Human figures depicted in the arts Books

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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Book SynopsisThe realities of the fashion industry exposed in this devastating account of the life of a successful supermodel.

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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 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 SynopsisTable of ContentsAcknowledgements Contents List of Illustrations Preface Introduction 1. ‘Who is the Fairest?’ Skin Colour Matters, in conversation with NT 2. Beauty and the Privilege of Looking, in conversation with Marcia Michael 3. ‘What Cha Looking At?’ An Oppositional Gaze in Image-Making Practice, in conversation with Sadie Lee 4. Red Shift: Not, ‘Doing it for Daddy’, in conversation with Ajamu 5. Conclusion Bibliography

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Book SynopsisDawn Woolley is an artist and research fellow at Leeds Arts University examining consumer culture, social media, and gender. She completed an MA in Photography (2008) and PhD by project in Fine Art (2017) at the Royal College of Art. Her artwork is a feminist critique of consumer culture, encompassing photography, video, installation, and performance to draw attention issues of sexualisation, objectification, and idealisation. Recent solo exhibitions include; Consumed: Stilled Lives', Perth Centre for Photography, Australia (2021) and Dance for Good & Exercise Your Rights' in collaboration with Davin Watne, Public Space One gallery, Iowa City (2020).Trade ReviewA brilliant analysis of consumerism exposing how we are manipulated by capitalism seeking to turn our subjectivity into an object for corporate profit. By drilling into the shiny surface of corporate deceit Consuming the Body uncovers ways to resist the deceptions foisted on us. * Peter Kennard, Professor of Political Art, Royal College of Art, UK *What are we to do with the idealised mirror-images that capitalism beams at us through social media, making us all fetishists and hysterics? Consuming the Body is written urgently but elegantly, finally offering ways of thinking outside this dangerous box. * Professor Naomi Segal, Honorary Fellow, Institute of Modern Languages Research, University of London, UK *This book is a fascinating take on selfie culture and beyond, taking up classic feminist psychoanalytic discussions of the fetishistic gaze to think about the impact of social networks, cosmetic surgery, health surveillance and the ‘sadistic commands’ of capitalist consumer culture. Focusing on the increasingly blurred lines between neoliberal self-surveillance and neurosis, the book explores how hysteria, anorexia and bulimia share much with contemporary online imperatives around fitness, health and beauty. Offering some solace through activist work on social networks, the book proposes that selfie culture needs a new set of rules for it to become a space of empowerment and to loosen the disciplinary control that it exerts. * Catherine Grant, Senior Lecturer, Art and Visual Cultures department, Goldsmiths, University of London, UK *Selfies and social media have an image problem - in more ways than one. In this compelling book, Dawn Woolley challenges the narrow stereotypes criticising how bodies are portrayed in these digital media. She elucidates their complex meanings, practices and politics, and in doing so, recuperates their value, particularly for women with non-normative bodies. * Deborah Lupton, SHARP Professor, Centre for Social Research in Health and Social Policy Research Centre, UNSW Sydney, Australia *Dawn Woolley offers up an exciting and eloquent exploration of the often sadistic ways that contemporary capitalism compels us to consume. Importantly Woolley gives us valuable insight into radical self-presentation approaches on social media that glitch and refuse the ‘ideal’ in order to empower a body’s presence. * Dr. Jacki Willson, Associate Professor in Performance and Gender, School of Performance and Cultural Industries, University of Leeds, UK *Table of ContentsList of Illustrations Acknowledgements Introduction 1 Sadistic Commands 2 The Fetishistic Gaze 3 Hystericized Insistent Presence 4 Self(ie) Discipline 5 The Hysteria Economy 6 The Clinical Fetishistic Gaze 7 Anti-Consumers and the Fetishistic Gaze 8 The Bulimic Economy 9 Empowering Presence Conclusion Bibliography Glossary Index

