Street life, drugs, art and nature, family, AIDS, politics, friendship and acceptance: Wojnarowicz challenges us to examine our lives -- politically, socially, emotionally, and aesthetically.

    A retrospective collection of the humorous, macabre artwork of Charles Addams features black-and-white drawings and full-color covers from The New Yorker, in a selection that spans more than fifty years in Addams' career.

    Included among the illustrations are more than eighty full–color paintings, as well as dozens of black–and–white pictures and line illustrations. Among the famous and little–known works included in Frida Kahlo: The Paintings are The Two Fridas, Self–Portrait as a Tehuana, Without Hope, The Dream, The Little Deer, Diego and I, Henry Ford Hospital, My Birth, and My Nurse and I. Here, too, are documentary photographs of Frida Kahlo and her world that help to illuminate the various stages of her life.About the Author:Hayden Herrera is an art historian. She has lectured widely, curated several exhibitions of art, taught Latin American art at New York University, and has been awarded a Guggenheim Fellowship. She is the author of numerous articles and reviews for such publications as Art in America, Art Forum, Connoisseur, and the New York Times, among others. Her books include Frida: A Biography of Frida Kahlo; Mary Frank; and Matisse: A Portrait. She is working on a critical biography of Arshile Gorky. She lives in New York City.

    "To understand it, you have to see how it mirrors my life." Richardson, who lived near the artist in Provence for ten years and became a trusted friend, was able to observe and record this phenomenon at first hand. Later, Picasso's widow continued to give Richardson access to the artist's studios and storerooms. This close personal friendship and the privilege of working in hitherto inaccessible archives make Richardson uniquely qualified to write the artist's life, rescuing his renown from sensationalist legend and specialist pleading and analyzing anew the traumas and obsessions that triggered his explosive genius.Richardson is the first biographer to make sense of the myriad contradictions that leave so many statements about Picasso's nature equally true in reverse. The artist's ambivalence is one of the author's central themes. At last we are able to see how his courage and terror misogyny and tenderness, generosity and thrift, superstition and skepticism, cynicism and sentiment, are reflected in the conflicts and paradoxes in his work.Richardson's eye is finely attuned to the complexities of Picasso's art, and his extensive knowledge of cultural history enables him to show how Picasso plundered the art of the past, the imaginations of his poet friends, the beliefs of mystics and magi, to create a revolutionary new synthesis. The author's evocation of Picasso's ferocious ego, demonic loves and hates and black fears is the more absorbing for its terse and lively prose and freedom from jargon.This first volume of Richardson's prodigiously detailed and documented four-volume study takes Picasso to the age of twenty-five. It reveals how the adolescent Picasso struggled, through determination and study, to escape the shadow of his father's artistic failures. It describes his precocious success in Barcelona and Paris and the period of rejection and despair that followed. We watch Picasso transform the prostitutes of the Saint-Lazare prison into Blue period madonnas and, later, the performers of the Montmartre circuses into Rose period harlequins. Volume I culminates in Picasso's dawning perception of himself as the messiah of the modern movement.Some nine hundred illustrations, many of them unfamiliar, enable the reader to follow Picasso's mesmerizing development in images as well as words.

    But what about the elements that make up a picture? Using the tale of Little Red Riding Hood as an example, Molly Bang uses boldly graphic artwork to explain how images -- and their individual components -- work to tell a story that engages the emotions: Why are diagonals dramatic? Why are curves calming? Why does red feel hot and blue feel cold?

    The album covers collected in this comprehensive volume under the well-known Blue Note record label embody classic design and pioneering typography. Two hundred color photographs of the album sleeves, an informative history of the Blue Note record company, and a portrait of Reid Miles, who designed nearly 500 album covers, capture the integrity of this distinctive record label. Sophisticated jazz connoisseurs and young listeners alike, as well as those with an interest in style and graphic design, will enjoy this exciting book of jazz memorabilia.

    He had good grounds for the confidence palpable in his statement, for in the history of 20th century art, his name stands out over all the others. In Picasso's paintings, drawings, lithographs, ceramics, and sculptures, he was tirelessly inventive and innovative, exhibiting an aesthetic bravado that kept him one step ahead of his contemporaries. From subject matter to new forms and techniques to new media, Picasso got there first. The Spanish artist's enormous output, from the eight-year-old's beginnings to the late work of a man of ninety-one, is surely one of the most diverse and creatively energetic in the whole history of art, and it is no exaggeration to see him as the genius of the century. Carsten-Peter Warncke's study is a thorough review of Picasso's entire oeuvre, from the early Blue and Rose Periods, through the analytic and synthetic cubism and classicist phase all the way up to the art of the old savage Picasso. Our study of Picasso, the most exhaustive record of his work to date, contains almost 1500 illustrations'from his earliest drawings to the master's very last painting. Extensive bibliography section as well as illustrated section about Picasso's life and work Index of Names

