In his own time, Kilmt (1862-1918) was a highly successful painter, draftsman, muralist, and graphic artist; in the intervening years, iconic works such as The Kiss have been elevated to nothing less than cult status. Klimt's unfading popularity attests to the appeal of not only his aesthetic sensibilities but also that of the recurrent universal themes in his work: love, feminine beauty, aging, and death. He once wrote, "I am a painter who paints day after day from morning to night...Who ever wants to know something about me...ought to look carefully at my pictures." With this overview of Klimt's work, readers will delight in taking up that challenge.About the Series: Each book in TASCHEN's Basic Art series features:a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

    Inspiration, spontaneity, temperament are unknown to me. One has to do the same subject ten times, even a hundred times over. In art, nothing should look like chance, not even movement." Edgar Degas In terms of both theme and technique, the key to understanding the early work of Edgar Degas (1834-1917) is classical painting. Although he was eventually associated with the Impressionists and even participated in their joint exhibitions, Degas never adopted a purely Impressionist approach. Degas's work, reflecting an extremely personal and psychological perspective, emphasizes the scenic or concentrates on the detail. Thus, Degas's painting is often discussed with reference to the rise of short-exposure photography. Thematically, nature proved less interesting to the artist than the life and inhabitants of the modern metropolis. Degas primarily sought his motifs in ballet salons, at the race track or circus, or in bedrooms - but dancers always remained his favorite theme. About the Series: Each book in TASCHEN's Basic Art Series features:a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 colour illustrations with explanatory captions

    Published to accompany an exhibition held at the Whitney Museum of American Art, New York, in 1992-93, the book contains illustrations reproducing paintings, drawings, collages, silkscreens, and constructions, many previously unpublished.

    It outlines the history of Impressionism in France, addressing not only the work of the acknowledged masters, but also that of such unjustly neglected artists as Bazille, Caillebotte, Berthe Morisot or Lucien Pissarro. The monograph also examines the Impressionist movements which emerged in the Netherlands, Belgium, Germany, Scandinavia, Eastern and South-East Europe, Italy, Spain, Britain and North America. A 64-page "Directory of Impressionism" is appended, containing bibliographies, portraits and biographical data on all 236 artists.

    A layman's guide to art history provides the reader with a basic working knowledge of art and its influence on society.

    Peasants, servants, prostitutes and beggars all found their place, along with knights and clerics, engaged in impudent antics in the margins of prayer-books or, as gargoyles, on the outsides of churches. Camille brings us to an understanding of how marginality functioned in medieval culture and shows us just how scandalous, subversive, and amazing the art of the time could be.

    What was it that led him to concentrate on painting animals? Marc himself explained his choice of subject matter in these words: From an early date I felt humankind to be 'ugly'; animals seemed to me possessed of a greater beauty and purity... Seeing Marc merely as a painter of animals proves, however, premature. Marc, co-founder of the 'Blauer Reiter' group of Expressionist artists, was deeply dissatisfied with the impurity of the world, and was questing for a universal art which would resolve the contrarieties of life in the harmony of creation. Using pure colours highly charged with symbolic values, adopting crystalline shapes, and absorbing the influence of Cubism, he moved steadily towards an abstract order of image, coming closer to his own understanding of a better world. In 1916, Franz Marc died in the Battle of Verdun.

    In this volume, Professor Leakey provides a comprehensive guide to the understanding and appreciation of Les Fleurs du Mal, offering new insights into its composition, themes and style, setting it in its historical context, and devoting a whole chapter to Baudelaire's crowning achievement, Le Cygne.

    This book presents his masterpiece, the wildly popular One Hundred Aspects of the Moon (Tsuki Hyakushi). The series was begun in 1885 and completed just before the artist's death in 1892. New designs were eagerly awaited, with editions selling out before dawn on the day of publication. The introduction of this book comprehensively treats the artist's life and work. Each of the one hundred images in the series is shown here in full colour and nearly life-size. Opposite each design a commentary gives the story behind the picture. These wonderful tales form a panorama of Japanese history and legend that resonates with the richness and subtlety of traditional Japanese culture. This is a reprint of the 1992 San Francisco Graphic Society publication.

    Includes biographical notes, a chronology, and introductions to each major period of Matisse's career. 320 colorplates reproduce every painting and cutout in the exhibition; 92 black-and-white plates illustrate the sculptures, drawings, and prints; and 180 illustrations show related works not in the exhibition.

