A study of the artist and illustrator, Norman Rockwell, which reproduces 600 of his best illustrations, providing a panorama of nearly 60 years of American social history.

    A brilliant display of erudition, wit, and wisdom, his exploration of how great European writers from Homer to Virginia Woolf depicted reality has taught generations how to read Western literature. This new expanded edition includes a substantial essay in introduction by Edward Said as well as an essay, never before translated into English, in which Auerbach responds to his critics.A German Jew, Auerbach was forced out of his professorship at the University of Marburg in 1935. He left for Turkey, where he taught at the state university in Istanbul. There he wrote "Mimesis," publishing it in German after the end of the war. Displaced as he was, Auerbach produced a work of great erudition that contains no footnotes, basing his arguments instead on searching, illuminating readings of key passages from his primary texts. His aim was to show how from antiquity to the twentieth century literature progressed toward ever more naturalistic and democratic forms of representation. This essentially optimistic view of European history now appears as a defensive--and impassioned--response to the inhumanity he saw in the Third Reich. Ranging over works in Greek, Latin, Spanish, French, Italian, German, and English, Auerbach used his remarkable skills in philology and comparative literature to refute any narrow form of nationalism or chauvinism, in his own day and ours. For many readers, both inside and outside the academy, "Mimesis" is among the finest works of literary criticism ever written.

    She is perhapsas well known for her tantalizing brand of Southern Gothic humor as she is for her Catholicism. That these tendencies should be so happily married in her fiction is no longer a surprise. The real surprise is learning that this much beloved icon of American literature did not set out to be a fiction writer, but a cartoonist. This seems to be the last well-kept secret of her creative life. Flannery O'Connor: The Cartoons, the first book devoted to the author's work in the visual arts, emphasizes O'Connor's most prolific period as a cartoonist, drawing for her high school and college publications in the early 1940s. While many of these images lampoon student life and the impact of World War II on the home front, something much more is happening. Her cartoons are a creative threshing floor for experimenting and trying out techniques that are deployed later with such great success in her fiction. O'Connor learns how to set up and carry a joke visually, how to write a good one-liner and set it off against a background of complex visual narration. She develops and asserts her taste for a stock set of character types, attitudes, situations, exaggerations, and grotesques, and she learns how to present them not to distort the truth, but to expose her vision of it.She worked in both pen & ink and linoleum cuts, and her rough-hewn technique combined with her acidic observations to form a visual precursor to her prose. Fantagraphics is honored to bring the early cartoons of this American literary treasure to a 21st century readership.

    During his more than forty years in the business, Williams has been one of the true innovators, winning three Academy Awards and serving as the link between Disney's golden age of animation by hand and the new computer animation exemplified by Toy Story. Perhaps even more important, though, has been his dedication in passing along his knowledge to a new generation of animators so that they in turn could push the medium in new directions. In this book, based on his sold-out master classes in the United States and across Europe, Williams provides the underlying principles of animation that every animator--from beginner to expert, classic animator to computer animation whiz --needs. Urging his readers to "invent but be believable," he illustrates his points with hundreds of drawings, distilling the secrets of the masters into a working system in order to create a book that will become the standard work on all forms of animation for professionals, students, and fans.

    Manifestoes of Surrealism is a book by André Breton, describing the aims, meaning, and political position of the Surrealist movement.The translators of this edition were finalists of the 1970 National Book Awards in the category of translation.

    Using detailed annotation of 45 works from the world's greatest artists, Art provides a deeper understanding and richer enjoyment of the masterpieces of painting.Great Art Made Accessible. This fascinating book takes an original approach to interpreting the lost language of art, using annotation to highlight everything you need to know to appreciate the world's favorite paintings, from Botticelli's The Birth of Venus to Picasso's Guernica. Art explains the artist's techniques and intentions and clarifies the meaning of obscure subjects, decoding the mysterious symbolism that can make even the most familiar painting elusive.Art is like a gallery full of the world's most spectacular paintings, including the devotional icons of the Gothic period and early Renaissance and the awe-inspiring achievements of the High Renaissance. It shows the splendor of the Baroque and Rococo, and scrutinizes the drama of the Neoclassicists and the Romantics. The enchantment of the Impressionist school and the complexities of the Cubist movement are also revealed in glowing color. Biographical notes on the artist place each work in its true personal and historical context.The book's generous size and faithful color reproduction allow every painting to be displayed accurately and in detail. At last, art lovers can truly enter the world of their favorite paintings.

    While observing his paintings we see a panorama of his life story-a story that is now considered a legend. Van Gogh is the incarnation of the suffering, misunderstood martyr of modern art, the emblem of the unconventional artist.

    Written by the famous nonobjective painter Wassily Kandinsky (1866–1944), it explains Kandinsky's own theory of painting and crystallizes the ideas that were influencing many other modern artists of the period. Along with his own groundbreaking paintings, this book had a tremendous impact on the development of modern art.Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings.This English translation of Über das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.

