It is also composed of basically simple elements, which, guided by a rich mythology, create images of striking power. This indispensable and beautifully illustrated book is the first to introduce everyone, from the casual observer to the serious collector of Northwest Coast prints, to the forms, cultural background and structures of this highly imaginative art. The elements of style are introduced; the myths and legends which shape the motifs are interpreted; the stylistic differences between the major cultural groupings are defined and illustrated. Raven, Thunderbird, Killer Whale, Bear: all the traditional forms are here, deftly analyzed by a professional writer and artist who has a deep understanding of this powerful culture.

    Textiles, sculptures, masks, costumes, and a variety of implements and musical instruments are lavishly illustrated and interpreted from the aesthetic that in Africa, 'icon' and 'act' are one, that African art can best be understood in the context of dance.The work is divided into three sections:(1) a list of highly abstract concepts such as 'ephebism' and 'coolness' which Thompson contends underlie African aesthetics;(2) an extended analysis of the significance of sculptures standing, sitting, riding, kneeling, supporting, and balancing; and(3) descriptions of six different dance events combining masks, poetry, music, and religious ritual, and their effects on their audiences.Representing scholarship and writing at its best, the work is a major contribution to the study of the arts as they are conceived, combined, and criticized by Africans.

    She explains the obstacles as both external and surmountable and internal and insurmountable in the race for achievement.

    Scores of sites were restudied on the spot, including many lesser-known sanctuaries throughout the Hellenic world. The study includes reconstruction drawings, plans, and maps along with its richly illustrated, detailed discussions of major sites. The 1969 revised edition, in which Professor Scully expanded the text and enriched it with the fruit of new researches and writings, is here made newly available.

    Krauss tried to clarify what these art practices were, what they were not, and what they could become if logically combined. The essay soon assumed a canonical status and affected subsequent developments in all three fields.

    

    Fully referenced, this volume is both an inspiration and a practical sourcebook for designers and artists. It also serves as a visual feast for admirers and collectors of old engravings, and stands as a tribute to the mid-nineteenth century artisans who created the original plates on which this book is based.

    His writing not only reflects the independent, original mind that presided over his own visual works, but also covers an extraordinary period in American art, in which he played the double role of protagonist and witness. This new edition of "Art in Its Own Terms" restores to print a key statement in the ongoing discussion between Modern art and its past, as Porter reviews such figures as de Kooning, Johns, Cornell, Rodin, Cezanne, Leonardo and many others. Equally seminal are his considerations of the relations between art and science and art and politics. Rackstraw Downes' introduction beautifully sets the stage for this indispensable and wide-ranging volume.

    This impressive volume, prepared to mark the fiftieth anniversary of Steig's work for The New Yorker, selects more than 250 of his drawings from the 1970s, the most productive decade in the career of this singular and inexhaustible genius.

    This richly illustrated and scholarly study traces the development of art through the Middle Ages, from the early Christian catacombs of Italy and the treasures of Sutton Hoo to the masterpieces of Romanesque cathedrals and illuminated manuscripts.

    She was also reputed to be alone except for breeding dogs and a monkey, camping in isolated Indian islands to save the images of the last deteriorating totem poles. Lavishly illustrated with the photos of the person and her works.

    Description not available.

    

    The resulting portraits led to a book as significant and exciting as the artists within it. Now Munro has added a new generation of women-including Kiki Smith and Julie Taymor-and a new introduction to her landmark entry in the literature of visual art, ensuring its status as an invaluable resource well into the twenty-first century.

    Applies ideas drawn from the history of secular life, judicial and political history, social customs, religious psychology, linguistics, and folklore to works of art spanning the period from the end of antiquity to the late Middle Ages.

    

    Here is the first book in English to survey the whole work of the master. The author, former Director of the