    

    R. J. Ford shows readers how to recognize the different structural and design features of oriental rugs and carpets. The designs are grouped according to their essential characteristics. This approach illuminates the cultural background of each, revealing at once the similarities and the differences between the various carpet-weaving areasIllustrations of modern types, with descriptions of their key characteristics—construction, materials, sizes, colors—and of the clues that establish a rug's precise origins, appear together with a balanced appraisal of the qualities of modern production from towns, villages, and tribal areas. Extensive cross-referencing and detailed indexes make this an invaluable reference guide for dealers and collectors, and for anyone who has an appreciation of and interest in rugs.

    This collection of images illustrates Tansey's working process, the context of which is explained by keys to characters & Danto's introduction.

    It opens with an excellent historical outline of Islamic Spain, divided into sections by period; each section is written by a leading scholar and followed by a discussion of the characteristic arts, architecture, fortifications, and so forth. The subsequent four articles on the Alhambra itself give the best analysis of the subject in English. The catalog is precisely reproduced, with photographs of the highest quality. That it collects in one volume artworks that are so widely dispersed is a major achievement, especially because there is no institute in Spain devoted to the art of the Islamic centuries. Designed for both scholar and lay reader, it is the most important volume to be produced on the subject and belongs in every art and academic library for its contribution to both history and art.

    Now, after nearly fifteen years of effort, the restoration is finally complete. This unique volume-the first to document the project-is the result of an unparalleled international photographic campaign. For the first time, the restored Chapel is shown in its entirety, from the Creation to the Last Judgment. Glorious, full-color photographs-250 in all-portray the frescoes both before and after their restoration, providing an unforgettable view of the meticulous work that many believe restored the frescoes to their original High Renaissance splendor.Originally created in the late 1400s, the frescoes of the Sistine Chapel are the best-known of all the Vatican masterpieces. As early as 1502, however, tourists began noting the damage wrought by smoke and crumbling walls. By 1980 the need for conservation appeared to be dire. The restoration team had to contend with centuries of decay-structural fractures in the walls and ceilings, soot and dust accumulation, and rainwater seepage that left white patches on every surface. Artisans in previous centuries had made attempts at conservation, but often did more harm than good; the frescoes were found to be coated with many layers of "protective" glue that had yellowed and darkened with age.Though many art historians opposed the restoration, believing that Michelangelo was a somber artist who worked in dark and muted colors, the endeavor presents frescoes that are gloriously vivid, setting the chapel aglow with their brilliance. In addition, they provide new insights about Michelangelo's brushstroke techniques, and add more information to a centuries-old debate over how he worked with the wet plaster surface of the frescoes.Written with Gianluigi Colalucci, the technical overseer of the restoration, the text provides an intimate understanding of this masterpiece of Renaissance art. It explains the various forensic studies carried out in the course of the project, the pragmatic concerns of the restoration, and the many problems of historical approach that were confronted. This volume, including remarkable new pictures of the Chapel frescoes, belongs in the libraries of every art historian and student of the Italian Renaissance.

    How to Teach Art to Children has it all-background information, literature resources, and concise step-by-step directions for 96 art projects that will help your students learn about the elements of art and then use the elements in the styles of famous artists.This book is divided into two parts:* Part one: Learning about the elements of art* Part two: Using the elements of artTeacher information pages provide:* a definition of each art element* a list of literature references* fine art examples that demonstrate the elementEach project and concept is supported by:* easy-to-follow, step-by-step instructions* a complete list of materials needed* reproducible patterns

    Includes a double gatefold illustrating the entire ceiling of the chapel. The reproduction of the recently restored work reveals, in vivid colors, the true genius of this artist's work.

    His familiarity with the New York art world and its practitioners in the 1970's and 1980's makes his writing an unparalleled guide to one of the most riveting periods of contemporary culture.

    He assembled a vast selection of contemporary and historical scripts, which nearly thirty years later were further embellished by Joris Hoefnagel, Europe's last great manuscript illuminator. This book, now in the collection of the J. Paul Getty Museum, is reproduced here in complete facsimile form, accompanied by a commentary that includes a full description; a discussion of its patron, Rudolf II, and his cultural and historical milieu; the biographies of Hoefnagel and Bocskay; and an analysis of the manuscript's role in their careers. The introduction discusses the broader issues raised by the manuscript. Topics include Hoefnagel's nature imagery, which encompasses plants, fruits, and small animals, and its relation to the spread of interest in botany and zoology at the end of the sixteenth century. Another topic is calligraphy and its place in the art and culture of the sixteenth century. The manuscript's remarkable calligraphy will be of particular interest not only to scholars but to collectors, graphic designers, and typographers as well.

