A cairn made by the renowned sculptor in the Scottish village where he lives reveals the influence that his work close to home has on projects he creates elsewhere. A series involving elm trees, from glowing yellow leaves to dead branches, exemplifies his work's vigorous beauty as well as its association with death and decay. Creations on the beach and in rivers explore the passage of time, while a white chalk path investigates the passing from day into night. "Passage also includes the Garden of Stones, a Holocaust memorial at the Museum of Jewish Heritage in New York, where the artist planted 18 oak trees through holes in hollowed-out, earth-filled boulders. Documenting these and other recent works, this beautiful book is an eloquent testament to Goldsworthy's determination to deepen his understanding of the world around him, and his relationship with it, through his art.

    A two-pronged task, it requires great technical skill and an intuitive eye. In both these respects, John Singer Sargent stands out as a portrait artist of major stature.Born in 1856 in Florence of American parents, Sargent showed artistic aptitude at an early age and was enrolled at the Academia delle Belle Arti in that city. Later he studied with Parisian artist Carolus Duran, acquiring the loose, painterly style for which he is renowned. International acclaim as a portrait artist came early in his life and followed him throughout his career.Sargent's portraits done in oil are well known; they appear in major museums throughout the world. A lesser-known but no less respected aspect of his oeuvre, his portrait drawings are the focus of this collection. Included here are early works in pencil and pastels, and later renderings in charcoal, a medium Sargent favored after 1910. They have been selected from both public and private collections by art historian Trevor J. Fairbrother and attest to Sargent's technical skill, versatility, and dexterity in three different mediums.In addition, these works reveal Sargent's ability to treat a diverse group of subjects; he handles the languorous beauties of the Edwardian age, members of the aristocracy, and the great literary and artistic figures of his day with equal virtuosity, capturing their characteristic mood and style. This collection includes portraits of Lord and Lady Spencer, Henry James, William Butler Yeats, Vaslav Nijimsky, Tamara Karsavina, Dame Ethel Smyth, and Jascha Heifetz.Artists, students, historians, and lovers of portraiture will appreciate this selection of drawings by Sargent. Anyone interested in trying his hand at portraiture will find this volume both instructional and inspirational.

    Exploring his greatest obsessions - including image and celebrity - he photographs wrestlers and politicians, the beautiful wealthy and the disenfranchised poor, Capote with the fresh scars of a facelift and Madonna hiding beneath a brunette bob. He writes about the country he loves, wishing he had died when he was shot, commercialism, fame and beauty.An America without Warhol is almost as inconceivable as Warhol without America, and this touching, witty tribute is the great artist of the superficial at his most deeply personal.

    I kept thinking that this is the book that I have waited for: where objects, and poetry intertwine. Just wonderful and completely sui generis." (Edmund de Waal, author of "The Hare with Amber Eyes") An unforgettable voyage across the reaches of America and the depths of memory, "Red Brick, Black Mountain, White Clay" follows one incredible family to discover a unique craft tradition grounded in America s vast natural landscape. Looking back through the generations, renowned critic Christopher Benfey unearths an ancestry--and an aesthetic--that is quintessentially American. His mother descends from colonial explorers and Quaker craftsmen, who carved new arts from the trackless wilds of the frontier. Benfey s father escaped from Nazi Europe--along with his aunt and uncle, the famed Bauhaus artists Josef and Anni Albers--by fleeing across the Atlantic and finding an eventual haven in the American South. Bricks form the backbone of life in North Carolina s rural Piedmont, where Benfey s mother was raised among centuries-old folk potteries, tobacco farms, and clay pits. Her father, like his father before him, believed in the deep honesty of brick, that men might build good lives with the bricks they laid. Nurtured in this red-clay world of ancient craft and Quaker radicalism, Benfey s mother was poised to set out from home when a tragic romance cracked her young life in two. Salvaging the broken shards of his mother s past and exploring the revitalized folk arts resisting industrialization, Benfey discovers a world brimming with possibility and creativity. Benfey s father had no such foundation in his young life, nor did his aunt and uncle. Exiled artists from Berlin s Bauhaus school, Josef and Anni Albers were offered sanctuary not far from the Piedmont at Black Mountain College. A radical experiment in unifying education and art, Black Mountain made a monumental impact on American culture under Josef s leadership, counting Robert Rauschenberg, John Cage, and Buckminster Fuller among its influential students and teachers. Focusing on the natural world, innovative craftsmanship, and the physical reality of materials, Black Mountain became a home and symbol for an emerging vision of American art. Threading these stories together into a radiant and mesmerizing harmony, "Red Brick, Black Mountain, White Clay" is an extraordinary quest to the heart of America and the origins of its art.

    Peter Freestone and David Evans tie up many loose ends and recall Freddie's last days in 1991 and recount details of the events which followed Queen's lead singer's death involving the people and places Freddie loved and favoured.

    Rejected by his family, hounded by society for his interest in young girls, he expressed through his art a deep and bewildering loneliness and an obsession with sexuality, death and decay. He was only twenty-eight when he died, yet he left behind him a body of work that sustains a huge public reputation--and a myth. This book sets out to examine both. 151 illus., 20 in color.