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Book SynopsisLatin Blackness in Parisian Visual Culture, 1852-1932 examines an understudied visual language used to portray Latin Americans in mid-19th to early 20th-century Parisian popular visual media. The term Latinize' is introduced to connect France's early 19th-century endeavors to create Latin America, an expansion of the French empire into the Latin-language based Spanish and Portuguese Americas, to its perception of this population. Latin-American elites traveler to Paris in the 1840s from their newly independent nations were denigrated in representations rather than depicted as equals in a developing global economy. Darkened skin, etched onto images of Latin Americans of European descent mitigated their ability to claim the privileges of their ancestral heritage. Whitened skin, among other codes, imposed on turn-of-the-20th-century Black Latin Americans in Paris tempered their Blackness and rendered them relatively assimilatable compared to colonial Africans, Blacks from the CaribTrade ReviewLatin Blackness in Parisian Visual Culture, 1852-1932 is intellectually ambitious, providing a clear, readable, and well-researched view of a subject almost completely missing from the art historical literature on Parisian modernism: the representation of Black Latin Americans. This book thus crucially adds to a vital literature within modernism studies that considers the relationship of French culture—roughly the center of the art world in the modernist period—to colonized Africa and the African Diaspora. Williams takes up complex subjects of race and racial categories with elegance and clarity, and her acute discussions of particular works anchor these more general discussions in visual immediacy. Starting with a highly engaging consideration of representations of Latinized Blackness, she establishes a clear baseline of assumptions about this hybrid group—and Latin Americans in general—in French popular culture and modernist art. * Patricia Leighten, Professor Emerita, Duke University, USA *Table of ContentsList of Illustrations Acknowledgements Introduction The Term “Latin American” Why Paris? Much More Than Primitivism Reduced to Latin Americans Parisian Figurations of Blackness from the Mid-Nineteenth to the Early Twentieth Century Overview of the Study Chapter 1: Playing Up Blackness and Indianness; Downplaying Europeanness Editing Francisco Laso: Racializing Spanish and Portuguese Americans Performing Rastaquerismo Justified by Anthropology: Quatrefages, Hamy, and the Casta Paintings Latin American Self-Representation The Shifting Rastaquouère Maintaining Anthropological Interpretations in the Early Twentieth Century Conclusion Chapter 2: Chocolat the Clown: Not Just Black Chocolat and Footit: Partners in Contrast The Auguste Chocolat The Give and Take of Chocolat and Footit Chocolat and Footit at the Nouveau Cirque Chocolat as Brand Image Beneath the Surface Chocolat as Mixed Animal Chocolat the Contaminant Impure Chocolat(e) Chocolat, That Special Ingredient: The Racially Mixed Object of Desire Complicating Notions of Minstrelsy Lip Interventions Representations Through Clothing Sexualizing Black Dandies Assimilating the Latin Beyond the Circus Chocolat, Object of Gay Desire Chocolat and the Elite and the Virile Conclusion Chapter 3: Alfonso Teofilo Brown: Agency and Impositions of Blackness and Europeanness Sport and the Imagined Ideal Male Body Black Boxers in Turn-of-the-Century France Gangly Brown The Purity and Hybridity of Gangly Brown Brown the Gentleman Images of Black Difference Brown the Philanthropist Conclusion Chapter 4: Figari’s Blacks: Negotiating French and Southern Cone Blackness Figari and Paris Contested Whiteness and the Black Body Conceptualizing Regional Identity Through the Anthropological Gaze Candombe as Framing Device Gender and Race in Candombe Objects as Markers Figari as “Naïf” Painter Increasing Latin American Presence in Paris Perceptions of Black Uruguayans Figari’s Evolution in Paris Contradictions and Contrasts between Figari’s Paintings and Written Work Conclusion Coda Select Bibliography

