Fascinated by the romantic aspects of medieval culture and the vivid, jewel-like colors of Quattrocento art, the movement abhored the Classical poses and composition of Raphael and those influenced by him—hence the group's name—and the influence of Sir Joshua Reynolds. Founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti, the original Pre-Raphaelites were joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form a seven-member "brotherhood". Its influence on many later British artists was extensive, and Rossetti's work is now seen as a precursor of the wider European Symbolist movement. This book examines the group's emergence, development, influence, and subsequent demise.About the Series: Each book in TASCHEN's Basic Genre Series features:a detailed introduction with approximately 35 photographs, plus a timeline of the most important events (political, cultural, scientific, etc.) that took place during the time period a selection of the most important works of the epoch; each is presented on a 2-page spread with a full-page image and, on the facing page, a description/interpretation of the work and brief biography of the artist as well as additional information such as a reference work, portrait of the artist, and/or citations

    That will paint itself. Do the obvious thing before you do the superhuman thing. It may have been accidental, but you knew enough to let this alone. The good painter is always making use of accidents. Never try to repeat a success. Swing a bigger brush — you don’t know what fun you are missing. For 31 years, Charles Hawthorne spoke in this manner to students of his famous Cape Cod School of Art. The essence of that instruction has been collected from students’ notes and captured in this book, retaining the personal feeling and the sense of on-the-spot inspiration of the original classroom. Even though Hawthorne is addressing himself to specific problems in specific paintings, his comments are so revealing that they will be found applicable a hundred times to your own work.The book is divided into sections on the outdoor model, still life, landscape, the indoor model, and watercolor. Each section begins with a concise essay and continues with comments on basic elements: general character, color, form, seeing, posture, etc. It is in the matter of color that students will especially feel themselves in the presence of a master guide and critic. Hawthorne’s ability to see color and, more important, to make the student see color, is a lesson that will aid student painters and anyone else interested in any phase of art.Although it does not pretend to be a comprehensive or closely ordered course, this book does have much to offer. It also represents the artistic insight of one of the finest painter-teachers of the twentieth century."An excellent introduction for laymen and students alike." — Time"To read these notes and comments … is in itself an education. One cannot help but gain great help." — School Arts

    Discusses the terms, movements, and major artists in the modern American and European art world.

    From impressionism and the birth of modern art to street art and internationalism of the 21st century, it gives a practical introduction to all the significant 'isms' that have shaped modern art history.

    THOUGH HIS NAME INEVITABLY CONJURES UP IMAGES OF THE DRIP PAINTINGS FOR WHICH HE IS MOST FAMOUS, THIS TECHNIQUE WAS ONLY DEVELOPED MIDWAY THROUGH HIS CAREER. THE PROGRESSION FROM HIS EARLIER WORK TO HIS FINAL "ACTION" PAINTINGS--A VERITABLE REVOLUTION OF PAINTING AS A CONCEPT--REVEALS THE GENIUS OF THIS TORTURED ARTIST WHOM MANY CALL THE GREATEST MODERN AMERICAN PAINTER.

    The British are losing a bitter war against the Boers while the German kaiser is busy building a vast new navy. The United States is struggling to put down an insurgency in the South Pacific while the upstart imperialist Japan begins to make clear to neighboring Russia its territorial ambition. In China, a perennial pawn in the Great Game, a mysterious group of superstitious peasants is launching attacks on the Western powers they fear are corrupting their country. These ordinary Chinese—called Boxers by the West because of their martial arts showmanship—rise up seemingly out of nowhere. Foreshadowing the insurgencies of our recent past, they lack a centralized leadership and instead tap into latent nationalism and deep economic frustration to build their army. Many scholars brush off the Boxer Rebellion as an ill-conceived and easily defeated revolt, but in The Boxer Rebellion and the Great Game in China, the military historian David J. Silbey shows just how close the Boxers came to beating back the combined might of the imperial powers. Drawing on the diaries and letters of allied soldiers and diplomats, he paints a vivid portrait of the war. Although their cause ended just as quickly as it began, the Boxers would inspire Chinese nationalists—including a young Mao Zedong—for decades to come.

    Written by scholars at the forefront of new thinking, many of whom are rising stars in their fields, the Oxford History of Art series offers substantial and innovative texts that clarify, illuminate, and debate the critical issues at the heart of art history today. Providing a fresh new look at art that moves away from traditional elitist approaches, the series makes use of new research and methodologies, as well as newly accessible and non-canonical works to offer comprehensive coverage of the art world from archaic and classical Greek art to twentieth-century design and photography, from the artistry of African-American and Native North Americans to the masterpieces of Europe, Polynesia, and Micronesia. Lavishly illustrated and superbly designed, the Oxford History of Art brings new substance and verve to the exciting and ubiquitous world of art.China boasts a history of art spanning 5,000 years and embracing a wide diversity of images and objects--from jade tablets, painted silk handscrolls and fans to ink and lacquer painting, porcelain-ware, sculpture, and calligraphy. But this rich tradition has not, until now, been fully appreciated in the West where scholars have focused their attention on sculpture, while largely ignoring those art forms most highly prized by the Chinese themselves, such as calligraphy. Now, in Art in China, Craig Clunas marks a breakthrough in the study of the subject. Taking into account all the arts practiced in China, and drawing on recent innovative scholarship, this rich text examines the production and consumption of art in its appropriate contexts. From art found in tombs to the state-controlled art of the Mao Zedong era, Art in China offers a novel look and comprehensive examination of all aspects of Chinese art.

