These paintings of the wilderness evoke the same response in viewers today as they did when first exhibited.The Group of Seven and Tom Thomson includes many never -- before reproduced paintings and presents the most complete and extensive collection of these artists' works ever published. The 400 paintings and drawings reveal the remarkable genius of all 10 painters who at some point were part of the movement. Tom Thomson, who died before the Group was established, was always present in the public mind. Included are works by:Frank Carmichael Frank Johnston A.J. Casson Arthur Lismer Le Moine FitzGerald J.E.H. MacDonald Lawren Harris Tom Thomson Edwin Holgate F.H. Varley A.Y. Jackson The artwork is organized by the various regions of Canada, with additional sections on the war years and still-life paintings. Introductory essays provide a context for a greater understanding and appreciation of Canada's most celebrated artists.

    Since then, critics and scholars have largely ignored him. Wyeth, however, who is age 88 at the date of publication, has continued to paint, to the delight of his admirers, collectors, and the art-loving public. Now, in association with the High Museum exhibition, Andrew Wyeth: Memory & Magic takes a fresh look at the work of one of America's most beloved artists.In examining his entire oeuvre, the book celebrates the artist's ongoing love affair with everyday life-domestic, natural, and architectural. Found throughout Wyeth's work, these objects form patterns that illuminate core themes and reveal the artist wrestling with issues of memory, temporality, embodiment, and the metaphysical. Organized chronologically and thematically, the book explores how the artist's approach to these subjects was formed in his early career, and has been revisited in new and surprising ways in recent years.Andrew Wyeth: Memory & Magic comprises 150 tempera paintings and 50 drawings and watercolors-including his most-famous works, but also many published here for the first time.

    In 1653, the twenty-one-year-old son of an innkeeper, the artist Jan Vermeer, registered as a master painter with the city's Guild. Vermeer married well, had many children, and enjoyed a respectable local reputation as a painter until his death in 1675. But it was not until the mid-nineteenth century that his genius was widely appreciated. Today, Vermeer's thirty-five paintings are regarded as masterpieces.In Vermeer, Anthony Bailey presents a compelling portrait of Vermeer's life and character, long lost in history. Bailey re-creates the atmosphere of the times, introduces Vermeer's contemporaries, and portrays his domestic life in vibrant detail. Drawing on period documents and his own intense curiosity, Bailey sheds light on the science and artistry behind the glorious, almost mystical, paintings. Meticulously researched and elegantly written, Vermeer will stand as the classic work on Vermeer for years to come.

    Composition is the harmonious arranging of the component parts of a work of art into a unified whole. Henry Poore examines the works of old masters and moderns in this book and uses these examples to explain the principles of compositions in art.All the paintings that the author analyzes are illustrated in the text — 166 illustrations, including 9 in full color. Thirty-two diagrams by the author accompany his textural discussion of such topics as the importance of balance, entrance and exit, circular observation, angular composition, composition with one or more units, and light and shade. Balance is the most important of these topics, and it is considered in the greatest detail — balance of the steelyard, vertical and horizontal balance, and so on. A complete index enables the reader to locate his own specific areas of interest.To see how a painting by Cézanne, Goya, or Hopper, for example, follows definite principles of composition allows the practicing artist or art student to learn composition from the finest instructors — the artists themselves. This book is also very useful to the art devotee, who will find his appreciation of the subject greatly enhanced.

    At a time when reinforced concrete and steel were considered industrial building materials, Wright boldly made use of them to build private homes. His prairie house concept--that of a low, sprawling home based upon a simple L or T figure--was the driving force behind some of his most famous houses and became a model for rural architecture across America. Wrights designs for office and public buildings were equally groundbreaking and unique. From Fallingwater to New Yorks Guggenheim Museum, his works are among the most famous in the history of architecture. About the Series: Each book in TASCHEN's Basic Architecture Series features:an introduction to the life and work of the architect the major works in chronological order information about the clients, architectural preconditions as well as construction problems and resolutions a list of all the selected works and a map indicating the locations of the best and most famous buildings approximately 120 illustrations (photographs, sketches, drafts and plans)

    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.

    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.

    Now legendary, these men have emerged as the most prominent figures of the famed Mexican mural movement, which lasted from the '20s through the early '70s and was hailed as the most significant achievement in public art of the 20th century. The dramatic story of the movement is told here in a fascinating history of the artists, accompanied by over 100 spectacular color reproductions of the murals. Showcasing popular as well as lesser-known works from around the US and Mexico, this is the first high-quality paperback to do justice to a subject that will captivate every lover of Mexican art and culture, Rivera fan, and art historian, as well as anyone who appreciates a beautiful, intelligent art book.