    An understanding of human form is essential for artists to be able to express themselves with the figure. Anatomy makes the figure. Human Anatomy for Artists: The Elements of Form isthe definitive analytical work on the anatomy of the human figure. No longer will working artists have to search high and low to find the information they need. In this, the most up-to-date and fully illustrated guide available, Eliot Goldfinger--sculptor, illustrator, scientific model-maker, and lecturer on anatomy--presents a single, all-inclusivereference to human form, capturing everything artists need in one convenient volume. Five years in the making, and featuring hundreds of photos and illustrations, this guide offers more views of each bone and muscle than any other book ever published: every structure that creates or influencessurface form is individually illustrated in clear, carefully lit photographs and meticulous drawings. Informed by the detailed study of both live models and cadavers, it includes numerous unique presentations of surface structures--such as fat pads, veins, and genitalia--and of some muscles neverbefore photographed. In addition, numerous cross sections, made with reference to CT scans, magnetic resonance imaging, and cut cadavers, trace the forms of all body regions and individual muscles. Information on each structure is placed on facing pages for ease of reference, and the attractivetwo-color format uses red ink to direct readers rapidly to important points and areas. Finally, an invaluable chapter on the artistic development of basic forms shows in a series of sculptures the evolution of the figure, head, and hands from basic axes and volumes to more complex organic shapes.This feature helps place the details of anatomy within the overall context of the figure. Certain to become the standard reference in the field, Human Anatomy for Artists will be indispensable to artists and art students, as well as art historians. It will also be a useful aid for physical and dance therapists, athletes and their trainers, bodybuilders, and anyone concerned withthe external form of the human body. With the renewed interest in figurative art today, this will be an especially welcome volume.

    Here nearly 200 illustrations--over 100 in color--make a fascinating collection.

    Four-color throughout.

    David Levi Strauss writes in his essay: "The constitutive facts of Francesca Woodman's life are by now well known. We know that she was born in 1958, that she began taking photographs seriously at age thirteen or fourteen and continued this involvement into her twenty-second year, building up, in this brief time, a remarkably coherent and affecting body of work. And we know that on January 19, 1981, just two and a half months before her twenty-third birthday, she took her own life, leaping from a window on the Lower East Side in Manhattan to her death". This volume, containing many unpublished images, finally allows us to discover the full body of work of this artist, created in Rhode Island, Rome, New York, MacDowell Colony, New Hampshire: self-portraits, mise-en-scenes, nudes, and deeply emotional collage-like images. They all show her intense relation with the camera and her own self, long before this kind of picture-making became fashionable.

    We need not walk far, because paradise is right around the corner." --Hundertwasser Friedrich Stowasser, born in Vienna in 1928, called himself Friedensreich Hundertwasser Regentag Dunkelbunt. True to the colorful variety of his names, he has pursued many activities as a painter, architect, and ecologist, and as "one who awakens identities." This presentation of Hundertwasser's work in all of its different facets is guided by the artist's own view of himself and his purpose. And, because his work is, by nature, virtually inseparable from his biography, his artistic and political actions, and equally so from the "stories" of his (ostensibly) private life, a vivid portrait of the artist takes shape before the reader's eyes. Excerpts from conversations between the author and the artist lend a sense of immediacy and authenticity to the narration.

    By the time of his death in 1990 at the age of thirty-one, Haring's career had moved from underground New York to the most prestigious galleries and museums in the world. Here Keith Haring's story is told by those who knew him—and by the artist himself. He candidly reflects on all aspects of his life, including his approach to art, being gay, and how he came to terms with AIDS. John Gruen masterfully combines Haring's own words with the observations of those who knew him best, including art dealer Leo Castelli; Madonna; artists Roy Lichtenstein, Francesco Clemente, and Kenny Scharf; Claude Picasso; Timothy Leary; and William Burroughs, among others. Haring emerges as both a courageous and enigmatic personality—a champion of art for all people.

    Dragons fill the roles of monstrous, terrifying beasts in fairy tales, but their own story was one that remained a mystery until now. The Book of the Dragon delves into the secret world of these captivating animals, revealing a rich and fascinating culture filled with poetry, magic, jewels, and knowledge.

    Sixteen performance artists discuss human sexuality, racism, sexism, and the ways in which art can be used to break down taboos and dogma.

    < **Postponed Till Spring 99"**

    Robert Polidori's sublime photographs show Versailles' architecture, interiors, and gardens, from sweeping aerial views, to grandiose views of the elaborately decorated palace ceilings, to intimate photographs of the paintings and sculptures that grace the walls and gardens. The exquisite artistry of each carefully considered decorative detail reveals Versailles in all its magnificence.The photographs show all the beauty and ornate decoration of Versailles, in every season and from every possible perspective. Polidori presents quiet, warmly-lit landscapes of the gardens and pools, dramatic visions of the colonnades, and expansive views of the vast, airy, luxurious salons. The text is a scholarly study of the history of the evolving aesthetic of this remarkable palace, attesting not only to its importance as the ultimate expression of European absolutism but also to its significance as an experimental design workshop that was to become widely influential.

    Many of their elaborate etchings, in which they depicted outlandish, often impossible, structures and cityscapes of allegorical content, were collected in our 1990 book Brodsky & Utkin. Now, with the addition of forty-three new and never-before-published prints, we are pleased to announce this updated edition.In their designs, by turns funny, cerebral, and deeply human, Brodsky & Utkin borrow from Egyptian tombs, Ledoux's visionary architecture, Le Corbusier's urban master plans, and other historical precedents, collaging these heterogeneous forms in learned and layered scrambles. Underlying the wit and visual inventiveness is an unmistakable moral: that the dehumanizing architecture of the sort seen in Russian cities in the 1980s and 1990s, and elsewhere around the globe, takes a sinister toll.A new preface assesses the works of Brodsky & Utkin and reminds us that the greatest art is often born of adversity. Beautifully printed in 300-screen dry-trap duotones by the Steinhauer Press, Brodsky & Utkin is a book for artists, architects, and collectors alike.Author Biography: Lois Nesbitt is a writer on art and architecture who lives in New York.

