Human figures depicted in the arts Books

Book SynopsisWith his graphic style, figural distortion, and defiance of conventional standards of beauty, Egon Schiele (1890–1918) was a pioneer of Austrian Expressionism and one of the most startling portrait painters of the 20th century. Mentored by Gustav Klimt, Schiele dabbled in a glittering Art Nouveau style before developing his own much more gritty and confrontational aesthetic of sharp lines, lurid shades, and mannered, elongated figures. His prolific portraits and self-portraits stunned the Viennese establishment with an unprecedented psychological and sexual intensity, favoring erotic, exposing, or unsettling poses in which he or his sitters cower on the floor, languish with legs akimbo, glower at the viewer, and thrust their genitalia into the foreground. His models are at times skeletal and sickly, at other times strong and sensual. Many contemporaries found Schiele’s work to be not only ugly but morally objectionable; in 1912, the artist was briefly imprisoned for obscenity. Today, his oeuvre is celebrated for its revolutionary approach to the human figure and for its direct and particularly fervent, almost furious brand of draftsmanship. This book presents key Schiele works to introduce his short but urgent career and his profound contribution to the development of modern art, which reaches right through to such contemporary talents as Tracey Emin and Jenny Saville.

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Book SynopsisAn essential guide to the creative process for sculpting the figure. The human figure in sculpture is a powerful form, capable of great expression and depth. Sculpting the figure in any medium is a rewarding practice, but one that can lead to some challenges. Tanya Russell, founder and principal of the Art Academy in London, details the whole creative process for sculpting the figure, from the fundamental conceptual and practical considerations through to the finished and presented work. She covers essential tools and equipment, methods for building armatures, and the processes for creating not only realistic, but also abstract and expressive figures, in a variety of styles and materials. Techniques are supported by practical exercises with step-by-step instructions and images. The book is filled with the inspiring works of contemporary sculptors, all of whom are tutors, students, or alumni of the Art Academy. Modelling and Sculpting the Figure is an essential companion for beginners and established artists alike.Trade ReviewBeautifully presented in a fairly simple format with clear and simple language. There are plenty of both colour and black and white images which are quite inspirational is themselves...This book is helpful in its focus on some universal artistic principles and approaches to sculpting the human figure. -- Mary Cousins * South Wales Potters Newsletter *Table of ContentsIntroduction Chapter 1: The Language of Art Chapter 2: Getting Started Chapter 3: Armatures Chapter 4: The Realistic Figure Chapter 5: The Abstracted Figure Chapter 6: The Expressive Figure Chapter 7: Finishing Suppliers Acknowledgements Bibliography Index

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Book SynopsisA radical, lively departure from received notions about art of the Romantic period For many, the term “neoclassicism” has come to imply discipline, order, restraint, and a certain myopia. Leaving the term behind, this book radically challenges enduring assumptions about the art produced from the late 18th century to the early Victorian period, casting new light on appropriations of the classical body by British artists. It is the first to foreground the intersections of gender, race, and class in discussions of British visual classicism, laying bare artists’ alternately politicizing and emphatically sensual engagements with Greco-Roman art. Rather than rely exclusively on subsequent scholarship, the book takes up the poet John Keats (1795–1821) as a theoretical framework. Eschewing the “Golden Age” narrative, which sees J. M. W. Turner (1775–1851) as the pinnacle of the period’s artistic achievement, the book examines overlooked artists, such as Henry Howard (1769–1847) and John Graham Lough (1798–1876). The result is a fresh account of underappreciated works of British painting and sculpture.Distributed for the Paul Mellon Centre for Studies in British ArtTrade Review“Cora Gilroy-Ware mounts a refreshing, combative argument for the radical links of white marble statuary.”—Marina Warner, Times Literary Supplement 'Books of the Year'

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Book SynopsisA handy and accessibly priced take-home guide to the portrait wall in Toi Art, the best-loved and most-visited section of the Te Papa art galleries. Beautifully designed, published in te reo Māori and English, and with artist biographies and insights into conservation.Table of ContentsHe Tūtakinga, He Tūtukinga | Encounters and Collisions page 7 Mō ngā ringatoa | About the artists page 106 Kuputaka | Glossary page 110 Hei pānui anō | Further reading page 111