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Book SynopsisMaternal bodies in the visual arts brings images of the maternal and pregnant body into the centre of art-historical enquiry. By exploring religious, secular and scientific traditions as well as contemporary art practices, it shows the power of visual imagery in framing our understanding of maternal bodies and affirming or contesting prevailing maternal ideals. The book reassesses historical models and, in drawing on original case studies, shows how visual practices by artists may offer the means of reconfiguring the maternal. It will appeal to students, academics and researchers in art history, gender studies and cultural studies, as well as to general readers interested in the maternal and visual culture.Trade Review'This book treads delicately between historical analysis ofthe visualisation of the maternal and an embodied experience of looking. It isvital for any visual artist, historian or social scientist seeking therehabilitation of the maternal into art history and the practice ofaesthetics.'Hermione Wiltshire,artist and Senior Tutor in Photography, Royal College of Art‘Betterton provides a dazzlingly erudite topography ofmaternal bodies across history and the western world, ranging from the sacredto the profane, from the public to the private and the dis/abled and “out ofplace” to culturally entrenched norms.'Cathy McClive, BenWeider Chair in French Revolutionary Studies, Associate Professor in History,Florida State University‘Maternal bodies is a rich and much needed account of thematernal and what may appear on the surface. It speaks of the artists who havechallenged and given voice to this important experience and summons a forcefulbank of representation and image through its visual intensity and dialogue.’Helen Knowles,artist and Curator/Director of the Birth Rites Collection -- .Table of ContentsIntroduction: becoming maternal1 Maternal space and public intimacy2 Maternal matters: making bodies in art3 Enfleshing the divine: sacred and profane maternal bodies4 The transparent womb: visual technologies and the maternal 5 Promising monsters and the maternal imagination 6 Maternal time: moments of encounter7 Ageing and maternal bodiesIndex

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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 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 Synopsis'Exhilarating and fascinating' KATY HESSEL 'Rich and detailed' CHLOË ASHBY 'Enlightening' TABISH KHAN 'Sheds light on an uncharted area of art history' JENNY PERY 'An essential read' EDWARD BROOKE-HITCHINGMeet the unexpected, overlooked and forgotten models of art history.Who was Picasso's 'Weeping Woman'?Why was Grace Jones covered in graffiti?How did Francis Bacon meet the burglar who became his muse?The perception of the muse is that of a passive, powerless model, at the mercy of an influential and older artist. But is this trope a romanticised myth? Far from posing silently, muses have brought emotional support, intellectual energy, career-changing creativity and practical help to artists.Muse tells the true stories of the incredible muses who have inspired art history's masterpieces. From Leonardo da Vinci's studio to the covers of Vogue, art historian, critic and writer Ruth Millington uncovers the remarkable role of muses in some of art history's most well-known and significant works. Delving into the real-life relationships that models have held with the artists who immortalised them, it will expose the influential and active part they have played and deconstruct reductive stereotypes, reframing the muse as a momentous and empowered agent of art history.Trade ReviewPacked with tales of enchanting lives, this book puts so many forgotten and so often unnamed figures into the spotlight. Telling their stories - in ways I like to think is on their terms - Ruth Millington sheds light on so many figures we know by image, but so often not by name. An exhilarating and fascinating insight into many of the people who have shaped our culture, and who have redefined what we think and know of as 'muse'. * Katy Hessel, author of 'The Story of Art Without Men' *A rich and detailed unravelling of the romanticised myth of the muse. Ruth Millington nimbly returns agency to the pictured people of art history and in doing so reveals their ambitions, creativity and far-reaching influence * Chloë Ashby, author of 'Wet Paint' *'This beautifully illustrated book shines a new light on what constitutes a muse and how important they are to an artist's practice. Enlightening' * Tabish Khan *This book not only sheds light on a relatively unchartered area of art history but also serves as a feminist crusade * Jenny Pery *A brilliant book absolutely crammed with surprising stories. Muse flips the easel and brings the models and inspirations of famous works themselves into the spotlight, scraping away old coatings of myth, cliché and ignorance to reveal the true tales of these overlooked figures, and their place of power in the history of art. An essential read that should be on every bookshelf * Edward Brooke-Hitching, author of The Madman’s Gallery *Ruth Millington's Muse is an essential guide to the inspirational women and men who have shaped art over the centuries. Muse sheds new and persuasive light on a diverse array of models' stories - their lives, hopes and daring actions - restoring their voices in ways that change our perceptions of who they were, and who we are today as a result. * Sophie Haydock, author of 'The Flames' *An excellent look at the artist's muse and demystifying the idea of them as merely a passive object of passion * FAD Magazine, *Summer Reads of 2022* *A provocative tome * ARTnews *Ruth Millington's Muse adds another dimension...taking the women (and nine men) on the canvas as her subject...successfully fleshing out the lives behind some of art history's most famous faces * Hall W. Rockefeller, Hyperallergic.com *Muse by Ruth Millington is a fascinating book that aims, and one could even say succeeds, to establish a new status for the muse in art history * DailyArt Magazine *