    In this magisterial book, Hans Belting traces the longhistory of the sacral image and its changing role in European culture.Likeness and Presence looks at the beliefs, superstitions, hopes,and fears that come into play as people handle and respond to sacredimages, and presents a compelling interpretation of the place of theimage in Western history."A rarity within its genre—an art-historical analysis of iconographywhich is itself iconoclastic. . . . One of the most intellectuallyexciting and historically grounded interpretations of Christianiconography." —Graham Howes, Times Literary Supplement"Likeness and Presence offers the best source to survey the facts ofwhat European Christians put in their churches. . . . An impressivelydetailed contextual analysis of medieval objects." —Robin Cormack,New York Times Book Review"I cannot begin to describe the richness or the imaginative grandeur ofHans Belting's book. . . . It is a work that anyone interested in art,or in the history of thought about art, should regard as urgent reading.It is a tremendous achievement."—Arthur C. Danto, New Republic

    Caldecott Medalists Leo and Diane Dillon and their son, Lee, depict a most unusual household filled with pickle-winged fish, flying furniture, and other bizarre delights. “From its sumptuous paintings to its gilt frames to its quixotic verse, everything about this exquisitely produced tour de force bespeaks wit and elegance.”--Publishers Weekly

    This critically acclaimed, graphic report on family violence reveals the lives of ordinary women-and the men who batter them.

    

    It includes sections on the artist's prints, his last years, and his influence on contemporary art. Richard Diebenkorn: Revised and Expanded is the ultimate source for art enthusiasts and academics who want an authoritative look at Diebenkorn's career as one of the leading modern artists of the twentieth century.Author Gerald Nordland is an award-winning art historian, critic, independent curator, author, and educator who currently lives in Chicago, Illinois. He is a leading Diebenkorn scholar and a founder of the California Institute of the Arts.

    This work is rich and extensive enough to serve as your spiritual reading for a lifetime, as it helps you relate the particulars of the message of Christ to the ordinary circumstances of your day. Each volume is small enough for you to carry it to Adoration or some other suitable place for meditation. The whole set comes with a handsome slipcase that prevents wear-and-tear on the individual volumes.

    Enveloped in a nimbus of immorality, he if any had a way of continually provoking the cultural authorities and astounding the public with his inexhaustible creativity. Be it as a writer, commentator or painter, actor, choreographer or producer, in the course of his spectacular career he worked and quarreled often enough with all the great artists of his era, from Diaghilev, Stravinsky, Satie and Picasso to Apollinaire, Radiguet, Gide and Truffaut. But no matter what form of artistic expression Cocteau chose to use, he left his personal stamp upon it in some inimitable way. While his literary works and films are known to a wide public, Jean Cocteau's extensive oeuvre as a painter and draughtsman still holds surprises in store. This book, with over 140 illustrations, presents a broad selection of his erotic drawings from four decades, many as yet unpublished. From "Le Livre blanc", Cocteau's controversial homoerotic manifesto printed anonymously in 1928, to his works from the early 60s, the style and line-work may vary but never the theme: Cocteau's highly explicit works are devoted to one subject alone: the Eros of the male sex."As far back as I can remember, I can find traces of my love for boys. I always preferred the strong sex, which I think may legitimately be called the fair sex."With these words Jean Cocteau openly acknowledged a homosexuality that he lived out to the full, and expressed in his erotic drawings. The volume contains 140 of his most beautiful works from four decades, most of which are published here for the first time.

    A photograph of a gravely joyful crowd gathered on a Prague street in November 1989 provokes reflection on the meaning of democracy and the reunion of a people with long-banished hopes and dreams.With the luminous essays in Keeping a Rendezvous, we are given to see the world as Berger sees it -- to explore themes suggested by the work of Jackson Pollock or J. M. W. Turner, to contemplate the wonder of Paris. Rendezvous are manifold: between critic and art, artist and subject, subject and the unknown. But most significant are the rendezvous between author and reader, as we discover our perceptions informed by John Berger's eloquence and courageous moral imagination.

    Following the success of his first book, "The Best of the Joy of Painting," Bob Ross gathered sixty more of his favorite paintings to create " More Joy of Painting." Now available in paperback, "More Joy of Painting" presents each painting in full color, followed by detailed instructions and a series of black-and-white photos to walk you, step-by-step, through the process of creating a Bob Ross original.So, whether you want a landscape of snowcapped mountains or a serene fall day, with "More Joy of Painting" you can create a beautiful work of art with the same ease and grace as Bob Ross.

    A study in the CELTIC DESIGN series of all the simplest forms of Celtic design, with instructions on how to draw and decorate letters in an authentic Celtic style as well as how to create illuminated manuscript pages.

    This is the story of its conquest and of the repeated failures to reach its summit.