    Filled with pop-ups, pullouts, and mobiles, The Art Pack is a completely new way to experience artists' use of color, line, composition, perspective, and optics, as well as a lavishly illustrated introduction to the history of Western art.With The Art Pack you can: Examine a three-dimensional model of an artist's studio painted by VermeerSee for yourself how an artist solves problems of perspective by using a replica of "Alberti's veil" and a pop-up viewerBreak up light with a "camera obscura" and a filtered "Claude glass" Study the combinations of colors that produce shades and tones, by manipulating a real color wheelHear (on audiocassette) why the world considers great paintings masterpieces, and see them reproduced in full colorAnd much more!

    These men, in pursuit of their passion for a sport that had captivated them since childhood, lifted themselves out of their lives of common poverty and broke down rigid social barriers, transforming the game of golf into one of the most widely played sports in the world today.

    They are often beautifully preserved, enabling us to appreciate the skilled design and craftsmanship of the people who created them.Christopher de Hamel describes each stage of production from the preparation of the vellum, pens, paints and inks to the writing of the scripts and the final decoration and illumination of the book. He then examines the role of the stationer or bookshop in co-ordinating book production and describes the supply of exemplars and the accuracy of texts. He follows the careers of a number of specific scribes and illuminators who emerge not as anonymous monks but as identifiable professional lay artisans. He also looks at those who bought the completed books, why they did so, and how much they paid.His survey ranges from the eleventh century through the golden age of the thirteenth and fourteenth centuries to the luxurious manuscripts existing at the invention of printing.

    30 essays explore and debate current directions in film, television, music, writing, and other cultural forms as created by or with the participation of black artists. 30 illustrations.

    In this beautifully illustrated book—the first in almost a century devoted solely to Roman sculpture—Diana E. E. Kleiner discusses all the major public and private monuments in Rome, as well as many less well known monuments in the capital and elsewhere in the empire. She examines art commissioned by the imperial elite and by private patrons, including freedmen and slaves, and she also highlights monuments honoring women and children. Kleiner demonstrates that the social, ethnic, and geographical diversity of Roman patronage led to an art that was eclectic and characterized by varying styles, often tied to the social status of the patron. She also examines the interrelations between works produced for different kinds of patrons.Kleiner begins with a long thematic introduction that describes Rome and its empire, characterizes patrons from the capital and the provinces, discusses the position of the artist in Roman society and the materials he used, and presents a history of the study of Roman art. The remaining chapters constitute a chronological examination of Roman sculpture from the foundation of Rome in 753 B.C. to the transfer of the capital to Constantinople in A.D. 330. In each period the monuments are divided by type, for example, portraiture, state relief sculpture, the art of freedmen, and provincial art. Throughout, Kleiner treats Roman sculpture in its cultural, political, and social contexts and, wherever possible, as an element of the architectural complex in which it was set.

    This study uses interviews, participant observations, and textual analysis to explore the nature of the Goddess and her devotees' experience of her.

    Until now, however, they have been little known and rarely visited. Only a handful of sites are familiar from travel literature: the Roman desert city of Palmyra, the Crusader castle of Krak des Chevaliers, and the great Ummayad Mosque of Damascus. This is the definitive historical guide to Syria.

    Unlike many of his contemporaries, Barragán quickly discarded architecture’s International Style and went on to create works that show a respect for nature, a sensitivity to regional influence—he frequently used adobe, stucco, and unfinished wood—and, in his later works, a reliance on intense color.This monograph documents all of Barragán’s important commissions, most of which are located in and around Mexico City, including El Pedregal, a landscaping and residential development built on 865 acres of lava desert which Barragán bought in 1944; the Towers of Satellite City (with Mathias Goeritz); San Cristobal stable, pools, and house; the Gilardi house; the Barragán house; and the residential subdivision Las Arboledas. Among other awards, Barragán won the coveted Pritzker Prize for Architecture in 1979.