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Book SynopsisSuperstar artist GUILLEM MARCH is well known for his DC Comics work (Batman, Joker, Harley Quinn) and his creator-owned Image book, KARMEN. This companion to the sold out COVER GIRLS showcases his best and most breathtaking artwork, including beautifully crafted European adult projects like Monika and The Dream. Plus, more than two hundred full-color images including covers, pin-ups, sketches, and process work all celebrating the female form. It also features a delightfully spicy 20-page comic released in English for the first time ever, as well as his run of acclaimed Vampirella covers.

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Book SynopsisThis volume collects some of the best covers and other artwork from rising star GUILLEM MARCH (Gotham City Sirens, Catwoman). More than one-hundred, full-color images featuring the sexiest girls from his stunning work for Eros Magazine and Playboy Spain, never-before-seen in the U.S., plus much unpublished art.

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Book SynopsisFor centuries, anatomy was a fundamental component of artistic training, as artists such as Leonardo da Vinci and Michelangelo sought to skillfully portray the human form. In Europe, illustrations that captured the complex structure of the body-spectacularly realized by anatomists, artists, and printmakers in early atlases such as Andreas Vesalius's De humani corporis fabrica libri septem of 1543-found an audience with both medical practitioners and artists.; Flesh and Bones examines the inventive ways anatomy has been presented from the sixteenth through the twenty-first century, including an animated corpse displaying its own body for study, anatomized antique sculpture, spectacular life-size prints, delicate paper flaps, and 3-D stereoscopic photographs. Drawn primarily from the vast holdings of the Getty Research Institute, the over 150 striking images, which range in media from woodcut to neon, reveal the uncanny beauty of the human body under the skin. This volume is published to accompany an exhibition at the Getty Research Institute at the Getty Center from February 22 to July 10, 2022.Trade Review"Before the X-ray, CT scan, or MRI, Renaissance anatomists, draftsmen, and printmakers worked together to visualize and represent the structure and function of the human body. Their work reveals an evolving aspiration to realism and profound creativity and invention, as well as a continuing revision of past efforts to depict and understand ourselves and our place in the world. Monique Kornell's lavishly illustrated Flesh and Bones takes us on a tour of this history through scholarly discussion and an unmatched range of exemplars, from Berengario da Carpi's anatomy book of 1523 to rarities such as the life-size figures by the eighteenth-century Bolognese printmaker Antonio Cattani to the contemporary neon work of Tavares Strachan. Combining the best of historical scholarship and beautiful production quality, this is yet another triumph from Getty Publications." -Gideon Manning, Associate Professor of History of Medicine, Program in the History of Medicine, Cedars-Sinai Medical Center ; "The juxtaposition of anatomists, artists, and physician/surgeons is never more important than in the exposition and understanding of the human body. This beautiful, erudite, and comprehensive review of the interaction between art and science is both welcome and instructive. Brought alive through striking illustrations and lively commentary by experts in the field, it is an essential addition to the library of anyone interested in this fascinating subject. The combination of artistic creativity and technical precision, developed over centuries, is revealed in the many ways of representing the body and its functionality."- Francis Wells, cardiac surgeon, Royal Papworth Hospital, Cambridge, UK ; "Flesh and Bones offers a comprehensive and highly original overview of the development of art and anatomy. Lavishly illustrated and eruditely written, this magnificent volume recounts in fascinating detail the emergence of the modern, visual understanding of the human body. It is a masterful accomplishment that reveals the complex strategies that anatomists, artists, and printmakers employed in their efforts to produce realistic and stunningly beautiful images of what lies beneath the skin." - Daniel Margocsy, Professor in the History of Science, Technology, and Medicine, University of Cambridge; "Flesh and Bones: The Art of Anatomy is a welcome, intensive examination of the complex relationship between European art and anatomy from the Renaissance to the present. While the exhibition and catalogue delve deeply into the roots and history of artistic practices and conventions that became standard in printed anatomical treatises, they also reveal the extraordinary variety and inherent strangeness of Western anatomical images."-- Lyle Massey, Associate Professor of Art History and Visual Studies, University of California, Irvine