    

    More than 150 of the surviving masterworks from the original show are collected and illustrated in this book.

    With his deep understanding of Eastern and Western art, he brought contemporary Japanese woodblock prints to a new standard and level of international recognition. Along with contributions by Ogura Tadao, H. E Robison, Yasunaga Koichi, and Yoshida Hiroshi's sons, Yoshida Toshi and Yoshida Hodaka, this volume is completed with a portrait, an illustrated printing process, chronological history, bibliography, and list of public collections.

    A collaboration between Nick Bantock and Peter Gabriel's Real World MultiMedia team, this multimedia package features two hours of original soundtrack and over an hour's worth of film sequences as users immerse themselves in a mysterious interactive love story, told through the intense correspondence between Griffin, a young artist from London and Sabine, his enigmatic South Sea Island muse. A Windows95/Macintosh CD-ROM. Available now.

    For the question of painting is, at its heart, a question of visibility—of appearance. As such, the painting is a privileged case of the phenomenon; the painting becomes an index for investigating the conditions of appearance—or what Marion describes as "phenomenality" in general.In The Crossing of the Visible, Marion takes up just such a project. The natural outgrowth of his earlier reflections on icons, these four studies carefully consider the history of painting—from classical to contemporary—as a fund for phenomenological reflection on the conditions of (in)visibility. Ranging across artists from Raphael to Rothko, Caravaggio to Pollock, The Crossing of the Visible offers both a critique of contemporary accounts of the visual and a constructive alternative. According to Marion, the proper response to the "nihilism" of postmodernity is not iconoclasm, but rather a radically iconic account of the visual and the arts that opens them to the invisible.

    A leader of the Dada movement in Germany, he later joined the circle of writers and artists gathered in Paris around André Breton, the unofficial founder of the Surrealist movement. At the outset of World War II, Ernst fled Germany for the United States, first going to New York and eventually settling in Sedona, Arizona. Ernst returned to Europe in 1950 and continued to explore Surrealist imagery and methods throughout his life.This important book accompanies the first retrospective exhibition of Ernst’s work held in the United States in thirty years. It examines his pioneering accomplishments in painting, collage, and sculpture and considers his use of the techniques of frottage, grattage, and decalcomania. Also featured are Ernst’s unique collage novels--narratives comprising disparate images culled from nineteenth-century engravings and combined in surreal, unsettling compositions. Leading scholars write on various aspects of Ernst’s life and art: Werner Spies on Ernst in America; Ludger Derenthal on Ernst and politics; Pepe Karmel on Ernst and contemporary art; Thomas Gaehtgens on Ernst and the old masters; and Robert Storr on the collage novels.

    Judy Collins recounts the dramatic story behind the hymn and its miraculous influence on her life.This edition presents the complete lyrics, keyed line-by-line to the music, and is beautifully illustrated with inspirational photographs.

    It covers his "Middle Years" and features the classic Two Bull Dykes Fighting For The Privilege Of Buying A Prostitute A Banana Daquiri. Introduction by Robert Crumb.

    The book is a journey into the imagination through the English landscape. Each chapter has a theme - such as music - and explores its significance for one or more artists.

    Covering some of the major works in the Salvador Dali Museum, including more than 160 oil paintings, drawings and watercolours, this book presents an overview of the career of the controversial surrealist artist, from the 1920s to the 1970s.

    Never-before-seen instructions, diagrams and photos explain the tricks behind using Japanese mokume gane, differential heat treating, power hammers, and other techniques to make kukris, wavy blades, spears and swords that bear the master's mark.

    

    This useful handbook guides beginning and intermediate potters through each stage of raku, from its origins and history to clays and glazes, instructions on firing, combustion, and post-firing methods. Dozens of recipes are included for clay bodies and glazes, as well as recommendations for using commercial products. Detailed information is provided for building or buying raku kilns, with troubleshooting guidelines for firing and kiln design issues. Author Steven Branfman has expanded and updated his original edition, including more information on slip resist/naked raku, raku saggar, fuming, vapour glazing, and other related techniques, and many more photographs.

    350 reproductions and photographs, 200 in full color.

    

    Silk painting is rapidly gaining an enthusiastic following among surface designers, fine artists, and craftspeople alike. The pure, transparent colors of the dyes, combined with the luxuriant drape of the silk itself, combine to make this a uniquely sensuous medium. By using gutta, wax, alcohol, or salt, the artist can create a variety of appealing textures and visual effects. This book shows exactly how to use each technique and how to combine them for intricate paintings.

    Based on a combination of "Sammy Johnsin" (a Sambo caricature) and Charlie Chaplin, Felix the Cat was the first cartoon character to exhibit an individual "personality" in moving pictures, preceding Mickey Mouse by a decade. From 1919 to 1933 Felix was internationally celebrated, as popular as Chaplin and Buster Keaton. Felix's producer, Pat Sullivan, a journeyman artist, chronic alcoholic, and convicted rapist, claimed credit for creating and developing Felix. But, as John Canemaker discovered, in truth it was Otto Messmer, Sullivan's brilliant, self-effacing production manager, who conceived, animated, and directed the more than two hundred Felix films during the period of his greatest popularity. And by focusing on Messmer's amazing achievement, Canemaker illuminates the entire world of film animation in the years before Walt Disney.