    In his final work, Interpreting the Renaissance, published here in English for the first time (the Italian edition, Ricerca del Rinascimento, appeared in 1992), Tafuri analyzes Renaissance architecture from a variety of perspectives, exploring questions that occupied him for over thirty years.  What theoretical terms were used to describe the humanist analogy between architecture and language? Is it possible to identify the political motivations behind the period’s new urban strategies? And how does humanism embody both an attachment to tradition and an urge to experiment?Tafuri studies the theory and practice of Renaissance architecture, offering new and compelling readings of its various social, intellectual and cultural contexts, while providing a broad understanding of uses of representation that shaped the entire era. He synthesizes the history of architectural ideas and projects through discussions of the great centers of architectural innovation in Italy (Florence, Rome, and Venice), key patrons from the middle of the fifteenth century (Pope Nicholas V) to the early sixteenth century (Pope Leo X), and crucial figures such as Leon Battista Alberti, Filippo Brunelleschi, Lorenzo de’ Medici, Raphael, Baldassare Castiglione, and Giulio Romano.A magnum opus by one of Europe’s finest scholars, Interpreting the Renaissance is an essential book for anyone interested in the architecture and culture of fifteenth- and sixteenth-century Italy.

    This book presents a survey of Chinese painting from the eighth to the 14th century, a period during which the nature of China's pictorial art changed dramatically.

    

    

    John Baeder's passionate interest in diners, his paintings of them and his anecdotal recollections of diner food, diner lore, and diner people capture a uniquely American roadside institution.

    These titles, and those to follow in future seasons, form an indispensable library for the whole family.Science Titles: These six volumes are part of DK's first set of U.S - published Eyewitness Books. Each volume focuses on a different field of science, and each features clear, expertly written text, color and black - and - white photos, charts, graphics, and 3 - D models -- all of which combine to make complex scientific concepts easy to understand.Art Titles: Each highly informative visual guide traces the life and work of a great artist, using superb full - color photography to bring the artist's work to life and to explore the conditions and motivations that inspired it.

    3000 to ca. 30 BC) -- and by medium. Throughout, it blends factual information with stimulating interpretation and juxtaposes long-standing notions with the latest archaeological discoveries and hypotheses.

    Avoiding Foucault's philosophical paradigm of dominance/submission, Claude Calame uses an anthropological and linguistic approach to re-create indigenous categories of erotic love. He maintains that Eros, the joyful companion of Aphrodite, was a divine figure around which poets constructed a physiology of desire that functioned in specific ways within a network of social relations. Calame begins by showing how poetry and iconography gave a rich variety of expression to the concept of Eros, then delivers a history of the deity's roles within social and political institutions, and concludes with a discussion of an Eros-centered metaphysics.Calame's treatment of archaic and classical Greek institutions reveals Eros at work in initiation rites and celebrations, educational practices, the Dionysiac theater of tragedy and comedy, and in real and imagined spatial settings. For men, Eros functioned particularly in the symposium and the gymnasium, places where men and boys interacted and where future citizens were educated. The household was the setting where girls, brides, and adult wives learned their erotic roles--as such it provides the context for understanding female rites of passage and the problematics of sexuality in conjugal relations. Through analyses of both Greek language and practices, Calame offers a fresh, subtle reading of relations between individuals as well as a quick-paced and fascinating overview of Eros in Greek society at large.

    What Klee found most fascinating and instructive about the art of outsiders--those self-taught individuals, sometimes mentally disturbed, who create while isolated from mainstream culture--was the sincerity, depth, and power of their un-adulterated, unmediated expressions. Parallel Visions, an exhibition and catalogue organized and produced by the Los Angeles County Museum of Art, reveals the considerable influence that outsider art has had on the development of twentieth-century art. The work of such marginalized artists and compulsive visionaries as Antonin Artaud, Ferdinand Cheval, Henry Darger, Howard Finster, Madge Gill, Martin Ram!rez, P. M. Wentworth, Adolf Wlfli, and Joseph Yoakum is juxtaposed with the work of devotees of outsider art among modern artists. Essays by the curators of the exhibition, Maurice Tuchman and Carol S. Eliel, and by other commentators offer a history of this phenomenon as well as an exploration of issues crucial to the formation of our aesthetic and critical judgments and our notions of creativity. In addition to the curators, the contributors include Russell Bowman, Roger Cardinal, Barbara Freeman, Sander L. Gilman, Mark Gisbourne, Reinhold Heller, John M. MacGregor, Donald Preziosi, Allen Weiss, Jonathan Williams, and Sarah Wilson.

