1450–1516) was more than an anomaly. Bosch’s paintings are populated with grotesque scenes of fantastical creatures succumbing to all manner of human desire, fantasy, and angst. One of his greatest inventions was to take the figural and scenic representations known as drolleries, which use the monstrous and the grotesque to illustrate sin and evil, and to transfer them from the marginalia of illuminated manuscripts into large-format panel paintings. Alongside traditional hybrids of man and beast, such as centaurs, and mythological creatures such as unicorns, devils, dragons, and griffins, we also encounter countless mixed creatures freely invented by the artist. Many subsidiary scenes illustrate proverbs and figures of speech in common use in Bosch’s day. In his Temptation of St Anthony triptych, for example, the artist shows a messenger devil wearing ice skates, evoking the popular expression that the world was “skating on ice”—meaning it had gone astray. In his pictorial translation of proverbs, in particular, Bosch was very much an innovator. Bosch—whose real name was Jheronimus van Aken—was widely copied and imitated: the number of surviving works by Bosch’s followers exceeds the master’s own production by more than tenfold. Today only 20 paintings and eight drawings are confidently assigned to Bosch’s oeuvre. He continues to be seen as a visionary, a portrayer of dreams and nightmares, and the painter par excellence of hell and its demons. Featuring brand new photography of recently restored paintings, this exhaustive book, published in view of the upcoming 500th anniversary of Bosch’s death, covers the artist’s complete works. Discover Bosch’s pictorial inventions in splendid reproductions with copious details and a huge fold-out spread, over 110 cm (43 in.) long, of The Garden of Earthly Delights. Art historian and acknowledged Bosch expert Stefan Fischer examines just what it was about Bosch and his painting that proved so immensely influential.

    "To understand it, you have to see how it mirrors my life." Richardson, who lived near the artist in Provence for ten years and became a trusted friend, was able to observe and record this phenomenon at first hand. Later, Picasso's widow continued to give Richardson access to the artist's studios and storerooms. This close personal friendship and the privilege of working in hitherto inaccessible archives make Richardson uniquely qualified to write the artist's life, rescuing his renown from sensationalist legend and specialist pleading and analyzing anew the traumas and obsessions that triggered his explosive genius.Richardson is the first biographer to make sense of the myriad contradictions that leave so many statements about Picasso's nature equally true in reverse. The artist's ambivalence is one of the author's central themes. At last we are able to see how his courage and terror misogyny and tenderness, generosity and thrift, superstition and skepticism, cynicism and sentiment, are reflected in the conflicts and paradoxes in his work.Richardson's eye is finely attuned to the complexities of Picasso's art, and his extensive knowledge of cultural history enables him to show how Picasso plundered the art of the past, the imaginations of his poet friends, the beliefs of mystics and magi, to create a revolutionary new synthesis. The author's evocation of Picasso's ferocious ego, demonic loves and hates and black fears is the more absorbing for its terse and lively prose and freedom from jargon.This first volume of Richardson's prodigiously detailed and documented four-volume study takes Picasso to the age of twenty-five. It reveals how the adolescent Picasso struggled, through determination and study, to escape the shadow of his father's artistic failures. It describes his precocious success in Barcelona and Paris and the period of rejection and despair that followed. We watch Picasso transform the prostitutes of the Saint-Lazare prison into Blue period madonnas and, later, the performers of the Montmartre circuses into Rose period harlequins. Volume I culminates in Picasso's dawning perception of himself as the messiah of the modern movement.Some nine hundred illustrations, many of them unfamiliar, enable the reader to follow Picasso's mesmerizing development in images as well as words.

    The story of art unfolds in its full historical, social, religious, economic, and cultural context, deepening students' understanding of art, architecture, painting, and sculpture. This Concise version features color photographs, a stunning design, and the most current research and scholarship. What's more, the ancillary package that accompanies GARDNER'S ART THROUGH THE AGES: A CONCISE HISTORY features a wealth of tools to enhance your students' experience in the course. With each new copy of the book, students receive a copy of the ArtStudy CD-ROM-an interactive electronic study aid that fully integrates with the text and includes hundreds of high-quality digital images, plus maps, quizzes, and more.

    Features works prior to the Tree Show, including Blood, Sweat, Tears, and The Creatrix. A survey of 55 of Ryden s most impressive works from past shows to the present. A gem of a book, presented in a beautiful hardcover, clothbound format. Text in Japanese.

    This XXL-format comprehensive survey is the most complete book ever made on the subject of this Italian painter, sculptor, architect, engineer, scientist and all-around genius. With huge, full-bleed details of Leonardo's masterworks, this highly original publication allows the reader to inspect the subtlest facets of his brushstrokes. * Part I explores Leonardo's life and work in ten chapters. All of his paintings are interpreted in depth, with The Annunciation and The Last Supper featured on large double-spreads. * Part II comprises a catalogue raisonn? of Leonardo's paintings, which covers all of his surviving and lost painted works and includes texts describing their states of preservation. * Part III contains an extensive catalogue of his drawings (numbering in the thousands, they cannot all be reproduced in one book); 663 are presented, arranged by category (architecture, technical, anatomical, figures, proportion, cartography, etc). This sumptuous TASCHEN offering is the most thorough and beautifully produced Leonardo book ever published, and this special edition offers it for a third of the usual price.

