This book emphasizes a simplified understanding of surface anatomy, in order to clarify the mechanics of the figure, facilitate invention, and ultimately create a skill-set that can be successfully applied to other media. In addition, this book focuses very strongly on practical usage, making sure the artist is able to assimilate the steps presented here into a cohesive working process. (Fourth printing, September 2011)

    It outlines the history of Impressionism in France, addressing not only the work of the acknowledged masters, but also that of such unjustly neglected artists as Bazille, Caillebotte, Berthe Morisot or Lucien Pissarro. The monograph also examines the Impressionist movements which emerged in the Netherlands, Belgium, Germany, Scandinavia, Eastern and South-East Europe, Italy, Spain, Britain and North America. A 64-page "Directory of Impressionism" is appended, containing bibliographies, portraits and biographical data on all 236 artists.

    Devised by an award-winning botanical artist who teaches at the Eden Project, this course takes you from basic drawing techniques to advanced skills required for the analysis of complex forms in watercolour. Following the syllabus of the botanical illustration course at the acclaimed Eden Project in Cornwall, this book offers you the opportunity to perfect the many techniques used to produce beautiful and informative plant portraits.Full of practical information, and with easy-to-follow exercises, the book includes: Pencil Drawing; Shapes in Nature; Plant dissection and bisection; Perspective; Use of tonal contrast; Line drawing and pencil shading; Colour and pigment mixing; Application of watercolour; Highlights and shiny surfaces; Composition and arrangement.

    But when Dawn Sokol’s first book, 1000 Artist Journal Pages, broke the fourth wall and shared the work of artists all over North America and parts of Europe, it created a ripple of inspiration throughout the art journaling community. In this much-anticipated follow-up, Sokol features more than 1,000 new, captivating pages, this time—by popular demand—from artists across the globe. Lists of techniques and materials used for each page, plus behind-the-scenes interviews, give readers a glimpse inside the minds of new and established artists, making this a stimulating compilation sure to inspire beginners and seasoned art journalers alike.

    Its simply larger, better illustrated, and more in depth than any similar title on the market. In elaborate detail, it focuses on superheroes and their atmospheric world filled with speed and movement. Every aspect of creating cartoons is taught: the supplies, developing mood, and the techniques that endow characters with personality. See how to draw a variety of faces (female, heroic, cute, gaunt), and give the appearance of age. From the skeleton to the torso, to the arms, hands, and legs, follow every stroke that goes into producing bodies of all shapes and sizes. Finally, theres instruction on sending those figures into running, jumping, punching, kicking action in a fully realized scene. With advice so thorough, any amateur can become a pro.

    Weschler chronicles Hockney's protean production and speculations, including his scenic designs for opera, his homemade xerographic prints, his exploration of physics in relation to Chinese landscape painting, his investigations into optical devices, his taking up of watercolor—and then his spectacular return to oil painting, around 2005, with a series of landscapes of the East Yorkshire countryside of his youth. These conversations provide an astonishing record of what has been Hockney's grand endeavor, nothing less than an exploration of "the structure of seeing" itself.

    In this trenchant illustrated essay, David Joselit describes how art and architecture are being transformed in the age of Google. Under the dual pressures of digital technology, which allows images to be reformatted and disseminated effortlessly, and the exponential acceleration of cultural exchange enabled by globalization, artists and architects are emphasizing networks as never before. Some of the most interesting contemporary work in both fields is now based on visualizing patterns of dissemination after objects and structures are produced, and after they enter into, and even establish, diverse networks. Behaving like human search engines, artists and architects sort, capture, and reformat existing content. Works of art crystallize out of populations of images, and buildings emerge out of the dynamics of the circulation patterns they will house.Examining the work of architectural firms such as OMA, Reiser + Umemoto, and Foreign Office, as well as the art of Matthew Barney, Ai Weiwei, Sherrie Levine, and many others, After Art provides a compelling and original theory of art and architecture in the age of global networks.

    Art scams are increasingly convincing and involve incredible sums of money. The cons perpetrated by unscrupulous art dealers and their accomplices are proportionately elaborate.Anthony M. Amore's The Art of the Con tells the stories of some of history's most notorious yet untold cons. They involve stolen art hidden for decades; elaborate ruses that involve the Nazis and allegedly plundered art; the theft of a conceptual prototype from a well-known artist by his assistant to be used later to create copies; the use of online and television auction sites to scam buyers out of millions; and other confidence scams incredible not only for their boldness but more so because they actually worked. Using interviews and newly released court documents, The Art of the Con will also take the reader into the investigations that led to the capture of the con men, who oftentimes return back to the world of crime. For some, it's an irresistible urge because their innocent dupes all share something in common: they want to believe.

    You choose whether to let the sun blaze or the rain pour, to move a maple tree here or make the trail wind over there, to subdue a hillside with quiet greens or make a forest glow with dazzling golds and reds. It's not only a matter of what to paint, but how to go about painting it.This book examines, one at a time, the three major elements of landscape painting: water, sky and land. You will be encouraged to try numerous ways of painting each one. Then you can choose the methods that best express how the outdoors speaks to you.Let this reliable collection of tips, techniques, ideas and lessons be your companion on a sure path to creative fulfillment and better watercolor landscapes.

    Longtime skateboard artist Sean Cliver put together this staggering survey of over 1,000 skateboard graphics from the last 30 years, creating an indispensable insiders' history as he did so.Alongside his own history, Sean has assembled a wealth of recollections and stories from prominent artists and skateboarders such as: Andy Howell, Barry McGee, Ed Templeton, Steve Caballero, and Tony Hawk.The end result is a fascinating historical account of art in the skateboard subculture, as told by those directly involved with shaping its legendary creative face.