    These works reveal their meaning most clearly when we do not relegate them to the function of illustrating a text or see them merely as specimens of the applied arts, but take them seriously as unique combinations of historical witness and aesthetic object. Drawn from Russia, Central and Western Europe, and the United States, from the turn of the century to the aftermath of the Second World War, the posters form a bridge between the claims of ideology and the state on the one hand and the support or submission of millions of men and women on the other. How can men be persuaded to fight for their party or country, and how can women be convinced to enter the workforce in wartime and retreat to the home when their men return? How can women be brought to believe that losing their husbands and sons is a noble sacrifice? Where can money be found to pay for the costs of the war and of reconstruction? Are guilt, compassion, and fear sufficient to bind the homefront to the fighting men? What is the most effective way to dehumanize the enemy, whether foreign or domestic? These are some of the issues that the posters in this volume lay bare and begin to explain. Together text and image open fresh perspectives on half a century of war, revolution, and renewed war, and point toward a new kind of integrative history. Except for seven posters, the images in this book are from the archives of the Hoover Institution on War, Peace and Revolution at Stanford University. Soon after the outbreak of the First World War, Herbert Hoover began to collect documents, including posters, from the warring powers. He laid the foundation for one of the world's great poster collections, now consisting of some 75,000 posters as well as of nearly 40,000 proclamations and other purely typographical announcements.

    Beatrix Potter became a member of the Armitt Library in Ambleside, Cumbria, shortly after her marriage in 1913. At this time she was already famous as the creator of Peter Rabbit, but the paintings she donated to the Armitt Library date from the period before she had begun to produce children's books and are on a very different subject. These studies of fossils, archaeological finds, mosses and lichens, microscope drawings and, most importantly, the exceptionally fine fungus paintings comprise a remarkable body of scientific illustration. This book is introduced by Eileen Jay, Honorary President of the Armitt Trust, who describes how the Armitt Library was formed through the influence of a group of gifted and intellectual people and specifically through the achievements of the three talented Armitt sisters. Beatrix Potter strongly approved of the Armitt sisters' aims and ideals, particularly their views on the study of natural history and countryside conservation. The pictures she donated to the Library reflect their shared interests. Few details had been known about Beatrix Potter's scientific work until the discovery by Dr. Mary Noble of a series of letters between Beatrix and Charles McIntosh, the celebrated Scottish naturalist. In this book Mary Noble has used the correspondence between the two to explain and annotate the paintings. The letters also reveal how Beatrix battled to have her work recognized by the authorities of the day. The humour and spirit with which the young Beatrix Potter 'took on' the male-dominated scientific establishment makes this a delightful story, told here in its entirety for the first time. The book ends with an appraisal of the paintings themselves by Anne Hobbs, curator of the Beatrix Potter collection at the Victoria and Albert Museum. She demonstrates how, as in all Beatrix Potter's work, imagination inspired he

    Focusing also on proper storage techniques and environmental control, contributors offer information on emergency planning, disaster management, and identifying damages that may require professional treatment.

    It also provides an essential theoretical and technical framework for an adequate 'reading' of the art of the Western Desert.

    The collection includes Gilbert Stuart, Albert Bierstadt, Charles Bird King, John Singer Sargent, Mary Cassatt, Winslow Homer, and Georgia O'Keeffe. First released in 1992 and updated in 2008, this third edition contains a supplement detailing acquisitions in the last ten years by America’s most famous modern painters, such as Roy Lichtenstein, Josef Albers, Robert Rauschenberg, and Alma Thomas. This award-winning volume, lavishly illustrated, presents short essays by the art historian William Kloss on a selection of more than 100 works and extended essays on the collection itself by the art historians John Wilmerding, Doreen Bolger, and David Park Curry as well as a catalog compiled by the White House Office of the Curator.The collection of fine art at the White House belongs to the nation but, like the house itself, serves a domestic, even personal, purpose, for each first family. The collection began with mostly presidential portraits, commissioned or purchased by Congress, or donated by presidential families. In the era before photography, some early presidents invited painters to set up studios in the White House to record significant events. In the late nineteenth century a few landscape paintings were acquired for the White House, but not until the Kennedy administration was the collection formally and permanently established. Since that time it has grown exponentially, under the guidance of a professional curatorial staff and it now includes more than 500 works of chiefly American art, selected for their value as historical documents and their importance in reflecting the nation’s values and achievements.Visitors to the White House see only a small selection from the collection on the walls at any one time. With this authoritative catalog, now completely up to date, all Americans can appreciate this distinctive collection that honors the nation’s rich artistic and political heritage.Journalist Hugh Sidey wrote, "The White House is its own canvas, never completed nor meat to be, but a changing portrait of America . . . our book is an eclectic assembly, including paintings, drawings, and sculpture, another chapter in the great American story that will be displayed and sheltered within the White House; a constant reminder to all who walk therein of where we have been and where we are going."