    Confronts the effects of modernism on society and proposes a remedy based on a redefinition of our art and culture

    Clever illustrations and story lines, together with full-color reproductions of actual paintings, give children a light yet realistic overview of each artist's life and style in these fun and educational books.

    The entertaining saga of one of the world's wealthiest men describes his lifestyle at his sixteen-thousand-acre estate along the Mexican coast and tells how his shrewd business sense saved his investments from the crash of 1987 and the Persian Gulf crisis.

    200 line drawings and lithographs, plus an 8-page color insert.

    

    

    

    

    Malcolm Miller's illuminating text is supported by Sonia Halliday and Laura Lushington's stunning photographs. Look out for more Pitkin Guides on the very best of British and French history, heritage and travel. Contents:Plan of the windows of Chartres Cathedral --The History of the Chartres Cathedral: Chartres from Roman Times Until 1194 --1194-1260: The Gothic Cathedral --The Donors' Windows --Chartres Cathedral Since 1260 --Architechture --The 12th Century: Sculpture --The Royal Portal --Glass --The Jesse Window --The Incarnation Window --The Passion and Resurrection Window --The Blue Virgin Window --The 13th Century: Sculpture --The North Proch --Glass --The North Rose Window --The Symbolic Window of the Redemption --The Joseph Window --The Noah Window --The john the Divine Window --The Mary Magdalene Window --The Good Samaritan and Adam and Eve Window --The Assumption Window --The Life of Mary Window --The Zodiac Signs Window --The Charlemagne Window --The Parable of the Prodigal Son Window --The Upper Storey Windows --Sculpture --The South Porch --Glass --The West Rose Window --The South Rose Window --The Heavenly Jerusalem --

    Meinrad Craighead includes 30 new paintings in this spiritual book.

    It has long been assumed that these paintings—of farmers, western boatmen and trappers, blacks both slave and free, middle-class women, urban urchins, and other everyday folk—served as records of an innocent age, reflecting a Jacksonian optimism and faith in the common man. In this enlightening book Elizabeth Johns presents a different interpretation—arguing that genre paintings had a social function that related in a more significant and less idealistic way to the political and cultural life of the time. Analyzing works by William Sidney Mount, George Caleb Bingham, David Gilmore Blythe, Lilly Martin Spencer, and others, Johns reveals the humor and cynicism in the paintings and places them in the context of stories about the American character that appeared in sources ranging from almanacs and newspapers to joke books and political caricature. She compares the productions of American painters with those of earlier Dutch, English, and French genre artists, showing the distinctive interests of American viewers. Arguing that art is socially constructed to meet the interests of its patrons and viewers, she demonstrates that the audience for American genre paintings consisted of New Yorkers with a highly developed ambition for political and social leadership, who enjoyed setting up citizens of the new democracy as targets of satire or condescension to satisfy their need for superiority. It was this network of social hierarchies and prejudices—and not a blissful celebration of American democracy—that informed the look and the richly ambiguous content of genre painting.

    Commemorates the fiftieth anniversary of the favorite rodent-feline team and explores its creation, award-winning films, animation techniques, television cartoons, and collectibles.

    Annotation copyright Book News, Inc. Portland, Or.

    His work is found in the collections of nearly every major US museum, and in 1989 he won first prize at the Sao Paula Bienal. Wood is Puryear's favourite medium, sometimes combined with tar, wire or other substances, and his abstract ensembles are often on an imposing scale. This volume aims to show the artist's full range of materials, techniques and influences, and the reasons for his international recognition.

    

    Riddled with self-doubt, racked by paranoia and hounded by circumstances beyond his control, our hapless hippie hero - aided and abetted by his punk pal Andy - sets off in search of sex, drugs and spiritual enlightenment.

    It offers an exicting and provocative analysis of the body and body metaphors in an encyclopedic work of truly international and interdisciplinary nature".-- Louis Gottschalk Prize "Stafford's books is ... full of intriguing, even intoxicating, ideas. For anyone involved with images it opens unexplored avenues of thought, forcing one to question traditional assumptions about both images and text". -- Helene Roberts, Visual ResourcesIn this erudite and profusely illustrated history of perception, Barbara Stafford explores a remarkable set of body metaphors deriving from both aesthetic and medical practices that were developed during the enlightenment for making visible the unseeable aspects of the world. While she focuses on these metaphors as a reflection of the changing attitudes toward the human body during the period of birth of the modern world, she also presents a strong argument for our need to recognize the occurrence of a profound revolution -- a radical shift from a text-based to a visually centered culture.Co-recipient of the 1992 Louis Gottschalk Prize, The American Society for Eighteenth Century Studies

    Drawn from the authors’ 30 years of experience in the field, these painted finishes simulate a wide variety of wood grains, stones, and marbles. More than 55 techniques are explained in depth, with hundreds of step-by-step color photographs and complete lists of the materials and tools needed. Everything that a professional or hobbyist needs is here, from basics, to specific techniques such as marbling, glazing, and graining, to an overview of business practices, including startup, preparing estimates and contracts, and getting the job done. A comprehensive decorative painting resource, ideal for professionals, aspiring professionals, and committed amateurs, Professional Painted Finishes packs the combined knowledge of three top experts into one indispensable reference.From the Trade Paperback edition.