    In this vivid and beautifully written biography, Helen Langdon tells the story of the great painter's life and times in a way that leaves the reader with a renewed appreciation of his art.

    One of these principles is what Harold Speed calls "dither," the freedom that allows realism and the artistic vision to play against each other. Very important to any artist or work of art, this quality separates the scientifically accurate from the artistically accurate. Speed's approach to this problem is now considered a classic, one of the few books from the early years of this century that has continued to be read and recommended by those in the graphic arts.In this work, Harold Speed approaches this dynamic aspect of drawing and painting from many different points of view. He plays the historical against the scientific, theory against precise artistic definition. He begins with a study of line drawing and mass drawing, the two basic approaches the artist needs to learn. Further sections carry the artistic vision through unity and variety of line and mass, balance, proportion, portrait drawing, the visual memory, materials, and procedures. Throughout, Speed combines historical backgrounds, dynamic aspects which each technique brings to a work of art, and specific exercises through which the young draughtsman may begin his training. Although not a technique book in the strict sense of the terms, The Practice and Science of Drawing brings to the beginner a clear statement of the principles that he will have to develop and their importance in creating a work of art. Ninety-three plates and diagrams, masterfully selected, reinforce Speed's always clear presentation.Harold Speed, master of the art of drawing and brilliant teacher, has long been cited for this important work. For the beginner, Speed will develop a sense for the many different aspects which go into an artistic education. For the person who enjoys looking at drawings and paintings, Speed will aid developing the ability to see a work of art as the artist meant it to be seen.

    In two volumes, a selection of history's greatest masterpieces is presented chronologically, including works by Botticelli, Breughel, Chagall, Courbet, Degas, Delacroix, D?rer, Goya, Monet, Raphael, Rembrandt, Renoir, Rubens, Tiepolo, Titian, and many others. Each chapter focuses on one painting, with enlarged details and in-depth texts describing their significance. Taking apart each painting and then reassembling it again like a huge jigsaw puzzle, the authors reveal the history of art as a lively panorama of forgotten worlds.

    It offers new perspectives on Basquiat's achievements, exploring them in the contexts of his key influences, and explores many individual works in detail.

    The aim of this substantial anthology is to equip the student, teacher and interested general reader with the necessary materials for an up-to-date understanding of twentieth-century art.Beside the writings of the century's major artists, Art in Theory includes relevant texts by critics, philosophers, politicians and literary figures. It is organised into eight sections, from the legacy of Symbolism at the turn of the century to contemporary debates about the Postmodern. Each section is prefaced by a brief essay. There are introductions for all of the 300-plus texts, which serve to place theories and critical approaches in context. The result is both a comprehensive collection of documents on twentieth-century art and an encylopaedic history of relevant theory.

    From the art of the Greeks to that of Renoir and Moore, this work surveys the ever-changing fashions in what has constituted the ideal nude as a basis of humanist form.

    Great for the beginner and the expert, this book offers readers exercises to improve their work.

    Cape Breton is one of the oldest points of exploration and settlement in the Americas, with a history dating back to the first days of European discovery, and it is littered with the remnants of old settlements. But the road that Chiasson found that day was unique. Well-made and consistently wide, and at one time clearly bordered with stone walls, the road had been a major undertaking. In the two years of detective work that followed, Chiasson systematically surveyed the history of Europeans in North America, and came to a stunning conclusion: the ruins he stumbled upon did not belong to the Portuguese, the French or the English – in fact, they pre-dated John Cabot’s “discovery” of the island in 1497.Using aerial and site photographs, maps and drawings, and his own expertise as an architect, Chiasson carries the reader along as he pieces together the clues to one of the world’s great mysteries. While tantalizing mentions can be found in early navigators’ journals and maps, The Island of Seven Cities reveals for the first time the existence of a large Chinese colony that thrived on Canadian shores well before the European Age of Discovery.Chiasson addresses how the colony was abandoned and forgotten, in the New World and in China, except in the storytelling and culture of the Mi’kmaq, whose written language, clothing, technical knowledge, religious beliefs and legends, he argues, expose deep cultural roots in China. The Island of Seven Cities unveils the first tangible proof that the Chinese were in the New World before Columbus.