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Book SynopsisIf you could see without blinders, would the world look different?Thorns hurt, but they come with roses. Strings can tie down, but they keep kites up. People can look different, but their hearts beat more like ours than we’ll ever know. The trouble is, all of us wear blinders that make it hard to see what’s really true.Life Without Blinders . . . Is Beautiful is an inspiring, thought-provoking invitation to step out of the darkness and discover the abundant beauty hidden in this crazy, messy, wonderful world. Each spread features one of over thirty stirring questions accompanied by an image covered with a die-cut blinders window. Flip over the blinders window, and you’ll see what’s really true: Storm clouds are a chance to dance in the rain. Ashes lead to new birth. Strangers can be friends. Kindness comes from unlikely sources. And life can be more beautiful than you ever imagined.Even the jacket is a blinders page that can be removed.

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Book SynopsisThe first English-language publication of a classic French book on the relationship between the development of photography and of the medical category of hysteria.In this classic of French cultural studies, Georges Didi-Huberman traces the intimate and reciprocal relationship between the disciplines of psychiatry and photography in the late nineteenth century. Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in the invention of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria''s specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere.As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical type—they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot''s Tuesday Lectures.Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot''s favorite cases, that of Augustine, whose image crops up again and again in the Iconographie. Augustine''s virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisLearn to figure paint in watercolor with a world-renowned instructor! The Natural Way to Paint will teach you a natural approach to seeing and painting the human form in watercolor. By learning to carefully observe and capture the basic shapes and subtle nuances in human figures, you''ll be able to infuse your work with newfound life and energy. Reid begins with lessons and practical exercises in contour and gesture drawing, which will help you learn to see and capture the essence of your subject. Once you''ve established a strong foundation of drawing skills, it''s time to pick up your brush! Reid will guide you through detailed lessons on: Painting technique and color theory Moving from silhouettes to three-dimensional forms Capturing and rendering facial features Composing and designing a variety of figure paintings Packed with examples, demonstrations, and detailed assignments, The Natural Way to Paint is the ultimate guide to beautiful figure painting in watercolor.Charles Reid has long been considered a master painter. His paintings are fresh and spontaneous, displaying his profound understanding of light and color and expert drawing ability. Reid was born in Cambridge, New York, and studied art at the University of Vermont and the Art Students League of New York. He has won numerous awards, including the Childe Hassam Purchase Prize at the American Academy of Arts and Letters, the National Academy of Design, and the American Watercolor Society. In 1980 he was elected to the National Academy of Design. Public collections of his work include Smith College, Yellowstone Art Center, Brigham Young College, Roche Corporation, and the National Academy of Design. In addition to painting, Reid teaches workshops around the world. He has written eleven books on painting in watercolor and oil.Readers interested in related titles from Charles Reid will also want to see: Flower painting in oil (ISBN: 9781626543805), Painting by Design (ISBN: 9781626543218), Painting What (You Want) to See (ISBN: 9781626543782), Pulling Your Paintings Together (ISBN: 9781626543843 ).

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Book SynopsisDiscover how to draw true-to-life human figures and poses with detailed step-by-step instructions and tips and tricks on the best drawing techniques.Grab your sketchbook, pens, and pencils and follow along as this instructional drawing guide teaches you everything you need to know about creating the most realistic human figures. With more than 150 easy-to-follow illustrations, Drawing People is the perfect guide for aspiring artists looking to develop their people-drawing skills. Start off simple with learning how to draw basic body shapes. By the end, you will have gained the anatomical knowledge you need to make your human figures as realistic as possible including learning to draw: Specific muscle groups Artistic body poses Lifelike portraits And much more! Whether you?re a beginner or a drawing pro, Drawing People is the perfect book for anyone looking to hone their technical drawing skills and take their illustrations to the next level.

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Book SynopsisThe human form, the human face, and skin tones, are three topics that beginning artists struggle to get right. This book covers these three topics. It presents a collection of ten sequences done by airbrush artists.

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Book SynopsisIn this title 40 young artists realise the manifestations of modern Japan through their own unique brand of self-portraiture. These artists have provided the concerns of young Japan and illustrated the pressures of society.