    During this long career he established an enduring reputation as a designer with a style that was distinctly his own—a style based on illusion, architectural perspectives, and a host of personal leitmotifs, such as the sun, playing cards, fish, and flowers, from which he spun seemingly endless variations.Fornasetti applied his decorative vocabulary to an astonishing array of objects—hats, vests, pipes, ashtrays, chairs, plates, cabinets, pianos, ocean liners—and transformed them by the application of unexpected images.Today his work seems more contemporary and is more popular than ever. Designers and collectors celebrate his use of allusion, unsettling images, and striking juxtaposition to create unique, whimsical objects. Fornasetti’s masterpieces continue to shock, delight, and inspire.

    Three plots then alternate through the play. In one, Caliban falls in with Stephano and Trinculo, two drunkards, whom he believes to have come from the moon. They attempt to raise a rebellion against Prospero, which ultimately fails. In another, Prospero works to establish a romantic relationship between Ferdinand and Miranda; the two fall immediately in love, but Prospero worries that "too light winning [may] make the prize light", and compels Ferdinand to become his servant, pretending that he regards him as a spy. In the third subplot, Antonio and Sebastian conspire to kill Alonso and Gonzalo so that Sebastian can become King. They are thwarted by Ariel, at Prospero's command. Ariel appears to the "three men of sin" (Alonso, Antonio and Sebastian) as a harpy, reprimanding them for their betrayal of Prospero. Prospero manipulates the course of his enemies' path through the island, drawing them closer and closer to him.In the conclusion, all the main characters are brought together before Prospero, who forgives Alonso. He also forgives Antonio and Sebastian, but warns them against further betrayal. Prospero indicates that he intends to entertain them with the story of his life on the island. Prospero has resolved to break and bury his magic staff, and "drown" his book of magic, and in his epilogue, shorn of his magic powers, he invites the audience to set him free from the island with their applause.

    Now, however, John Cage is universally acknowledged as the most influential composer of his generation. Cage's activities as composer, graphic artist, poet, teacher, critic and—not least—writer are explored in this collection of readings by and about this avant-garde pioneer, covering his most innovative period, 1933–1970. The main concern of John Cage: An Anthology is, of course, music: here composers and critics such as Virgil Thompson, Henry Cowell, Edward Downes, and Michael Zwerin analyze Cage's contribution to sound; Cage comments on his own works, such as Sonatas and Interludes, Cartridge Music , and Williams Mix ; and the editor, Richard Kostelanetz, also includes Cage's groundbreaking essay, ”Future of Music: Credo” and his perceptive remarks about composers from Satie and Webern to Stockhausen, But this anthology by no means neglects the other aspects of Cage's creativity. Cage writes fondly here of his collaboration with Merce Cunningham, the space-time avant-garde dancer and choreographer; Barbara Rose and Dore Ashton review Cage's influence on the contemporary art scene; his poetry is both represented herein and analyzed by Kostelanetz; and his teaching is remembered vividly by his students. Including a newly updated bibliography, discography, and catalog of compositions, as well as more than sixty illustrations, this collection is invaluable not only for students, teachers, and scholars, but for all who take a lively interest in the growth of the avant-garde in the twentieth century.

    Her England is a world of childhood, where children dance in flowery meadows and characters from nursery rhymes find a life which is forever beautiful and innocent. The quaintly dressed children with their adult expressions were an overnight success in the nineteenth century and enjoy great popularity today.Although Kate painted and exhibited extensively, it was through her book illustrations that she became a household name in England. Her first book, The Birthday Book for Children, sold an amazing 70,000 copies and marked the beginning of her successful, though sometimes unhappy, career.The Art of Kate Greenaway is the first book to bring together in color such a large selection of Kate Greenaway's work. The book charts her work from her earliest teenage paintings through her student work and her exhibited oil paintings and watercolors to the greeting cards and children's books which made her a celebrity. The pictures are accompanied by a brief biography and an examination of her achievements in the area of book illustration.Born in 1846, the daughter of a commercial artist and wood engraver, Kate was encouraged to draw from an early age. Her early watercolors, exhibited at the Dudley Gallery in 1868, caught the eye of an editor and led initially to a commission for magazine illustrations and later to designs for Christmas cards and valentines. Her success would become so widespread that it would even earn her introductions at Buckingham Palace.

    Volume III contains 579 high-resolution designs from 124 categories. Each CD-ROM in the set comes with a licensing agreement granting FREE usage of each image.

    Thomas McEvilley confronts, in these six straightforward essays, the ideas and philosophies which have exalted art above constructive involvement in the world for two centuries. The formalist aesthetics of Clive Bell, Roger Fry, Clement Greenberg, and Susan Sontag are specifically criticized, revealing their buried assumptions and agenda. The persistence of the Romantic idea of Self is discovered at the heart of Modernism along with ideas of Spirit secretly enshrined in the distinction between abstraction and representation. Mr. McEvilley goes on to shed new light on the roots of Modernism, the collapse of the idea of history, and the subsequent development of a global discourse. He brings to Art & Discontent a commanding knowledge of Greek and Egyptian art, Western and non-Western philosophies, and the most avant garde of contemporary art and artists. In explaining why our Modernism was not unique and why it is being superseded, McEvilley suggests the functions that art can perform in a post-Modern culture and offers compelling reasons why the history of art needs to be rewritten from a thoroughly renewed perspective.