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Book SynopsisFeaturing 25 drawings in charcoal, conte crayons, and pastels, this handbook pairs portraits of people who live and work along the U.S./Mexico border with bilingual poems that have been inspired by each of the drawings. A testimony to the people of the Rio Grande Valley, these drawings and poems capture their spirit, their quest for happiness, and their struggles to overcome economic hardship. This remarkable book highlights characters such as the "young street musician," the "six-year-old street vendor," and the "wise woman with rings." Compassionate and aesthetically compelling, this record raises awareness about social and cultural issues associated with border life, such as education, literacy, and poverty, and fosters cross-cultural understanding.Trade ReviewHurray for Steve and Reefka and the magical work they are doing crossing fronteras." —Sandra Cisneros, author, Caramelo and House on Mango Street"Such a kiss is this book that you oftentimes cannot tell which came first: the poem, it’s translation, or the art work." —Rene Saldaña, author, The Jumping Tree and The Whole Sky Full of Stars"In the tradition of an earlier era, Steve and Reefka Schneider have created a portrait of border life that utilizes both words and pictures to capture the moment." —Kathleen Alcalá, author, The Flower in the Skull

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Book SynopsisRaised on a farm in Montana, Vernon Drake enlisted in the Army Air Corp in the spring of 1942. Assigned to the 493rd Bomb Squadron, 7th Bomb Group of the 10th Air Force stationed in India, he piloted B-24 bombers into Burma in a fight to prevent the Japanese from advancing north to China, then flew C-108 gas-hauling tankers across the formidable Himalayas to support the U.S. and Allied armies. This dangerous airlift saw tons of fuel and supplies flown daily over the tallest mountain range in the world, regardless of the weather. He and the other airmenaged only eighteen to twenty-fiveflew dangerous missions over unforgiving territory against a brutal enemy. To provide some personal identity in an impersonal war, aircrews often painted artwork and identifying names onto the nose of their aircraft. As a talented artist, Lt Drake would spend many off-duty hours painting aircraft at the request of their crews, becoming a significant contributor to the nose art of the 10th Air Force. Drake'

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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 SynopsisAn essential guide for all artists with more than 600 images to show readers how to draw realistic characters with examples of movement, faces, and hands. Anatomy charts and rules of proportion will also allow users to accurately represent any human subject. Including instructions for a variety of drawing techniques (graphite pencils, colored pencils, felt tip pens, etc.) and a diverse array of models, this is the ultimate guide to mastering drawing the human form.

