute couture. Brief captions.

    Revolutions start the story -- first the American, then the French, leading to new forms of government and new ways for artists to view society and their own place within it. The Industrial Revolution created a new ecomonic order and a new aristocracy of moneyed patrons of the arts. New techniques found their way into the studios of painters and sculptors alike. This search for the new as the key to a better life remains a hallmark of modern life and art.19th-Century Art explores the nineteenth century's creative wellspings and present here the first comprehensive view of its achievements. To match the opulence of their subject, the authors selected over 500 illustrations, of which 89 are faithfully reproduced in excellent color. Dr. Janson photographed many of the sculptures himself, and many of the paintings have never before been reproduced in color.In the text, the authors draw from the historical documentation of the period of the dynamics of the making and viewing of art, examining the reciprocal influences of art and technology, art and politics, art and literature, and art and music.includes discussions of the careers of distinguished artists such as David, Manet, Renoir, and Rodin.

    Characteristic thick strokes and stress on points and angles give the style a power and dignity that transcends the temporal. Noted typographer and printing historian Dan X. Solo presents an impressive collection of 100 complete fonts of Old English and Gothic typefaces, derived from the immensely influential black-letter style. Choose from such classic type styles as: Abbey English, Alte Schwabacher, Blackstone, Caxton Initials, Dolbey, Engraver's Old English, Germania, Goudy Medieval, Lautenbach Initials, Munich Fraktur, Old Gothic Initials, Trump Deutsch, and 88 others. Almost all fonts include complete upper- and lower-case alphabets — many feature numerals and various punctuation marks. Attractive, versatile, and copyright-free, these alphabets are ready for immediate use on stationery, newsletters, posters, signs, greeting cards, and more. In fact, the high cost of setting specialty typefaces ensures that just a one-time use of material in this book will more than repay the cost of the entire volume. Graphic artists, illustrators, and designers will want to own this money-saving archive of elegant, ready-to-use Old English and Gothic fonts — unsurpassed for forceful, eye-catching appeal.

    Traces the development of European painting from the late 1200's through World War I by examining the lives and works of such artists as Giotto, Delacroix, Gauguin, and Picasso.

    1880-1900) — is reprinted directly from the pages of Shoppell's Catalogs, comprising an authentic and revealing source of late Victorian American architecture. Approximately 300 drawings.

    PAINTING BOOK

    A beautiful, full-color guide to a better understanding of portrait and figure painting -- the materials, techniques for success and the special problems involved in painting people.

    In this new edition, Jean Andrews updates each section with new material gathered over the last ten years. Particularly interesting are her descriptions of recent medicinal uses of peppers (including a recipe for pain-relieving capsaicin cream) and the inclusion of two additional cultivars, Datil and Scotch Bonnet.Like the first edition, this volume is illustrated with botanically accurate, yet aesthetically pleasing paintings that show the blossoms, buds, young peppers, and mature specimens of 34 cultivars in full color. Dr. Andrews also provides a recipe for the most typical dish in which each pepper is used, recipes that she herself has tested and served to grateful friends. With its up-to-the-minute, encyclopedic text and beautiful illustrations, Peppers remains a botanical natural history par excellence.

    Discusses the nature of art, the painter and society, inspiration, style, the philosophy of modern painting, the picture plane, color and medium, creativity, and modern artists.

    In hand-written text and vivid illustrations, Back Roads of Washington guides readers through 6,000 miles of scenic beauty. This regional classic captures the memorable details of back roads that can be enjoyed on the way to a destination, on a Sunday drive, or sitting in a comfortable armchair.