    Greasebeam, B.Sc. (Serpentology), F.R.Aud., to serve up this compendium of dragon lore and sheer inventive nonsense. Expanding on a dozen illustrations from his calendar Dragons Draaks & Beasties, Base fabricates a trio of correspondents?a Viking, a Chinese silk trader and a Prussian explorer?whose letters chronicle their discoveries of dragons in various continents. The resulting web of yarns that Base spins is nothing short of hilarious ("Hope the looting and pillaging went well," writes Bjorn of Bromme in a letter to Olaf the Grim, for instance). Illustrations showcase the kind of intricate detail for which Base is so well known, and he bolsters his dragon art with a deadpan running commentary set in a border at the bottom of each page. "Dagbar defunctus est" notes one caption in a fit of understatement, as the accompanying cartoon depicts the demise of one of Bjorn's companions. There's much to enjoy here, and much to propel readers to seek out every last drop of humor. All ages. Copyright 1996 Reed Business Information, Inc.

    Piercing the fog of mysticism and sentimentality that engulfs art, the essays in The Romantic Manifesto explain why, since time immemorial, man has created and consumed works of art.Ayn Rand argues that objective standards in art are possible because art is not a subjective luxury, but rather a critical need of human life—not a material need, but a need of man’s rational mind, the faculty on which his material survival depends.Ayn Rand explains the indispensable function of art in man’s life (ch. 1), the objective source of man’s deeply personal, emotional response to art (ch. 2), and how an artist’s fundamental, often unstated view of man and of the world shapes his creations (ch. 3).Turning to her own field of artistic creation, Rand elaborates (ch. 5) on her distinctive theory of literature and identifies principles by which to judge an artwork objectively. “What is Romanticism?” (ch. 6) sheds new light on the nature and philosophy of the school of literature under which Rand classified her own work. Later essays explain how contemporary art reveals the debased intellectual state of our culture (ch. 7, 8 and 9).In the final essay Rand articulates the goal of her own fiction writing as “the projection of an ideal man, as an end in itself”—and explains that she originated her philosophy as a means to this end.Table of ContentsIntroductionThe Psycho-Epistemology of ArtPhilosophy and Sense of LifeArt and Sense of LifeArt and CognitionBasic Principles of LiteratureWhat Is Romanticism?The Esthetic Vacuum of Our AgeBootleg RomanticismArt and Moral TreasonIntroduction to Ninety-ThreeThe Goal of My WritingThe Simplest Thing in the WorldIndex

    Shea Serrano deftly pays homage to the most important song of each year. Serrano also examines the most important moments that surround the history and culture of rap music—from artists’ backgrounds to issues of race, the rise of hip-hop, and the struggles among its major players—both personal and professional. Covering East Coast and West Coast, famous rapper feuds, chart toppers, and show stoppers, The Rap Year Book is an in-depth look at the most influential genre of music to come out of the last generation.    Complete with infographics, lyric maps, hilarious and informative footnotes, portraits of the artists, and short essays by other prominent music writers, The Rap Year Book is both a narrative and illustrated guide to the most iconic and influential rap songs ever created.

    . .In You Are Here, bestselling author and celebrated astronaut Chris Hadfield creates a virtual orbit of Earth, giving us the really big picture: this is our home, from space. The millions of us who followed Hadfield's news-making Twitter feed from the ISS thought we knew what we were looking at when we first saw his photos. But we may have caught the beauty and missed the full meaning. Now, through photographs - many of which have never been shared - Hadfield unveils a fresh and insightful look at our planet. He sees astonishing detail and importance in these images, not just because he's spent months in space but because his in-depth knowledge of geology, geography and meteorology allows him to reveal the photos' mysteries.Featuring Hadfield's favourite images, You Are Here is divided by continent and represents one (idealized) orbit of the ISS. This planetary photo tour - surprising, playful, thought-provoking and visually delightful - provides a breathtakingly beautiful perspective on the wonders of the world. You Are Here opens a singular window on our planet, using remarkable photographs to illuminate the history and consequences of human settlement, the magnificence of newly uncovered landscapes, and the power of the natural forces shaping our world and the future of our species.

    An international bestseller, millions of readers have found it to be an invaluable guide to living the artist’s life. Still as vital today—or perhaps even more so—than it was when it was first published one decade ago, it is a powerfully provocative and inspiring work. In a new introduction to the book, Julia Cameron reflects upon the impact of The Artist’s Way and describes the work she has done during the last decade and the new insights into the creative process that she has gained. Updated and expanded, this anniversary edition reframes The Artist’s Way for a new century.

    He ponders the doomed library of Alexandria and personal libraries of Charles Dickens, Jorge Luis Borges, and others. He recounts stories of people who have struggled against tyranny to preserve freedom of thought—the Polish librarian who smuggled books to safety as the Nazis began their destruction of Jewish libraries; the Afghani bookseller who kept his store open through decades of unrest. Oral “memory libraries” kept alive by prisoners, libraries of banned books, the imaginary library of Count Dracula, a library of books never written.

    Tim Burton's reimagining finds a teenage Alice in a place called Underland. It is a realm to which she has visited before, with the familiar characters. The film is story about discovery, that of Alice, finding herself, and this book presents the concept artwork, set and costume designs, and other visual developments that makes Burton's take on the classic tale unique.