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Book Synopsis***'Figure Drawing is structured like an art school course and is every bit as rewarding.' Artists and IllustratorsInformative and instructive, this comprehensive guide will give you all the tools you need to draw the human figure, from life and from a screen. While many books focus on just one aspect of figure drawing, this manual unites the skills of observation, expression and understanding in one coherent approach. Beginning with the key principles of observation, Figure Drawing will help you to build a strong foundation of skills to make well-observed, proportionally accurate drawings. As the book progresses you will explore processes and exercises that move beyond the purely observed to express the gesture, form and substance of your model.Photographic and illustrative examples throughout the book support your learning at every step. Clear step-by-step tutorials provide a practical understanding of the key materials, skills and ideas in figure drawing. A comprehensive anatomical reference section, broken down into manageable zones, deepens your knowledge of the human form. The book is a Swiss-bound paperback, designed to lie flat when open and in use.

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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 SynopsisIt is said that the skull is the only human body part that is as powerful dead as it was when living. Skulls takes the reader on an eerie journey through history seen through the hollow eye sockets of this crown jewel of the human skeleton. The book is made up of a series of short illustrated stories laced with fascinating facts, historical and medical references and compelling anecdotes. The testimonials of thirty-plus skull collectors reveal what is known of – or speculated about – the often gruesome history of the skulls, as well as how they were acquired and what makes them so highly prized.

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Book SynopsisIn late May 1918 in Valdosta, Georgia, ten black men and one black woman, Mary Turner, eight months pregnant at the time, were lynched and tortured by mobs of white citizens. Through hauntingly detailed full-color artwork and collage, Elegy for Mary Turner names those who were killed, identifies the killers, and evokes a landscape in which the NAACP investigated the crimes when the state would not, when white citizens baked pies and flocked to see black corpses, and when black people fought to make their lives-and their mourning-matter. With introductions from C. Tyrone Forehand, great grand-nephew of Mary and Hayes Turner, whose family has long campaigned for the deaths to be remembered; abolitionist activist and educator Mariame Kaba, reflecting on the violence visited on black women's bodies; and historian Julie Buckner Armstrong, who opens a window onto the broader scale of lynching's terror in American history.Trade ReviewIn this particular historical moment when young Black people are engaged in a renewed struggle against state violence, Mary Turner's story resonates. She insists that we #SayHerName too. -- Mariame Kaba, founder and director of Project NIA, from the prefaceHarrowing. ... This succinct work confronts readers with atrocity, in a necessary tribute. * Publishers Weekly (Starred Review) *[Elegy for Mary Turner] retells the story [of Mary Turner's murder] in a manner at once unflinching, and, at turns, delicate. The delicacy is owed to Williams' rendering. -- Rosalind Bentley * Atlanta Journal-Constitution *Essential ... Williams doesn't just deplore unspeakable evil or try to argue with it. She confronts it in its own realm - the realm of art. -- Etelka Lehoczky * NPR Books *Elegy for Mary Turner brings America's brutal history of 20th century lynching alive through Mary Turner. -- Bill Berkowitz * BuzzFlash *

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Book SynopsisDifference exists; otherness is constructed. This book asks how important Western artists, from Giotto to Titian and Caravaggio, and from Bosch to D rer and Rembrandt, shaped the imaging of non-Western individuals in early modern art. Victor I. Stoichita's nuanced and detailed study examines images of racial otherness during a time of new encounters of the West with different cultures and peoples, such as those with dark skins: Muslims and Jews. Featuring a host of informative illustrations and crossing the disciplines of art history, anthropology, and postcolonial studies, Darker Shades also reconsiders the Western canon's most essential facets: perspective, pictorial narrative, composition, bodily proportion, beauty, color, harmony, and lighting. What room was there for the "Other," Stoichita would have us ask, in such a crystalline, unchanging paradigm?