    Opening with a series on drawing using contour and rhythm basedon photographs, the book also features down-to-earth advice for working with watercolors and oil. 200 full-color and 30 black-and-white illustrations. 12,500 first printing.

    In addition to the colour illustrations, the book includes notes to the plates and an introduction describing the life and work of the author.

    Nineteen challenging assignments and over one thousand pieces of solution art executed by the authors' students are presented. Each visual problem shows the actual assignment sheet given to the students and includes an analysis of the problem's underlying intent, addressing principles such as framal reference, negative-positive relationships, cropping techniques, and other important issues.

    In the Mega Square Audubons Birds, 120 types of birds are presented with a description for each type. The plates chosen are the most well-known, thus people will easily find their favorite bird. The Mega Square's small and practical format is bound to make a perfect gift.

    An introduction to the Japanese craft of paper marbling, detailing both traditional and modern methods and including step-by-step instructions on imitating traditional designs and adapting them to Western tastes.

    Perhaps because of the popularity of his Easter eggs, Fabergé’s skilled competitors have been largely overlooked. Fabergé and the Russian Master Goldsmiths tells their story and features their masterpieces as well as Fabergé’s. Today, the creations of the Russian master goldsmiths are dispersed throughout the world. A broad sampling of masterpieces from the great Russian collections, as well as from private and public collections, are depicted here in nearly 300 full-color illustrations, a number of which are published here for the first time.

    This important though relatively little-documented 1950s avant-garde flourished on the West Coast, where the artists were free to create art that was as subversive as it was uncommercial. The story of these artists and their close associates — Beat Generation poets, experimental filmmakers, and musicians who were also breaking away from formalism and convention — is told here against the backdrop of the Korean and Vietnam wars, postwar growth, and the rise of a vigorous counterculture. With first-hand accounts by writers and artists, passages from letters, poems, and ephemeral publications, Secret Exhibition brings together a complex picture of an exciting era; and more than a hundred illustrations in black and white and color make it a visual record of an essential chapter in contemporary American art.

    It is based largely on the collection of early Renaissance paintings in the National Gallery in London, one of the finest and most comprehensive collections in the world. In an extensive introduction the authors explain the background of religious belief and devotional practice for which many of the paintings were created and the secular requirements and ambitions that influenced them. They discuss the social context in which art was created and then displayed in the street, the palace, or the church, and they consider the role of the patron and the dealer. They describe the artist’s workshop, consider the role of apprentices and assistants, discuss the influence of guilds and courts, and explore the reasons why new subjects and techniques were introduced and earlier traditions survived. They then supply the first full modern account of the materials and techniques of the early Renaissance artist, drawing on recent research to explain the preparation of panels, the application of gold leaf, and the use of tempera and oil paint. The book also features a detailed examination of some seventy of the finest and best known paintings in the Gallery, including masterpieces by Duccio, Van Eyck, Mantegna, Piero della Francesca, Bouts, Bellini, Memling, Raphael, and Leonardo. The book is a stimulating and authoritative guide to the paintings in the Gallery—for those who can observe them in person and for those who must view them through the printed page. Publication of this book coincides with the reopening of the Sainsbury Wing designed by Robert Venturi, in which the Early Renaissance Collection will be newly exhibited.

    

    It contains written data and visual diagrams for a collection of lace patterns which can be used in original designs, and presents a number of designs, both traditional Edwardian and Victorian and modern ones.

    His full-color artwork is a visual orchestration of the entire text of the Messiah.

    An employee in the Paris customs bureau, Rousseau was an autodidact who incrementally worked his way into a position among the artists who were renewing the art world at the turn of the century. It was a difficult journey - for years the art world laughed at the layman's flat, icon-like figures, simple landscapes and, in his late phase, exotic jungle scenes. But his naive compositions in fact became an emblem that piqued the interest of the avant-garde. Rousseau's jungle paintings consisted of ornamental variations of plant leaves, among which he set brilliantly colored predators, natives and naked beauties. In so doing, the artist evinced intuitive principles of design and compositions, which subsequent avant-garde artists had to work out for themselves with great effort. Ultimately winning recognition as an uncompromising modernist, Rousseau inspired comparison with Derain, Cezanne, Matisse and Gauguin. He became acquainted with Apollinaire, Delaunay, Picabia, Brancusi and other important figures; in 1908, Picasso held a legendary banquet in his honour. Today, Rousseau's myth, a fascinating mixture of primitive idyll and flight from civilization, of concrete and abstract, holds a secure place in the history of art.

    

    This book prepared by Swami Harshananda explains not only the historical evolution of the temple, its architecture and its symbology but also contains ideas for its rehabilitation.