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Book SynopsisWhat did it mean for painter Lee Krasner to be an artist and a woman if, in the culture of 1950s New York, to be an artist was to be Jackson Pollock and to be a woman was to be Marilyn Monroe? With this question, Griselda Pollock begins a transdisciplinary journey across the gendered aesthetics and the politics of difference in New York abstract, gestural painting. Revisiting recent exhibitions of Abstract Expressionism that either marginalised the artist-women in the movement or focused solely on the excluded women, as well as exhibitions of women in abstraction, Pollock reveals how theories of embodiment, the gesture, hysteria and subjectivity can deepen our understanding of this moment in the history of painting co-created by women and men. Providing close readings of key paintings by Lee Krasner and re-thinking her own historic examination of images of Jackson Pollock and Helen Frankenthaler at work, Pollock builds a cultural bridge between the New York artist-women and their other, Marilyn Monroe, a creative actor whose physically anguished but sexually appropriated star body is presented as pathos formula of life energy.Monroe emerges as a haunting presence within this moment of New York modernism, eroding the policed boundaries between high and popular culture and explaining what we gain by re-thinking art with the richness of feminist thought.Trade Review‘With theoretic acuity, Griselda Pollock revisits New York Abstract Expressionism to propose a feminist reading of the Jewish-American artist Lee Krasner that is as astonishing as it is compelling. Seeking to discover inscriptions of feminine sexual difference, these psychoanalytically inspired essays revolve around a conceptual triangulation, in which Krasner’s position as a painter-woman in abstract art is conceived as a third position, interrogating and reworking two competing components of her creative energy – with Jackson Pollock as an iconisation of her identity as an artist and Marilyn Monroe as an iconisation of her identity as a woman. The triptych that emerges is utterly riveting.’ Elisabeth Bronfen, Professor of English and American Studies, University of Zurich‘Killing Men & Dying Women represents an exciting new development for Griselda Pollock’s work. She deconstructs the misogyny of 1950s America as well as an art establishment that critically ignored and institutionally marginalised the women artists of Abstract Expressionism. Making an unflinching use of feminist psychoanalytic theory, she argues for a more significant maternal relation in the human psyche’s development than traditional psychoanalysis allows. This perspective brings into visibility occluded modes of feeling and understanding that women’s art, fragilely, preserves. The image and the story of Marilyn Monroe is woven into the texture of the argument, upsetting the decade’s transcendent image of “woman” and revealing the patriarchal insecurities it represented.’Laura Mulvey, Professor of Film Studies, Birkbeck, University of London‘A book that reveals art history as a concerted and difficult and passionate business – a contest, a battle, in short, a lived experience.’Alexander Nemerov, Carl and Marilynn Thoma Provostial Professor in the Arts and Humanities, Stanford University -- .Table of ContentsIntroduction1 Prophecy, 19562 Five essays on sexuality (and art)3 What did Greenberg not say, or dare to think?4 Is the gesture male?5 Is the artist hysterical?6 Massacred women do not make me laugh, nor do the agonies of Marilyn Monroe’s body7 Dancing space: Prophecy to Sun Woman I8 Three memories: Rosenberg and MonroeAppendix: Sexual differenceIndex

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Book SynopsisDuring the course of the 19th century, a relatively modern medium entered the private space of Iranian houses of the wealthy and became a popular feature of interior design in Persia. This was print media - lithographed images on paper and postcards - and their subject was European women. These idealised images adorned houses across the country throughout the Qajar period and this trend was particularly fashionable in Isfahan and mural decorations at the entrance gate of the Qaysarieh bazaar. The interest in images of Western women was an unusual bi-product of Iran's early political and cultural encounters with the West. In a world where women were rarely seen in public and, even then, were heavily veiled, the notion of European women dressed in - by Iranian standards - elegant and revealing clothing must have sparked much curiosity and some titillation among well-to-do merchants and aristocrats who felt the need to create some association, however remote, with these alien creatures. The introduction of such images began during the Safavid era in the 17th century with frescoes in royal palaces. This spread to other manifestations in the form of tile work and porcelain in the Qajar era, which became a testament to the popularity of this visual phenomenon among Iran's urban elite in the 19th and early 20th century. Parviz Tanavoli, the prominent Iranian artist and sculptor, here brings together the definitive collection of these unique images. European Women in Persian Houses will be essential for collectors and enthusiasts interested in Iranian art, culture and social history.Table of ContentsPreface Part I Zan-e Farangi (Farangi Woman) Occidentalism Iran in the Late 19th Century The Appearance of European Women in Persian Painting Images of European Women in th e 17th Century in Iran Sukiasian House Part II Return of Images of Farangi Women in Iran Images of Farangi Women in Later Persian Houses Use of Original Western Prints of Images of European Women Mirror Rooms Shahshahani House Zavelian House House of Mushir al-Mulk Homa’i House Trays Part III Iranian Contribution Farangi Women on Rugs and Other Media Fatima Farangi Women on Rugs, Qalamkars, and Tiles

