Yet no full colour collection of her work has been available until now. This comprehensive volume consists of 108 colour plates accompanied by text written by the artist.

    It includes all of the full page illustrations in the manuscript and a representative sample of the ornamentation that is to be found on the text pages. In all 93 pages and 6 half pages are reproduced complete. In every case a recto of the original manuscript has been kept as a right-hand page and a verso as a left-hand page. In addition to the reproductions there are 30 plates of greatly enlarged details of the illustrations." "The Book and its Decoration," a study of the manuscript by François Henry, is also included.

    

    In The Curves of Life, Sir Theodore A. Cook (1867–1928), English author and editor, finds that the spiral or helix may lie at the core of life's first principle — that of growth. The spiral is fundamental to the structure of plants, shells, and the human body; to the periodicity of atomic elements and to an animal's horns; to microscopic DNA (the double helix) and to the Andromeda nebula.The Curves of Life portrays the significance of the spiral in 426 illustrations, from a Narwhal's tusk to Dürer's plan for a cylindrical helix. From the spiral in nature, science, and art, the author suggests ideas on the essence of beauty and man's response to it. "One of the chief beauties of the spiral as an imaginative conception is that it is always growing, yet never covering the same ground, so that it is not merely an explanation of the past, but is also a prophecy of the future."Martin Gardner, mathematician and author, said of The Curves of Life, "This is the classic reference on how the golden ratio applies to spirals and helices in nature."

    

    What emerges is both a perspective appraisal of his work and a revealing life history of the man who was arguably the greatest artist of all time.

    View page after page of extraordinary talent, evidenced in weathervanes, ship figureheads, tinware, toys, quilts, painted furniture, and more.

    Since the time of their "Realistic Manifesto," constructivism has spread throughout the world, opposing personal, expressionistic art with abstraction and formal construction. In this book, Stephen Bann has collected the most important constructivist documents, including the writings of EI Lissitzky, Theo Van Doesburg, Hans Richter, Victor Vasarely, and Charles Biederman—many of which have never before been available in English—and supplemented them with a critical introduction, a chronology of constructivism, and an invaluable bibliography of close to four hundred items. This volume is illustrated with thirty-eight constructivist prints, paintings, drawings, and sculptures, some of them are rare and previously unpublished.

    Happenings, first seen in New York in the early '60s, use live performers without the logical structure of drama, in an attempt to break down the customary distinctions between life and art.

    In the ground-breaking study Heinrich Schafer set out to analyse and elucidate the representational conventions of Egyptian two-dimensional art, and to explain how they differ from Western conventions that have perspective at their core. He showed that Egyptian representation is based more on mental processing than on direct perception, and that the aim of Egyptian artists was to depict an object as it really is, rather than as it appears to be. Egyptian approaches to representing space were also conditioned by this aim. The author extended this fundamental insight to cover almost all apparent anomalies in the Egyptian rendering of nature. His conclusions can be compared with analyses by psychologists that are based on the very different area study of children's drawings. The observations of Schafer and other art historians, and those of psychologists, have led to a characterization of polar tendencies in pictorial representation that might be termed 'conceptual' and 'perceptual'. Schafer extended his conclusions, which were based on painting and relief, to encompass statuary, as well as providing a concluding synthesis. The present book, based on the fourth German edition of 1963, edited after the author's death by Emma Brunner-Traut, was first published in 1974. In the course of translating it, John Baines, who is Professor of Egyptology in the University of Oxford, revised the text and illustrations to take account of recent research. This reprint incorporates numerous additions and some corrections, keeping the book abreast of work in the field.