A compendium of the life and work of Maxfield Parrish, it is an essential part of a Parrish library. For the collector, the publisher has included a value guide to some of the products that bear Parrish images. Examples of Parrish's most famous book illustrations are shown, including selections from Mother Goose in Prose and the Arabian Nights. Also included are his famous magazine covers-from Life, Collier's, Harper's Weekly, etc., as well as all the landscapes that he painted for Brown and Bigelow, who reproduced them as calendars every year from 1936 to 1963. One of the highlights of the book is the chapter on Parrish's technique, examining in depth his materials, favorite methods, and unique way of painting. In addition, there is a lengthy excerpt from an unpublished manuscript by Maxfield Parrish, Jr., explaining step-by-step his father's glazing technique and use of photography in his work. This definitive study also contains numerous revealing excerpts from Parrish's unpublished correspondence with family, friends, and clients.

    But what were once biblical or classical commonplaces are not so readily recognizable today. This book relates in a succinct and readable way the themes, sacred and secular, on which the repertoire of Western art is based. Combined here in a single volume are religious, classical, and historical themes, figures of moral allegory, and characters from romantic poetry that appeared throughout paintings and sculpture in Western art before and after the Renaissance. More than just a dictionary, this text places these subjects in their narrative, historical, or mythological context and uses extensive cross-referencing to enhance and clarify the meanings of these themes for the reader.The definitive work by which others are compared, this volume has become an indispensable handbook for students and general appreciators alike. This wholly redesigned second edition includes a new insert of images chosen by the author, as well as a new preface and index to highlight the ideas, beliefs, and social and religious customs that form the background of much of this subject matter.

    This was the first book to explore the depth, richness and diversity of Andrew Wyeth's art. 174pp.

    These inspired tracts, covering art, love, sex, money, death, fame, science, his famous friends and enemies and his extraordinary creative genius, reveal the intricate workings of Dali's mind to create not only an unparallelled autobiography but also one of the key Surrealist texts yet published.Illustrated with drawings by Dali and with rare photographs.

    Rivalry arose between two schools of painting, the Romantic and the Classic. The doctrine of Classic art aspired to the ideal found in Greco-Roman antiquities; subjects were drawn from episodes in antique history or poetry that pointed a moral - acts of self-sacrifice or patriotism. Romantic art appealed to the emotions, in particular the fear and exhilaration aroused by storm, bloodshed and ferocity, so prevalent at the time. The emotional effect of a picture was heightened by color, violent light and shade and exaggerated movement, made shockingly natural - far removed from the tranquility and sculptural forms of classicism. In practice, however, the two schools overlapped. Both attached importance to subject matter and looked to the past for it. "Every great classical artist was a romantic at heart and vice versa; the distinction between them is more convenient than real," writes Kenneth Clark.To trace this "rebellion" Kenneth Clark brings into focus the artistic creativity of thirteen artists: David, Goya, Piranesi, Fuseli, Blake, Ingres, Gericault, Delacroix, Turner, Constable, Millet, Degas and Rodin - all but one successful and influential, all part of the European movement.

    Subjects; Symbolism in art. Graphic arts — History. Art, Modern — 19th century.

    Dore Ashton captures the vitality of the cultural milieu in which the New York School artists worked and argued and critiqued each other's work from the 1930s to the 1950s. Working from unsifted archives, from contemporary newspapers and books, and from extensive conversations with the men and women who participated in the rise of the New York School, Ashton provides a rich cultural and intellectual history of this period. In examining the complex sources of this important movement—from the WPA program of the 1930s and the influx of European ideas to the recognition in the 1950s of American painting on an international scale—she conveys the concerns of an extraordinary group of artists including Willem de Kooning, Jackson Pollock, Ad Reinhardt, Philip Guston, Barnett Newman, Arshile Gorky, and many others. Rare documentary photographs illustrate Ashton's classic appraisal of the New York School scene.

    In This Proud Land: America 1935-1943 As Seen In the FSA Photographs. Greenwich: New York Graphic Society, [1973]. First edition, first printing. Quarto. 199 pages.

    A magnificent capsulation of fine printing beauty for browsing or for use by commercial artists.

    Messer, Director of the Solomon R. Guggenheim Foundation in New York, traces Munch's growth as an artist, placing him in the context of his times. He introduces the reader to the family scenes & familiar places that haunt Munch's art, & to the wider relationships-with writers, poets & patrons that nurtured Munch & sustained him in difficult times.