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Book SynopsisThis book is the first modern history of medieval European anatomical images. Richly illustrated, it explores the many ways in which medieval surgeons, doctors, monks and artists understood and depicted human anatomy. Taylor McCall refutes the common misconception that Renaissance artists and anatomists such as Leonardo da Vinci and Andreas Vesalius were the ‘fathers’ of anatomy, and the first to perform scientific human dissection; on the contrary, she proves these Renaissance figures drew upon centuries of visual and written tradition in their works. This interdisciplinary book will appeal to general audiences interested in the history of the body and medical professionals curious about the history of their discipline, as well as historians of art, medicine and medieval culture.

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Book SynopsisThe figure of a woman reclining, in repose, displayed, abandoned, fallen, asleep, or dreaming, returns in the work of women filmmakers and photographers in the twentieth and twenty-first centuries. Filmmakers Agnès Varda and Catherine Breillat, and American photographer working in Paris, Nan Goldin, return to the paintings of Titian, Velázquez, Goya, Courbet, and others, re-imagining, and re-purposing, their images of female beauty, display, (auto)eroticism, and intimacy. This book, a sensuous evocation of these feminist works, claims a female-identified pleasure in looking. The artists explored align images of repose and sensuality with other images of horizontality and proneness, of strong emotional content, images of erotic involvement, of vulnerability, of bodily contortion, of listlessness, grief, and depression. The reclining nude is for all three artists a starting point for a reflection on the relation of film, projections, and still photography, to painting, and a sustained re-imagining of the meanings conjured through serial returns to a particular pose. This book claims that the image of the reclining nude is compelling, for female-identified artists – and for all allied in feeling and picturing femininity – in the sensitive, ethically adventurous, politically complex feminist issues it engages. The reclining nude is an image of passivity, of submission, of hedonism. It allows thought about passivity as pleasure, about depression and grief figured posturally, about indolence as a form of resistance and anarchy. Through this image, female-identified artists have claimed freedom to offer new focus on these extremes of emotion. They are re-imagining horizontality.Trade ReviewReviews ‘This book is a deep and far-reaching exploration of the sensory impressions, affective impact, and gender-ideological import of films and photographs by three women—Agnès Varda, Catherine Breillat, and Nan Goldin. The author wisely focuses on an important but underexamined area of these women’s work: images of the reclining nude.'Douglas Keesey, California Polytechnic State UniversityTable of ContentsContentsAcknowledgementsIllustrationsshorelineThe Reclining Nudefour reflections on reclining: 1four reflections on reclining: 2four reflections on reclining: 3four reflections on reclining: 4VardaBreillatGoldinIndia SongBibliography and Filmography