    Like its highly successful companion volumes, Art in Theory, 1815–1900 and Art in Theory, 1900–1990, its primary aim is to provide students and teachers with the documentary material for informed and up-to-date study. Its 240 texts, clear principles of organization and considerable editorial content offer a vivid and indispensable introduction to the art of the early modern period.Harrison, Wood, and Gaiger have collected writing by artists, critics, philosophers, literary figures, and administrators of the arts, some reprinted in their entirety, others excerpted from longer works. A wealth of material from French, German, Italian, Spanish, Dutch, and Latin sources is also provided, including many new translations.Among the major themes treated are early arguments over the relative merits of ancient and modern art, debates between the advocates of form and color, the beginnings of modern art criticism in reviews of the Salon, art and politics during the French Revolution, the rise of landscape painting, and the artistic theories of Romanticism and Neo-classicism.Each section is prefaced by an essay that situates the ideas of the period in their historical context, while relating theoretical concerns and debates to developments in the practice of art. Each individual text is also accompanied by a short introduction. An extensive bibliography and full index are provided.

    A general introduction and essay accompanying each of the 48 color plates provide an overview and appropriate social, cultural, and historical background for each work. Works by Monet, Degas, Ranoir, Manet, van Gogh, Cezanne, Seurat, Pissaro, and many others are included. 48 color plates. 12 b&w illustrations.

    198 black-and-white and color photographs.

    

    Wolfe (cover photographer to Stern, National Geographic, Smithsonian ) displays his splendid control and use of light, shadow, tone in 100 color plates. He is partial to mountains and r

    Galassi shows how Corot's works point both forward to Impressionism and back to the past.

    Introduces useful tools, materials, and techniques, shows how to depict flowers, trees, animals, and clouds, and argues that drawing increases one's appreciation of nature.

    Clever illustrations and story lines, together with full-color reproductions of actual paintings, give children a light yet realistic overview of each artist's life and style in these fun and educational books.

    Old examples are preserved at the Heard Museum in Phoenix and most of the important Indian museums nationally. Today, modern Hopi artists continue to make exquisite Kachina dolls, and they have become very sought after by a growing number of collectors world-wide. The reader of this new book is able to grasp the art of Kachina wood carvings, and enjoy knowledge behind each doll, through the carvers who make them. The book beautifully illustrates contemporary Kachina dolls with over 150 exquisite color photographs, and delves into the lives of the carvers who make them. Twenty-five of today's important Kachina carvers have been interviewed personally for a first-hand glimpse into their work. Discussions with Cecil Calnimptewa, Von Monongya, and Loren Phillips, to name just a few, bring to life the essence behind their carvings. All who are interested in Southwestern crafts and art in general will appreciate these beautiful art works carved by such interesting people.

    It is not only a collection of architectural drawings, but also a guide for those people who would like to maintain or convert a country cottage in such a way that it continues to stand in harmony with its surroundings.

    The early watercolors of Joseph Beuys are numbered among the treasures of international public and, especially, private collections.

    Paley’s poems and short fiction and Williams’s watercolors depict the dignity of ordinary lives from El Salvador to the Bronx, from New Hampshire to Vietnam. Scenes and stories of domestic life, solitude, and nature are interspersed with images of protest, joyous and defiant.

    This fascinating exploration of color, shape, value and line shows artists how to use the concepts of good painting to create beautiful pastels.

    With a foreword by Renoir's great-grandson. 125 full-color and 10 duotone photographs; 2 garden maps.

    Included are stunning creations by a new wave of young designers who exalted youth and promoted the "little girl look" while catering, for the first time in fashion history, to the tastes of working-class consumers.Extensively researched and painstakingly rendered, this dramatic full-color collection includes two dolls, each with 15 additional costumes, among them such innovative items as a spectacular Saint-Laurent see-through dress (strategically embellished with bands of beads); Courréges' innovative pantsuit of navy jersey; an evening dress of gilded plastic rectangles joined by metal links, created by Paco Rabanne; Mary Quant's wool minidress, with an industrial zipper down the font; a Bill Blass above-the-knee-length wedding dress of white silk crepe trimmed with snow-rose scallops, and Rudi Gernreich's ankle-length, free-swinging print dress.Additional outfits by such veterans of haute couture as Nina Ricci, Balmain, Givenchy, Patou, Chanel, and others complete this full-color fashion extravaganza. A fact-filled introduction provides historical background to the sixties fashion scene, and captions briefly describe each costume.

    Georges Didi-Huberman disrupts this story with a new look—and a new way of looking—at the fifteenth-century painter Fra Angelico. In doing so, he alters our understanding of both early Renaissance art and the processes of art history.A Florentine painter who took Dominican vows, Fra Angelico (1400-1455) approached his work as a largely theological project. For him, the problems of representing the unrepresentable, of portraying the divine and the spiritual, mitigated the more secular breakthroughs in imitative technique. Didi-Huberman explores Fra Angelico's solutions to these problems—his use of color to signal approaching visibility, of marble to recall Christ's tomb, of paint drippings to simulate (or stimulate) holy anointing. He shows how the painter employed emptiness, visual transformation, and displacement to give form to the mystery of faith.In the work of Fra Angelico, an alternate strain of Renaissance painting emerges to challenge rather than reinforce verisimilitude. Didi-Huberman traces this disruptive impulse through theological writings and iconographic evidence and identifies a widespread tradition in Renaissance art that ranges from Giotto's break with Byzantine image-making well into the sixteenth century. He reveals how the techniques that served this ultimately religious impulse may have anticipated the more abstract characteristics of modern art, such as color fields, paint spatterings, and the absence of color.