    This sensitive celebration of the remarkable life of Reuters' youngest photographer is filled with 17 journals, replicated collages of writings, drawings and photographs.

    Here, from author Jay Williams, is the moving story of the man behind the Renaissance myth.

    Created in collaboration with Jeff Tweedy, Wilco, and Tony Margherita, this primarily visual book explores what Wilco does, how it does it, and where it all comes together. The band narrates the book in the form of long captions accompanying a variety of images: a Korean postcard, a Stratocaster, a backstage practice session, and so on. Along the way, central topics such as instruments, touring, and recording are covered both in general (i.e., what happens, physically, when a guitar string breaks) and specific to Wilco. Just as the band assembles its disparate talents and inspirations to make music, this book coheres in the end to reveal a 40 minute CD of original, unreleased songs. Just as Wilco experiments with music by turning convention on its head, this book is an utterly new take on the old genre of the rock 'n' roll book. The Wilco Book will look and read like a Wilco record sounds; it's a translation of the band's sensibility from sound into print.

    His style and encouraging words are a form of therapy for the weary, but with Bob it is always about more than painting. There is a hidden depth within his easy chatter, another layer to everything he says. When he talks about painting, he's using it as a metaphor for life!Happy Little Accidents: The Wit and Wisdom of Bob Ross opens with an introduction and brief biography of Ross, followed by a collection of Ross's greatest quotes and most majestic works of art.Relax. Unwind. Be inspired.“Just let your imagination go. You can create all kinds of beautiful effects, just that easy…”

    Escher, I am absolutely crazy about your work. In your print Reptiles you have given such a striking illustration of reincarnation.' I replied, 'Madame, if that's the way you see it, so be it, '" An engagingly sly comment by the renowned Dutch graphic artist Maurits Cornelis Escher (1898-1972)--the complex ambiguities of whose work leave hasty or single-minded interpretations far behind. Long before the first computer-generated 3-D images were thrilling the public, Escher was a master of the third dimension. His lithograph "Magic Mirror" dates as far back as 1946. In taking that title for this book, mathematician Bruno Ernst is stressing the magic spell Escher's work invariably casts on those who see it. Ernst visited Escher every week for a year, systematically talking through his entire oeuvre with him. Their discussions resulted in a friendship that gave Ernst intimate access to the life and conceptual world of Escher. Ernst's account was meticulously scrutinized and made accurate by the artist himself. Escher's work refuses to be pigeonholed. Scientific, psychological, or aesthetic criteria alone cannot do it justice. The questions remain. Why did he create the pictures? How did he construct them? What preliminary studies were necessary before he could arrive at the final version? And how are the various images Escher created interrelated? This book, complete with biographical data, 250 illustrations, and explications of mathematical problems, offers answers to these and many other questions, and is an authentic source text of the first order.

    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.

    Through the lens of esteemed writers and critics such as Carlo McCormick, Steven Heller and Roger Gastman, Fairey's work is seen for all its depth and placed in context as art, design, social experiment and "getting over". This massive book pulls no punches and all areas of the enigmatic artist's work, travels and travails are illuminated; from exhibitions, posters, flyers, silkscreens and stickers to high altitude pursuits, citations and police beatings, it's all documented in a museum quality layout and binding. The evidence is in, and it's clear that Shepard Fairey is not one to rest on his laurels, the work must go on. For both long time fans wanting the complete collection and those just curious to know what this OBEY business is all about Supply and Demand is the answer.

    Leonardo was a charming, handsome fifty year-old at the peak of his career. Michelangelo was a temperamental sculptor in his mid-twenties, desperate to make a name for himself.Michelangelo is a virtual unknown when he returns to Florence and wins the commission to carve what will become one of the most famous sculptures of all time: David. Even though his impoverished family shuns him for being an artist, he is desperate to support them. Living at the foot of his misshapen block of marble, Michelangelo struggles until the stone finally begins to speak. Working against an impossible deadline, he begins his feverish carving.Meanwhile, Leonardo’s life is falling apart: he loses the hoped-for David commission; he can’t seem to finish any project; he is obsessed with his ungainly flying machine; he almost dies in war; his engineering designs disastrously fail; and he is haunted by a woman he has seen in the market—a merchant’s wife, whom he is finally commissioned to paint. Her name is Lisa, and she becomes his muse.Leonardo despises Michelangelo for his youth and lack of sophistication. Michelangelo both loathes and worships Leonardo’s genius.Oil and Marble is the story of their nearly forgotten rivalry. Storey brings early 16th-century Florence alive, and has entered with extraordinary empathy into the minds and souls of two Renaissance masters. The book is an art history thriller.

    In this volume artists such as Mode 2, KozynDan, Mike Giant, James Jean, Evan Hecox, Grotesk, Alex Pardee and Morning Breath are briefly profiled, then allowed the space to let their work do the talking.

    Ross Kemp has visited the worst places in the world, and here they are in all their horror – in a handy A to Z format.This is not one hell of a travel guide. This is a travel guide to hell.