This richly illustrated and expert study follows the artist from the early gloom-laden paintings in which he captured the misery of peasants and workers in his homeland, through his bright and colorful Parisian period, to the work of his final years, spent under a southern sun in Arles.

    Her love for beautiful women, elegant automobiles and the modern metropolis provided not only motifs for her pictures, but also influenced her artistic style. Simultaneously with her career as artist, Tamara de Lempicka pioneered a new image of life on the screen, evident in the new, self-confident woman and the changing aspects of femininity and masculinity. The same sense of style was reflected in a futuristic cult of speed, domestic design forms promulgated by the Bauhaus, and the dandyism of a George Brummell. Tamara de Lempicka's best-known painting, Self-Portrait, or Tamara in a Green Bugatti, presents the artist as a female dandy brimming with cool elegance. Whether as an Art-Deco artist, a post-Cubist or a Neoclasissist, de Lempicka struck the taste of a cosmopolitan (and wealthy) public that found its own image reflected in her work.

    Beginning with a description of how the document came to be found, it then details the ideographic 'language' employed [ideograms are like, for example, our modern road signs] before presenting a "suggested interpretation" which takes up the bulk of the work. The text is laid out as a series of 5 'books' each sub-divided into many 'verses' and extensively illustrated. Briefly, the story shows how a world was created, populated by deities and men, before being destroyed by the hateful vengeance of an overlooked deity called Ildrinn. Ildrinn subsequently took her hate, and her human followers, into a never ending journey through space, an endless search for contentment. It is of course based on known creation myth-cycles, but is also an allegorical look at the condition of humanity.While the story may not be to everybody's taste, the colourful illustrations will attract more attention. Some are large-scale paintings covering a whole page or more, while others are smaller details which accompany the text. All are rendered in Woodroffe's highly imaginative style, depicting a world full of strange mutated beings, like an evil flying spider with eagle's wings and beak, or an underwater fairy with a fish-like body. One or two of the set-piece paintings are simply stunning: for example 'Peace - The Happy Savage' is a skillful evocation of a pastoral heavenly innocence with a wealth of fine detail.[From http://www.progarchives.com/Review.as...]

    Offers a profile of the German artist, shows examples of his paintings and photographs, and discusses his approach to art.

    The two frequented Algren's favorite bars, poolrooms, missions and courtrooms, mixing freely with hustlers, addicts, pimps, and ordinary hardworking people, some of whose lives Algren fictionalized into the hard reality that informs his work.Nelson Algren's Chicago represents the first publication in book form of the Algren-Shay collaboration between 1949 and the mid-1960's.

    This book, originally published in 1988, is a bible in the world of graphic design: the seminal expression of his early, ground-breaking typography. Brody first made his way into the public eye through his record cover designs and his involvement in the British independent music scene in the early 1980s. It was his work on magazines that firmly established his reputation as one of the world's leading graphic designers. In particular, his artistic contribution to "The Face" completely revolutionized the way in which designers and readers approached the medium. His unique designs soon became much-imitated models for magazines, advertising and consumer-oriented graphics. Brody also won much public acclaim through his highly innovative ideas on incorporating and combining typefaces into design and he later took this a step further and began designing his own typefaces, thus opening the way for the advent of digital type design. His contributions to the world of graphic design and digital typography are invaluable. Often referred to as a "star typographer," Brody has designed a number of well-known typefaces. With over 450 illustrations, this book provides a wide-ranging introduction to a crucial period in graphic design. The original expression of one of the pioneers for the digital age, "The Graphic Language of Neville Brody" is at once a historical document, a classic of graphic design, and a relevant tool for designers working today.

    This stunning stylebook showcases the best of his work -- from dramatic entryway scenes to rustic paintings for the bedroom -- and brings to life the many delights of decorating with murals. Lavishly illustrated with more than 250 color photographs, The Painted House includes projects for every home, from small chimney boards and folding screens to spectacular full-room scenic paintings. For anyone interested in interior design at its most fanciful and amazing, this book -- back in print at last, in an affordable paperback edition -- will be a revelation.

    hard cover book

    115 illustrations.

    For more than seventy years, as the young painter blossomed and matured into the greatest artist of the twentieth century, he kept a record of his ideas and thoughts, so that by 1964 there were 175 sketchbooks, a unique and startling picture of the mind of a genius at work. Accompanying the major sections are essays by six of the greatest American art historians: E.A. Carmean, Sam Hunter, Rosalind Krauss, Theodore Reff, Robert Rosenblum, and Gert Schiff. A foreword by Claude Picasso, the artist's son, and a reminiscence by Francoise Gilot, Claude's mother, provide a more personal understanding of the part the sketchbooks played in Picasso's life.