    The stylishness and vibrant color of Disney films in the early 1940s through mid-1950s came primarily from artist Mary Blair. In her prime, she was an amazingly prolific American artist who enlivened and influenced the not-so-small worlds of film, print, theme parks, architectural decor, and advertising. At its core, her art represented joyful creativity and communicated pure pleasure to the viewer. Her exuberant fantasies brimmed with beauty, charm, and wit, melding a child's fresh eye with adult experience. Blair's personal flair comprised the imagery that flowed effortlessly and continually for more than a half a century from her brush. Emulated by many, she remains inimitable: a dazzling sorceress of design and color.

    Setting Realism in its social and historical context, this title discusses the crucial paradox posed by Realist works of art - notably in the revolutionary paintings of Courbet, the works of Manet, Degas and Monet, of the Pre-Raphaelites and other English, American, German and Italian Realists.

    The Barnes Collection has been conservatively valued at more than $6 billion and includes some 69 Cézannes (more than in all the museums of Paris combined), 60 Matisses, 44 Picassos, 18 Rousseaus, 14 Modiglianis, and no fewer than 180 Renoirs. Yet the Barnes is in crisis. Its founder, Dr. Albert C. Barnes (1872), grew up in the slums of late-nineteenth-century Philadelphia only to become first a physician and later a pharmaceutical king. By 1920, this self-made man was already well on his way to becoming one of the great art collectors of his day. But this is also the story of Richard Glanton, who escaped poverty in rural Georgia to become a high-flying, politically powerful Philadelphia lawyer. It was Glanton who took the Barnes art on its celebrated worldwide tour, renovated the galleries-and presided over a decade of expensive litigation. The most famous of these court cases—this one in federal court—pitted the Barnes against its wealthy neighbors. The goal: A 52-car parking lot for the Barnes. The cost: more than $6 million in legal fees. Today, Glanton is no longer president of the Barnes, and the new board is seeking to move the collection into the city. Yet another court case will decide whether they can or not. The battle of the Barnes has only just begun. "Here, at long last, is the whole truth about the Dickensian legal tug-of-war—unimaginably tangled, unsparingly vicious, unprecedentedly cynical—that threatens the survival of one of the greatest private art collections of the twentieth century. From now on, anyone who seeks to understand the desperate plight of the Barnes Collection will have to start by reading this important book." —Terry Teachout, author of The Skeptic: A Life of H. L. Mencken "John Anderson has produced a riveting account of curators, trustees, and lawyers fighting for control of the world-famous Barnes Collection of French impressionist art from the 1950s to the present. Based on hundreds of revealing interviews, Art Held Hostage reads like a superb mystery novel: This gem of investigative reporting is a sure contender for the national best-seller lists." —Howard R. Lamar, Sterling Professor Emeritus of History, Yale University

    Country musicians and magicians, professional wrestlers and rock stars, all have turned to Nashville's historic Hatch Show Print to create showstopping posters. Established in 1879, Hatch preserves the art of traditional printing that has earned a loyal following to this day (including the likes of Beck, Emmylou Harris, and the Beastie Boys). Hatch Show Print: The History of a Great American Poster Shop is the first fully illustrated tour of this iconic print shop and also chronicles the long life and large cast of employees, entertainers, and American legends whose histories are intertwined with it. Complete with 190 illustrations--as well as a special book jacket that unfolds to reveal an original Hatch poster on the reverse--Hatch Show Print is a dazzling document of this legendary institution.

    These different ways of describing and interpreting art are the methodologies of artistic analysis, the divining rods of meaning. Regardless of a work’s perceived difficulty, an art object is, in theory, complex. Every work of art is an expression of its culture (time and place) and its maker (the artist) and is dependent on its media (what it’s made of). The methodologies discussed here—formal analysis, iconology and iconography, Marxism, feminism, biography and autobiography, psychoanalysis, and structuralism—reflect the multiplicity of meanings in an artistic image.

    In Portraits, Berger connects art and history in revolutionary ways, from the prehistoric paintings of the Chauvet caves to Randa Mdah’s work about contemporary Palestine. In his penetrating and singular prose, Berger presents entirely new ways of thinking about art history, and artists both canonized and obscure, from Rembrandt to Henry Moore, Jackson Pollock to Picasso. Throughout, Berger maintains the essential connection between politics, art and the wider study of culture. A beautifully illustrated walk through many centuries of visual culture from one of the contemporary world's most incisive critical voices.

    Contains more than 400 letters and poems written to family, creditors, debtors, and bankers.