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Book SynopsisProvides an overview of French art circa 1500, a dynamic, transitional period when the country, resurgent after the dislocations of the Hundred Years' War, invaded Italy and all media flourished.Trade Review"American readers are well served by the more compact, beautifully illustrated English version. Recommended."—W. Cahn, Choice -- W. Cahn * Choice *

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Book SynopsisWilliam Hunter and the Anatomy of the Modern Museum accompanies a groundbreaking exhibition organized by the Hunterian at the University of Glasgow, in collaboration with the Yale Center for British Art, to celebrate the 2018 tercentenary of The Hunterian's founder, Dr. William Hunter (17181783). This publication is the first in 150 years to assess the contribution made by Hunter, the Scottish-born obstetrician, anatomist, and collector, to the development of the modern museum as a public institution. Essays examine how Hunter gathered his collection to be used as a source of knowledge and instruction, encompassing outstanding paintings and works on paper, coins and medals, and anatomical and zoological specimens. Hunter also possessed ethnographic artifacts from Spain, the Middle East, China, and the South Pacific, and was an avid collector of medieval manuscripts and incunabula; these were all located within one of the most important working libraries of eighteenth-century London. Published by the Yale Center for British Art in association with The HunterianExhibition Schedule:The Hunterian, Glasgow (09/28/1801/06/19)Yale Center for British Art (02/14/1905/20/19)Trade Review“There is, as the exhibition and [this] scholarly catalog demonstrate, a thread running through this collection, a way of thinking associated with the Enlightenment that led William Hunter to spend decades gathering artifacts and then specifying that they be housed in a posthumous museum.”—Edward Rothstein, Wall Street Journal“Hunter’s book, the subject of an essay by Mungo Campbell, is one of the most remarkable and also most beautiful medical publications of its time.” —Duncan Macmillan, The Art NewspaperLong listed for the Historians of British Art Book Prize

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Book SynopsisTrade Review“[The Woman in White] argues that Hiffernan was more collaborator than victim, an assessment that strives to write her into history as Whistler’s indispensable partner.”—Gioia Diliberto, Wall Street Journal“[A] lavish volume . . . illuminating . . . Ms. MacDonald’s deep research has corrected some misinformation and unearthed important new facts.” —Gioia Diliberto, Wall Street Journal“The Woman in White examines the relationship between the prickly American painter and the muse-mistress who modeled for his haunting ‘Symphonies in White’ . . . [and] argues that the two formed a symbiotic partnership.”—Michael Dirda, Washington Post (“This Season’s Hidden Gems”)“There are…illuminating chapters retelling Hiffernan’s biography and the story of her relationship with Whistler, alongside fascinating and new discoveries pertaining to the physical makeup of The Woman in White, its materiality, and its legacy, once more emphasising the formalist facets of white on white as a premodernist theme.”—Marte Stinis, British Association of Victorian Studies Newsletter

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Book SynopsisDuring his reign and following his death, the physiognomy of Alexander the Great was one of the most famous in history, adorning numerous works of art. This study demonstrates how the various portraits transmit not so much a likeness of Alexander as a set of cliches that symbolized the ruler.