    In her view, art is intimately linked to the origins of religious practices and to ceremonies of birth, death, transition, and transcendence. Drawing on her years in Sri Lanka, Nigeria, and Papua New Guinea, she gives examples of painting, song, dance, and drama as behaviors that enable participants to grasp and reinforce what is important to their cognitive world."--Publishers Weekly"Homo Aestheticus offers a wealth of original and critical thinking. It will inform and irritate specialist, student, and lay reader alike."--American AnthropologistA thoughtful, elegant, and provocative analysis of aesthetic behavior in the development of our species--one that acknowledges its roots in the work of prior thinkers while opening new vistas for those yet to come. If you're reading just one book on art anthropology this year, make it hers."--Anthropology and Humanism

    Public buildings of all kinds-whether fountain or state capitol, skyscraper or bus terminal-bear witness to its decades of popularity. Sumptuously illustrated, this unrivaled study provides a comprehensive guide to the best loved of all 20th-century architectural styles.

    The combined influences of the antique and the exotic, together with the technological innovations of the day, produced a sophisticated style that was eclectic but also quintessentially British. By examining the constituent parts of the Regency house in England and America - its architecture, doors and windows, plasterwork and ironwork, colours and coverings, services, furniture and gardens - this comprehensive and stimulating book will inspire not only the owners of period houses but also anyone with an interest in this uniquely attractive style.

    He was a critic of art, architecture and society. He was a Victorian sage and gifted painter. He goal with his writings was to cause widespread cultural and social change. This combination of the religious intensity of the Evangelical Revival and the artistic excitement of English Romantic painting laid the foundations of Ruskin's later views.The Encyclopedia Britannica sums up Ruskin as follows. "Ruskin has gradually been rediscovered. His formative importance as a thinker about ecology, about the conservation of buildings and environments, about Romantic painting, about art education, and about the human cost of the mechanization of work became steadily more obvious. The outstanding quality of his own drawings and watercolors (modestly treated in his lifetime as working notes or amateur sketches) was increasingly acknowledged, as was his role as a stimulus to the flowering of British painting, architecture, and decorative art in the second half of the 19th century."Giotto was a 13th century Italian painter and architect. He is generally considered the first of the great artists who contributed to the Italian Renaissance. Giotto's masterwork is the decoration of the Scrovegni Chapel commonly called the Arena Chapel, completed around 1305. His frescos depict the life of the Virgin and the life of Christ. They are some of the greatest artistic works of the Renaissance.

    He produced a wide variety of objects, from cups and chalices to rings, seals, and crowns. Such rich objects were often put to the service of God, and today it is in the treasuries of churches that we find much of the surviving material.Combining documentary, archaeological, and pictorial evidence, the author describes how goldsmiths worked for both the Church and for royalty. By the fifteenth century their trade was centred in the principal ccourts and cities of Europe. John Cherry describes the organization of the craft, including the supply of raw materials, and follows the careers of individual goldsmiths, some of whom rose to high positions in society.

    These artists offer their personal stories - each one different, yet the same in many ways. They illustrate that it matters little what style of art you do, or what medium you choose to use, but instead that you continually ask yourself, "What's really important to me?...What exactly do I want to say?... What do I need to say through my art?" And then let the answers to those questions lead you where they may. These uniquely personal journeys will not only inspire you, they'll give you usable information about making art a practical, viable career. These artists share the questions they have asked themselves, the problems they've faced and overcome, and the experiences that have put them in the process of continually becoming the most fulfilled artists they can be - all to help you do the same with your artistic career.

