Tolkien.When J.R.R. Tolkien wrote The Hobbit, he was already an accomplished amateur artist, and drew illustrations for his book while it was still in manuscript. The Hobbit as first printed had ten black and white pictures, two maps, and binding and dust-jacket designs by its author. Later, Tolkien also painted five scenes for colour plates which are some of his best work. His illustrations for The Hobbit add an extra dimension to that remarkable book, and have long influenced how readers imagine Bilbo Baggins and his world.To celebrate the 75th anniversary of the publication of The Hobbit, the complete artwork created by the author for his story has been collected in The Art of The Hobbit by J.R.R. Tolkien. Including related pictures, more than one hundred sketches, drawings, paintings, maps, and plans are presented here, preliminary and alternate versions and experimental designs as well as finished art. Some of these images are now published for the first time, and others for the first time in colour. Fresh digital scans from the Bodleian Libraries in Oxford and Marquette University in Wisconsin allow Tolkien’s Hobbit pictures to be seen more vividly than ever before.The Art of The Hobbit by J.R.R. Tolkien has been written and edited by Wayne G. Hammond and Christina Scull, two of the leading experts on Tolkien and authors of the acclaimed J.R.R. Tolkien: Artist and Illustrator, The Lord of the Rings: A Reader’s Companion, and The J.R.R. Tolkien Companion and Guide.

    But ask a physicist and there’s no doubt that James Clerk Maxwell will be near the top of the list.  Maxwell, an unassuming Victorian Scotsman, explained how we perceive colour. He uncovered the way gases behave. And, most significantly, he transformed the way physics was undertaken in his explanation of the interaction of electricity and magnetism, revealing the nature of light and laying the groundwork for everything from Einstein’s special relativity to modern electronics.   Along the way, he set up one of the most enduring challenges in physics, one that has taxed the best minds ever since. ‘Maxwell’s demon’ is a tiny but thoroughly disruptive thought experiment that suggests the second law of thermodynamics, the law that governs the flow of time itself, can be broken. This is the story of a groundbreaking scientist, a great contributor to our understanding of the way the world works, and his duplicitous demon.

    After a dozen years at the court of Lodovico Sforza, the Duke of Milan, Leonardo was at a low point personally and professionally: at forty-three, in an era when he had almost reached the average life expectancy, he had failed, despite a number of prestigious commissions, to complete anything that truly fulfilled his astonishing promise. His latest failure was a giant bronze horse to honor Sforza's father: His 75 tons of bronze had been expropriated to be turned into cannons to help repel a French invasion of Italy. The commission to paint The Last Supper in the refectory of a Dominican convent was a small compensation, and his odds of completing it were not promising: Not only had he never worked on a painting of such a large size-15' high x 30' wide-but he had no experience in the extremely difficult medium of fresco.  In his compelling new book, Ross King explores how-amid war and the political and religious turmoil around him, and beset by his own insecurities and frustrations-Leonardo created the masterpiece that would forever define him. King unveils dozens of stories that are embedded in the painting. Examining who served as the models for the Apostles, he makes a unique claim: that Leonardo modeled two of them on himself. Reviewing Leonardo's religious beliefs, King paints a much more complex picture than the received wisdom that he was a heretic. The food that Leonardo, a vegetarian, placed on the table reveals as much as do the numerous hand gestures of those at Christ's banquet. As King explains, many of the myths that have grown up around The Last Supper are wrong, but its true story is ever more interesting. Bringing to life a fascinating period in European history, Ross King presents an original portrait of one of the world's greatest geniuses through the lens of his most famous work.

    Through intricate pen and ink illustrations to complete, color, and embellish, readers will meet shoals of exotic fish, curious octopi, and delicately penned seahorses. Visit coral reefs and barnacle-studded shipwrecks, discover intricate shells and pirate treasure. Secret Garden and Enchanted Forest fans and newcomers alike will welcome this creative journey into an inky new world.

    In the 1st edition, published in 1962, he spoke to that perennial reader he gently called "the troubled layman." His opening paragraph revealed his sympathy: "Why is this supposed to be art?" he quoted rhetorically. "How often have we heard this question asked--or asked it ourselves, perhaps--in front of one of the strange, disquieting works that we are likely to find nowadays in the museum or art exhibition?" Keeping that curious, questioning perspective in mind, he wrote a history of art from cave painting to Picasso that was singularly welcoming, illuminating & exciting. Sojourning thru this book, a reader is offered every amenity for a comfortable trip. Because he never assumes knowledge on the part of the reader, a recent immigrant from Mars could comprehend Western art from this text. The only assumption the Jansons have made is that with a little guidance everyone can come to understand the artifacts that centuries of architecture, sculpture, design & painting have deposited in our paths. Countless readers have proven the Jansons right & found their lives enriched in the process.

