In the search for the ""mystery"" in which things and organisms are enveloped, Magritte created pictures which, taking everyday reality as their starting point, were to follow a different logic from that to which we are accustomed. Magritte depicts the world of reality in such unsecretive superficiality that the beholder of his pictures is forced to reflect that the mystery of it is not evoked by some sentimental transfiguration, but rather by the logic of his thoughts and associations. Magritte thus invented an inimitable pictorial language which he uses to question our usual comprehension of pictures. In this book, Jacques Meuris traces Magritte's artistic development from its beginnings until the end of his life, and in doing so underlines the originality of this great Belgian Surrealist.

    Classical buildings as widely spaced in time as a Roman temple, an Italian Renaissance palace and a Regency house all show an awareness of these rules even if they vary them, break them or poetically contradict them. Sir Christopher Wren described them as the Latin of architecture and the analogy is almost exact. There is the difference, however, that whereas the learning of Latin is a slow and difficult business, the language of classical architecture is relatively simple. It is still, to a great extent, the mode of expression of our urban surroundings, since classical architecture was the common language of the western world till comparatively recent times. Anybody to whom architecture makes a strong appeal has probably already discovered something of its grammar for himself.In this book, the author's purpose is to set out as simply and vividly as possible the exact grammatical workings of this architectural language. He is less concerned with its development in Greece and Rome than with its expansion and use in the centuries since the Renaissance. He explains the vigorous discipline of the orders and the scope of rustication; the dramatic deviations of the Baroque and, in the last chapter, the relationship between the classical tradition and the modern architecture of today. The book is intended for anybody who cares for architecture but more specifically for students beginning a course in the history of architecture, to whom a guide to the classical rules will be an essential companion.

    Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site contained by the walls of this memorial, we can barely make out the carved names upon the memorial's walls. These names, seemingly infinite in number, convey the sense of overwhelming numbers, while unifying these individuals into a whole.... So begins the competition entry submitted in 1981 by a Yale undergraduate for the design of the Vietnam Veterans Memorial in Washington, D.C. -- subsequently called "as moving and awesome and popular a piece of memorial architecture as exists anywhere in the world." Its creator, Maya Lin, has been nothing less than world famous ever since. From the explicitly political to the un-ashamedly literary to the completely abstract, her simple and powerful sculpture -- the Rockefeller Foundation sculpture, the Southern Poverty Law Center Civil Rights Memorial, the Yale Women's Table, Wave Field -- her architecture, including The Museum for African Art and the Norton residence, and her protean design talents have defined her as one of the most gifted creative geniuses of the age. Boundaries is her first book: an eloquent visual/verbal sketchbook produced with the same inspiration and attention to detail as any of her other artworks. Like her environmental sculptures, it is a site, but one which exists at a remove so that it may comment on the personal and artistic elements that make up those works. In it, sketches, photographs, workbook entries, and original designs are held together by a deeply personal text. Boundaries is a powerful literary and visual statement by "a leading public artist" (Holland Carter). It is itself a unique work of art.

    Rockwell senior, who said he depicted life “as I would like it to be,” chronicled iconic visions of American life: the Thanksgiving turkey, soda fountains, ice skating on the pond, and small-town boys playing baseball-not to mention the beginning of the civil rights movement. Now, the best-selling collection of Rockwell’s most beloved illustrations, organized by decade, is available in a refreshed edition. With more than 150 images-oil paintings, watercolors, and rare black-and-white sketches--this is an uncommonly faithful Rockwell treasury. The original edition has sold nearly 200,000 copies.

    He spent a large part of his life on the run, leaving a trail of illuminated chaos wherever he passed, most of it recorded in criminal justice records. When he did settle for long enough to paint, he produced works of staggering creativity and technical innovation. He was famous throughout Italy for his fulminating temper, but also for his radical and sensitive humanization of biblical stories, and in particular his decision to include the brutal and dirty life of the street in his paintings. Caravaggio was a rebel and a violent man, but he eyed the world with deep empathy, realism, and an unrelenting honesty.

    

    Superb reproductions of paintings by one of the 20th century's most famous artists: The Visage of War, The Enigma of Desire, the well-known Persistence of Memory, 13 others.

    Featuring more than 150 activities, this guide teaches the styles, works, and techniques of the great masters—Van Gogh, Michelangelo, Rembrandt, and more—through innovative, hands-on, open-ended activities for children Kindergarten through Middle School (ages 6 to 13).

    Inventive and skilled, he virtually created the Baroque style. In his religious sculptures he excelled at capturing movement and extreme emotion, uniting figures with their setting to create a single conception of overwhelming intensity that expressed the fervour of Counter-Reformation Rome. Intensity and drama also characterize his portraits and world-famous Roman fountains.

    History is designed to meet the scope and sequence requirements of most introductory courses. The text provides a balanced approach to U.S. history, considering the people, events, and ideas that have shaped the United States from both the top down (politics, economics, diplomacy) and bottom up (eyewitness accounts, lived experience). U.S. History covers key forces that form the American experience, with particular attention to issues of race, class, and gender.

    As in the authors' bestselling "Film Art", concepts and events are illustrated with actual frame enlargements, giving students more realistic points of reference than competing books that use publicity stills.

    With detailed analytical captions and diagrams, every lesson is clearly delineated and illustrated. Throughout, also, is commentary that sheds light on the creative process of drawing and offers deep insight into the unsurpassed achievements of the masters.

    This was, without doubt, the most celebrated cohabitation in art history: never, before or since have two such towering artistic talents been penned up in so small a space. They were the Odd Couple of art history. Predictably, the results were explosive. The dâenouement of their life together has entered into folklore. Two months after Gauguin arrived in Arles, Van Gogh suffered a psychological crisis. He spent most of the rest of his life in a mental institution. Gauguin fled from Arles, and they never saw each other again. But in the brief period during which they worked together a stream of masterpieces was created within the studio they shared. Here, for the first time, the full story of their life together is told.

    As painters, sculptors, photographers, and other visual artists see and experience the world through a unique lens, Art Is the Highest Form of Hope & Other Quotes by Artists shows that their life lessons, private revelations, and frank, often irreverent, opinions can guide us all.This unique and carefully curated book, packed with totally original research, is a go-to resource for revealing thoughts and personal advice on subjects as diverse as beauty, colour, light, sex, chance, discipline, money troubles, originality, fear of failure, danger of success, the creative process, and more – all messages transmitted from the artistic trenches.

    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.