    Leonardo was among the first artists to study human anatomy in great detail, and his anatomical drawings reveal him to be a gifted observer of the human body. He studied not only living men and women but cadavers, which he dissected with painstaking care in order to draw each vessel, muscle, and organ with ultimate precision. The Royal Library at Windsor Castle houses the finest private collection of drawings in the world, and its greatest treasure is a magnificent group of more than six hundred sheets by Leonardo. Reproduced here are forty-one of his finest anatomical drawings, incorporating countless studies and commentaries in the artist's hand. The sheets, dating from 1489 to c. 1513, show the remarkable evolution, of his drawing style as well as his anatomical knowledge. Images of great beauty and scientific interest, they herald Leonardo as one of the most accomplished artists in the history of anatomy.

    At once an irreplaceable yet fragile cultural resource, it documents Native histories, customs, and visions through thousands of years.This valuable reference and guidebook addresses basic questions of what petroglyphs and pictographs are, how they were produced, and how archaeologists classify and date them. James Keyser identifies five regions on the Columbia Plateau, each with its own variant of the rock art style identifiable as belonging exclusively to the region. He describes for each region the setting and scope of the rock art along with its design characteristics and possible meaning. Through line drawings, photographs, and detailed maps he provides a guide to the sites where rock art can be viewed.In western Montana, rock art motifs express the ritualistic seeking of a spirit helper from the natural world. In interior British Columbia, rayed arcs above the heads of human figures demonstrate possession of a guardian spirit. Twin figures on the central Columbia Plateau reveal another belief--the special power of twins--and hunting scenes celebrate success of the chase. The grimacing evocative face of Tsagiglalal, in lower Columbia pictographs, testifies to the Plateau Indians' "death cult" response to the European diseases that decimated their villages between 1700 and 1840. On the southeastern Plateau, images of horse-back riders mark the adoption, after 1700 of the equestrian and cultural habits of the northwestern Great Plains Indians.Despite geographic differences in emphasis, similarities in design and technique link the drawings of all five regions. Human figures, animals depicting numerous species on the Plateau, geometric motifs, mysterious beings, and tally marks, whether painted or carved, appear throughout the Columbia Plateau.

    

    Such attitudes and practices have led to accusations that an imperialistic Native American art history not only developed but maintains, the fictions of a colonizer/colonized relationship.This collection of essays deals with the development of Native American art history as a discipline rather than with particular art works or artists. It focuses on the early anthropologist, museum curators, dealers, and collectors, and on the multiple levels of understanding and misunderstanding, appropriation and reappropriation, that characterized their transactions. The essays examine major figures, art forms, institutions, and events of the early years when native American artworks were first collected, studied, and displayed

    Students of speech and rhetoric to this day study the works of Cicero for guidance. We find Roman Law setting the model for legal systems from the twelfth century to the present. And Latin itself, far from being a dead language, lives on not only in the Romance languages, but also in English vocabulary and grammar. Rhetoric, language, law--these are just a small part of the great Roman influence that has lasted throughout the centuries. The Legacy of Rome has long been considered the standard introduction to the achievements of the Roman world. Now in a completely new edition, this classic work brings together the latest scholarship in the field from some of the world's leading classical scholars. Unlike the previous version, which focused on such narrow topics as commerce and administration, the new edition broadens the spectrum of influence, showing the impact, for example, of Roman literature, art, politics, law, and language on western civilization. Jasper Griffin, for instance, looks to the works of Shakespeare, Milton, Keats, and Wordsworth, among others, to trace the lasting influence of the great Roman poet Virgil on the development of poetic forms such as the pastoral, epitomized by Virgil's Eclogues, and the epic poem, exemplified by the Aeneid. A.T. Grafton shows how Renaissance intellectuals such as Machiavelli and Guicciardini looked to Rome's past for political enlightenment, and found models of military strategy in the works of Tacitus and Livy. Editor Richard Jenkyns dispels the misconception of the Romans as purely imitative of the Greeks; he points out such uniquely Roman concepts as jurisprudence and citizenship, and architecture based on the round arch and the vault, as evidence of Roman innovativeness. Other contributors--George A. Kennedy, Robert Feenstra, and Nicholas Purcell--discuss the importance of the study of Roman rhetoric in preparing speakers for public life, the lasting influence of the Justinian code on Western legal development, and the impact on future civilizations of the romanticized notion of an imperial Rome and its magical ruins. Ranging from the pastoral tradition, to the development of the comedy, to the lasting influence of the Latin language, The Legacy of Rome provides a much-needed new appraisal of the richness of the great civilization which gave rise to a large part of Western heritage.

    

    Original.