    Anyone who can hold a pencil can learn to draw.In this book, Bert Dodson shares his complete drawing system--fifty-five "keys" that you can use to render any subject with confidence, even if you're a beginner.These keys, along with dozens of practice exercises, will help you draw like an artist in no time.You'll learn how to:Restore, focus, map, and intensifyFree your hand action, then learn to control itConvey the illusions of light, depth, and textureStimulate your imagination through "creative play"

    Three essays by Barney experts articulate the series' diverse themes and explore the artist's innovative aesthetic vocabulary; interviews with key collaborators, a composer, costume designer, make-up artist, technicians and actors reveal his working process. A trailblazing essay by Curator of Contemporary Art Nancy Spector charts Barney's work from the 1990s to the present and provides critical insights into the aesthetic vocabulary of his five Cremaster films, while Neville Wakefield's "Cremaster Glossary" illuminates the films' most far-flung references with citations from sources as diverse as Freud's psychoanalytic studies, Mormon law and lore, and hardcore music fanzines. In addition to stills from the five films--including the final episode, Cremaster 3--the book features related sculptures, photographs, drawings and storyboards. For anyone intrigued by the Wagner of contemporary art, this is an atlas to his enticingly hypnotic worlds. Barney himself collaborated on all aspects of this extraordinary publication, including the selection of over 700 images, most of them never before published.

    He had good grounds for the confidence palpable in his statement, for in the history of 20th century art, his name stands out over all the others. In Picasso's paintings, drawings, lithographs, ceramics, and sculptures, he was tirelessly inventive and innovative, exhibiting an aesthetic bravado that kept him one step ahead of his contemporaries. From subject matter to new forms and techniques to new media, Picasso got there first. The Spanish artist's enormous output, from the eight-year-old's beginnings to the late work of a man of ninety-one, is surely one of the most diverse and creatively energetic in the whole history of art, and it is no exaggeration to see him as the genius of the century. Carsten-Peter Warncke's study is a thorough review of Picasso's entire oeuvre, from the early Blue and Rose Periods, through the analytic and synthetic cubism and classicist phase all the way up to the art of the old savage Picasso. Our study of Picasso, the most exhaustive record of his work to date, contains almost 1500 illustrations'from his earliest drawings to the master's very last painting. Extensive bibliography section as well as illustrated section about Picasso's life and work Index of Names

    In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.

    A visual representation of an extraordinary artistic career, that simultaenously brings to life the spirit of a whole era.The author: Daniel Wildenstein (1917-2001) was an art historian and member of the Académie des Beaux-Arts (Paris). From 1939 onwards, he was Director of the Wildenstein Galleries of New York, London, and Tokyo. He edited several international journals, e.g. the magazine Arts from 1956-1962 and the Gazette des Beaux-Arts after 1963. He co-founded the Fondation Wildenstein in 1970 (it was renamed the Wildenstein Institute in 1984), and was a prime mover in many exhibitions of international repute. Daniel Wildenstein also edited the catalogues raisonnés of various 18th, 19th, and 20th century artists. He was a world authority on Impressionism, and published catalogues of the works of Gauguin, Manet, and Monet.

    In a rich weave of images and text, each chapter offers an intimate look at the artist's expression in a different medium. This volume includes beautiful photographs of Micheangelo's works but here also are never before seen details of his sculpture and architecture that invite us to linger. The black-and-white photographs printed in lush doutones that add depth, show in the marks of the chisel, the hand of Michangelo at work - the rough but deliberate strokes of a man struggling to express himself in an unyielding and unforgiving medium.

    Art critics gave them the name "the School of Paris" to set them apart from the French-born (and less talented) young artists of the period. Modigliani and Chagall eventually attained enormous worldwide popularity, but in those earlier days most School of Paris painters looked on Soutine as their most talented contemporary. Willem de Kooning proclaimed Soutine his favorite painter, and Jackson Pollack hailed him as a major influence.Soutine arrived in Paris while many painters were experimenting with cubism, but he had no time for trends and fashions; like his art, Soutine was intense, demonic, and fierce. After the defeat of France by Hitler's Germany, the East European Jewish immigrants who had made their way to France for sanctuary were no longer safe. In constant fear of the French police and the German Gestapo, plagued by poor health and bouts of depression, Soutine was the epitome of the tortured artist. Rich in period detail, Stanley Meisler's Shocking Paris explores the short, dramatic life of one of the most influential artists of the twentieth century.

    This book can help you bring all of these together in one beautiful creation.Here you'll see magnificent collages by leading artists who show you--in step-by-step demonstrations--how to begin, how to design, how to apply collage techniques in exciting ways.Plus you'll get your chance to use those techniques with nearly fifty projects that challenge you to do your most creative work.

    Conceived as a handbook and teaching aid for artists, instructors, and students, this timeless book presents Albers’s unique ideas of color experimentation in a way that is valuable to specialists as well as to a larger audience.Originally published by Yale University Press in 1963 as a limited silkscreen edition with 150 color plates, Interaction of Color first appeared in paperback in 1971, featuring ten representative color studies chosen by Albers. The paperback has remained in print ever since and is one of the most influential resources on color for countless readers.This new paperback edition presents a significantly expanded selection of more than thirty color studies alongside Albers’s original unabridged text, demonstrating such principles as color relativity, intensity, and temperature; vibrating and vanishing boundaries; and the illusions of transparency and reversed grounds. Now available in a larger format and with enhanced production values, this expanded edition celebrates the unique authority of Albers’s contribution to color theory and brings the artist’s iconic study to an eager new generation of readers.