    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.

    This 112-page collection will showcase Cho's past and present illustrations and you will see why he's considered one of the top modern masters of the female form.

    A legend at age twenty-one, this cocky hotshot was the biggest high roller to appear in Sin City in decades, a mathematical genius with a system the casinos had never seen before and couldn't stop -- a system that has never been revealed until now; that has nothing to do with card counting, wasn't illegal, and was more powerful than anything that had been tried before.Las Vegas. Atlantic City. Aruba. Barcelona. London. And the jewel of the gambling crown -- Monte Carlo.Dukach and his fellow MIT students hit them all and made millions. They came in hard, with stacks of cash; big, seemingly insane bets; women hanging on their arms; and fake identities. Although they were taking classes and studying for exams during the week, over the weekends they stormed the blackjack tables only to be harassed, banned from casinos, threatened at gunpoint, and beaten in Vegas's notorious back rooms.The stakes were high, the dangers very real, but the players were up to the challenges, consequences be damned. There was Semyon Dukach himself, bored with school and broke; Victor Cassius, the slick, brilliant MIT grad student who galvanized the team; Owen Keller, with stunning ability but a dark past that would catch up to him; and Allie Simpson, bright, clever, and a feast for the eyes.In the classroom, they were geeks. On the casino floor, they were unstoppable.Busting Vega$ is Dukach's unbelievably true story; a riveting account of monumental greed, excess, hubris, sex, love, violence, fear, and statistics that is high-stakes entertainment at its best.

    This world-class audio production immerses listeners in the dramatic reality of the Scriptures as never before, with an original music score by composer Stefano Mainetti (Abba Pater), feature-film quality sound effects, and compelling narration by Michael York and the work of over 500 actors.Each beloved book of the Bible comes to life with outstanding performances by Jim Caviezel as Jesus, Richard Dreyfuss as Moses, Gary Sinise as David, Jason Alexander as Joseph, Marisa Tomei as Mary Magdalene, Stacy Keach as Paul, Louis Gossett, Jr. as John, Jon Voight as Abraham, Marcia Gay Harden as Esther, Joan Allen as Deborah, Max von Sydow as Noah, and Malcolm McDowell as Solomon.98 hours

    Dear, simple mother, in her terrible clothes, and the twins, got up with more thought for economy than for beauty! I shopped extravagantly with them. The youngsters wanted to see everything in New York; but mother, despite all of those hard, lonely years in our rough country and the many interesting things for her to do and see in New York-- mother wanted nothing better than to stay with the baby.

    Beautifully produced and co-published with La Lux de Jesus, this is an objet d'art in itself, revealing the complexity of Elizabeth McGrath's sweetly twisted creatures, giving a glimpse of what the Island of Misfit Toys might have become had it been saved by Satan rather than Santa.

    Un retrato de una artista, sobre todo una artista.(Portrait of an artist, always an artist, above all an artist.)

    His darkly brilliant, addictively hilarious scrawls from the subconscious have already made him a star in the UK, with a growing legion of fans around the globe. The Book of Shrigley is the most extensiveand the first widely availableshowcase of his edgy but accessible off-kilter vision. Here are bad-tempered pets, strange attractions, work, S-E-X, knitting, wrestling, and a host of other everyday activities, dangers, and amusements laid bare in Shrigley's urgently illustrated panels and wickedly mischievous punch lines. Made up of almost entirely new work and bursting with color and unsettlingly funny truths, The Book of Shrigley is the ideal introduction to this comic genius and the book fans have been waiting for.

    On its first publication, the reviewer of Books observed: "It is impossible not to admire this painter as writer ... (Dalí) succeeds in doing exactly what he sets out to do ... communicates the snobbishness, self-adoration, comedy, seriousness, fanaticism, in short the concept of life and the total picture of himself he sets out to portray." Superbly illustrated with over eighty photographs of Dalí and his works, and scores of Dalí drawings and sketches.

    While illustrator Chris Ware's singular body of work is often categorized as comics, his trailblazing work defies genre. Whether he is writing graphic novels, making paintings, or building sculptures, Ware explores universal themes of social isolation, emotional torment, and depression with his trademark self-effacing voice. The end result is wry, highly empathetic, and identifiable to all walks of life. Ware, like Charles Schulz, Art Spiegelman, and R. Crumb, has elevated cartooning to an iconic art form. This volume is a personal, massive, never-before-seen look at how the artist's life and work combine, beginning with his newspaper family and the influence of their work; his art-school days in Austin and Chicago; to his career from the early 1990s to the present day. It also delves into how, as a storyteller and builder, his near-compulsion to build in three dimensions feeds into the thinking of his innovative narrative art. The book contains a comprehensive collection of his work, including many previously unpublished examples, and is an intimate window into a comics master sure to appeal to fans of art and storytelling.