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Book SynopsisEurope and the World Beyond focuses geographically on peoples of South America and the Mediterranean as well as Africa, but conceptually it emphasizes the ways that visual constructions of blacks mediated between Europe and a faraway African continent that was impinging ever more closely on daily life in cities and ports engaged in the slave trade.Trade ReviewThis volume, part of a monumental series about the depiction of black peoples in Western art history, covers the period from the Renaissance and Baroque eras into the imperialism and colonialism of the 18th century… The volume is richly illustrated with artworks from many sources in a wide variety of media… This volume and the rest of the series has inestimable value in furthering understanding of how attitudes toward issues of race have evolved. -- Eugene C. Burt * Library Journal (starred review) *Inspired to collect images of Africans and the diaspora during the height of the Civil Rights movement, Dominique Schlumberger de Menil and her husband John amassed over 30,000 images as an artistic and academic counter against racism. These images were sorted, studied, and grouped into a series of volumes originally published in the late 1970s and early 1980s; long out of print, they are now beautifully reproduced along with additional color plates and scholarly commentary. This edition focuses on the depictions of blacks during the 16th–18th centuries. Due to Eurocentric attitudes of the time, few works depict black individuals; rather, people of African descent were often studied at an anthropological level and commonly depicted as pages, slaves, or servants. Though the series has rightfully become embraced by academia, even armchair historians will find the book to be a feast of information and commentary. Digressions on the black Magus and the debate about the race of Madonna and Jesus are fascinating, but it is the breathtaking collection of artwork that makes the greatest impact. The rich and varied array, printed on high-quality paper, must be seen to be fully appreciated. * Publishers Weekly (starred review) *Monumental and groundbreaking volumes…[with] beautifully reproduced and thought-provoking images… A vast array of different ‘Images of the Black’ appear in these volumes, from statues of black saints such as St. Maurice or St. Benedict the Moor, to portraits of notable African ambassadors and kings, poets and musicians, or drawings of literary characters such as Shakespeare’s Othello, Aphra Behn’s Oroonoko, or Yarico from George Colman’s Inkle and Yarico… Africans have been painted and sculpted by some of the most eminent artists in the Western tradition, including Titian, Tiepolo, Rubens, Rembrandt, Van Dyck, Reynolds, Hogarth, Watteau and Gainsborough. More importantly, they have not been caricatured, but sensitively portrayed by these masters, their humanity captured on canvas for all to see… In placing such a vast variety of different images together, both positive and negative, these volumes show that the ‘Image of the Black’ was not at all homogenous but rather reflected the wide range of the Western response to the ‘other.’ …Seen through the prism of ‘Western Art,’ these ‘Images of the Black’ often tell us more about the Europeans and their agendas than the Africans they portray. Nonetheless, the cumulative effect of the images is to demonstrate a continuous black presence in the Western imagination and experience… This series will pose new questions to scholars of art, history and literature and provoke us all to reconsider the role of ‘the Black’ in Western civilization. -- Miranda Kaufmann * Times Literary Supplement *A fascinating story of the changing image of Africa’s people in Western art. The images are simply extraordinary and the scholarship inspiring. Anyone who cares about Western art or about Africa and her diaspora ought to know these magnificent volumes. -- Kwame Anthony AppiahIn addition to being an indispensable guide to the evolving meanings of racial difference, these dazzling volumes filled with extraordinary images and rich arguments contribute to an alternative history of the Western world. An invaluable gift for both specialists and general readers. -- Paul Gilroy, author of The Black Atlantic: Modernity and Double Consciousness

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Book SynopsisA manual of techniques that visually simplify and refine the study of the body's muscles and skeleton into concepts that can easily be used by beginning and intermediate artists alike. It offers tips such as how to self-check the proportions of the head and body to make sure they are accurate.

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Book SynopsisIn addition, by restoring these works to their original context – political, philosophical and aesthetic – the author opens up unexpected new readings of images and texts which had previously appeared to be self-explanatory.The purpose of this book is to raise questions about how these images of a dead Egyptian queen were read.Trade ReviewMary Hamer has written a fascinating study of politics and desire, authority and sexuality, through the protean figure of Cleopatra. Barbara JohnsonAn example of the best kind of research on a female figure whose resonance in myth/history carries a weight of baggage that needs feminist investigation. Naomi Segal, University of LondonThe book is far stronger than a lot of recent competitors and is much more sensitively written. Sally-Ann Ashton, Fitzwilliam Museum, CambridgeSigns of Cleopatra’s very rigorous engagement with art history and the Cleopatra icon makes it particularly useful for courses on art history, visual culture and women’s studies… Especially valuable are the coherent readings of visual images, supported by fantastic illustrations. Francesca RoysterTable of Contents List of plates Preface to the 2008 edition Acknowledgements Introduction 1. Looking like a queen 2. Cleopatra: housewife 3. Newton and Cleopatra 4. Spaced out: Cleopatra and the citizen-king 5. A body for Cleopatra Notes Afterword: Cleopatra in the twenty-first century: The debate over race Bibliography Index

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