    The Charles of the painting was young—too young to be king—and yet also too young to be painted by the Flemish painter to which the work was attributed. Snare had found something incredible—but what?His research brought him to Diego Velazquez, whose long-lost portrait of Prince Charles has eluded art experts for generations. Velázquez (1599–1660) was the official painter of the Madrid court, during the time the Spanish Empire teetered on the edge of collapse. When Prince Charles of England—a man wealthy enough to help turn Spain’s fortunes—ventured to the court to propose a marriage with a Spanish princess, he allowed just a few hours to sit for his portrait. Snare believed only Velázquez could have met this challenge. But in making his theory public, Snare was ostracized, victim to aristocrats and critics who accused him of fraud, and forced to choose, like Velázquez himself, between art and family.A thrilling investigation into the complex meaning of authenticity and the unshakable determination that drives both artists and collectors of their work, The Vanishing Velázquez travels from extravagant Spanish courts in the 1700s to the gritty courtrooms and auction houses of nineteenth-century London and New York. But it is above all a tale of mystery and detection, of tragic mishaps and mistaken identities, of class, politics, snobbery, crime, and almost farcical accident. It is a magnificently crafted page-turner, a testimony to how and why great works of art can affect us to the point of obsession.

    Extracted from an Afghan mine, the blue “ultramarine” paint used by Michelangelo was so expensive he couldn’t afford to buy it himself. Since ancient times, carmine red—still found in lipsticks and Cherry Coke today—has come from the blood of insects.

    Maybe they’re even suspicious of it. John Coltrane’s saxophonic flights of fancy, Jimi Hendrix’s feedback drenched guitar solos, Ravi Shankar’s sitar extrapolations—all these sounds seem like so much noodling or jamming, indulgent self-expression. “Just” improvising, as is sometimes said. For these music fans, it seems natural that music is meant to be composed. In the first book of its kind, John Corbett’s A Listener’s Guide to Free Improvisation provides a how-to manual for the most extreme example of spontaneous improvising: music with no pre-planned material at all. Drawing on over three decades of writing about, presenting, playing, teaching, and studying freely improvised music, Corbett offers an enriching set of tools that show any curious listener how to really listen, and he encourages them to enjoy the human impulse— found all around the world— to make up music on the spot.           Corbett equips his reader for a journey into a difficult musical landscape, where there is no steady beat, no pre-ordained format, no overarching melodic or harmonic framework, and where tones can ring with the sharpest of burrs. In “Fundamentals,” he explores key areas of interest, such as how the musicians interact, the malleability of time, overcoming impatience, and watching out for changes and transitions; he grounds these observations in concrete listening exercises, a veritable training regime for musical attentiveness. Then he takes readers deeper in “Advanced Techniques,” plumbing the philosophical conundrums at the heart of free improvisation, including topics such as the influence of the audience and the counterintuitive challenge of listening while asleep. Scattered throughout are helpful and accessible lists of essential resources—recordings, books, videos— and a registry of major practicing free improvisors from Noël Akchoté to John Zorn, particularly essential because this music is best experienced live.           The result is a concise, humorous, and inspiring guide, a unique book that will help transform one of the world’s most notoriously unapproachable artforms into a rewarding and enjoyable experience.

    Braque thought the ideal state would be reached when we said nothing at all in front of a painting. But we are very far from reaching that state. We remain incorrigibly verbal creatures who love to explain things, to form opinions, to argue... It is a rare picture which stuns, or argues, us into silence. And if one does, it is only a short time before we want to explain and understand the very silence into which we have been plunged.'Julian Barnes began writing about art with a chapter on Géricault's The Raft of the Medusa in his 1989 novel A History of the World in 10½ Chapters. Since then he has written a series of remarkable essays , chiefly about French artists, for a variety of journals and magazines. Gathering them for this book, he realised that he had unwittingly been retracing the story of how art made its way from Romanticism to Realism and into Modernism.

    The book is written by JD (James David by author's full name) Vance and in it the author tries to describe the overall life and struggles of people in post-industrial time in the United States. This book deals with the problems of white working-class and the book is not just some book where the author tries to describe lives of ordinary white people. The book is actually a memento and a message to the readers; in it Vance describes his life and his starts, especially growing up while being poor in Ohio. We can find out about this when we find out that Vance's family is of Scottish-Irish descent and that his ancestors have longer history of poverty and hard work that they need to endure in order to survive the hard times that were at hand. We also find out that since the 18th century many Scottish-Irish people were working as plantation workers, as miners and/or as millworkers. Because these people worked only the hardest jobs that hardly anyone else would take many people belittled them. Words like 'white trash, redneck' and/or 'hillbilly' were unfortunately a common everyday word for those people. Hillbilly Elegy is a fascinating work, not because it was written based on a true story but because it was written from a man who lived 'through' his story. The fact that the entire book contains a message is, of course, welcoming plus and something we want from literature of this genre. Here Is A Preview Of What You Will Get: In Hillbilly Elegy, you will get a summarized version of the book.In Hillbilly Elegy, you will find the book analyzed to further strengthen your knowledge.In Hillbilly Elegy, you will get some fun multiple choice quizzes, along with answers to help you learn about the book.Get a copy, and learn everything about Hillbilly Elegy.