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Book SynopsisThe Wilton House sculptures constituted one of the largest and most celebrated collections of ancient art in Europe. Originally comprising some 340 works, the collection was formed around the late 1710s and 1720s by Thomas Herbert, the eccentric 8th Earl of Pembroke, who stubbornly ‘re-baptized’ his busts and statues with names of his own choosing. His sources included the famous collection of Cardinal Mazarin, assembled in Paris in the 1640s and 1650s, and recent discoveries on the Via Appia outside Rome. Earl Thomas regarded the sculptures as ancient – some of them among the oldest works of art in existence – but in fact much of the collection is modern and represents the neglected talents of sixteenth-and seventeenth-century artists, restorers and copyists who were inspired by Greek and Roman sculpture. About half of the original collection remains intact today, adorning the Gothic Cloisters that were built for it two centuries ago. After a long decline, accelerated by the impact of the Second World War, the sculptures have been rehabilitated in recent years. They include masterpieces of Roman and early modern art, which cast fresh light on Graeco-Roman antiquity, the classical tradition, and the history of collecting. Illustrated with specially commissioned photographs, this catalogue offers the first comprehensive publication of the 8th Earl’s collection, including an inventory of works dispersed from Wilton. It re-presents his personal vision of the collection recorded in contemporary manuscripts. At the same time, it dismantles some of the myths about it which originated with the earl himself, and provides an authoritative archaeological and art-historical analysis of the artefacts.Trade Review'This volume on the marbles at Wilton House forms an impressive addition to the literature on the privately owned collections of antiquities in Britain.' – Clare Hornsby, Journal of the History of Collections (2021)'This impressive book is the first comprehensive publication of the sculptures assembled in the early eighteenth century at Wilton House near Salisbury in Wiltshire by Thomas Herbert (1656–1733), eighth Earl of Pembroke... This book is a must for anyone interested in classical art and its subsequent artistic history, interpretation, and reception.' – Mark Merrony, Antiqvvs, Issue 9, Winter 2021/22'Attentive readers will glean that a number of pieces sold off in the last century have returned to Wilton, a poi­gnant demonstration of the current generation’s devo­tion to preserving the family’s important classical legacy. Stewart, too, advances this effort; his up-to-date, infor­mative catalogue admirably succeeds in introducing the 150 or so sculptures on view at Wilton today to a schol­arly audience. His work clears away the many cobwebs that have entangled the reception of Wilton’s antiquities and lays a solid foundation for future investigations.' – Elizabeth Bartman (2022): American Journal of Archaeology‘P. Stewart does not fail to capture the personality of Pembroke, to evoke its eccentricity – which has earned a number of works preposterous identifications – but also its culture, which was also reflected in an impressive collection old books and medals, successively sold between 1828 and 1920. What was undoubtedly the largest collection of antiques in the kingdom and a real tourist attraction of which the guides of the 18th century keep the memory had almost sunk into oblivion and it is all the credit of William, 18th Earl of Pembroke and 15th Earl of Montgomery, and the Wilton Trustees for restoring it to some luster by truly resuscitating it, at the price of redemptions in public sales where reappeared certain works and research in the various dependencies of the area where a few items had gone astray in conservation conditions often deplorable, to have carried out certain restorations and decided to entrust P. Stewart the task of producing this catalog, which he has done all the more exemplary that the difficulties were numerous. …this large volume is very well edited (beautiful matte paper, sturdy hardback and illustrated dust jacket) by Archaeopress Publishing Ltd.’ – translation of Jean-Charles Balty (2022): L’Antiquité Classique 90Table of ContentsPreface ; Image Credits ; Introduction ; Catalogue ; Statues, Statuettes, and Herms ; Busts and Heads ; Reliefs and Miscellaneous Objects ; Architectural Elements ; Plates ; Appendix 1 Works Formerly in the Collection ; Appendix 2 Concordance to Michaelis ; Index of Names and Places

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Book SynopsisThe collection of pictures at Wilton has been celebrated since the seventeenth century; and its historic arrangement is uniquely well documented in a series of catalogues of which the first, issued in 1731, was the earliest such publication about any private collection in England. Of successive owners of the house, three made significant contributions: William, 4th Earl of Pembroke, who commissioned van Dyck’s monumental portrait of his family that dominates the Double Cube Room he had created; his grandson, Thomas, 8th Earl of Pembroke who assembled what was in some respects a pioneering collection of old master pictures for the house; and his grandson, Henry, 10th Earl of Pembroke, patron of Reynolds and Wilson, among others. Such masterpieces as Lucas van Leyden’s Card Players, Cesare da Sesto’s Leda – long attributed to Leonardo – and Ribera’s Democritus are matched by remarkable portrait drawings by Raphael and Holbein. These are complemented by a substantial deposit of family portraits and other pictures that attest to the tastes and interests of successive generations of the Herbert family.

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Book SynopsisDepictions of old age in art from ancient to modern.

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Book SynopsisUnbelievably cute and easy-to follow Kawaii drawing, broken down into step-by-step exercises which anyone can master. 'Kawaii' means cute in Japanese, and often refers to a delightful range of drawing styles that western audiences have come to love. Annelore Parot, an experienced illustrator and art teacher, has her own distinctive kawaii style based on cute objects, inviting places and expressive people. Her fans have long demanded a guide to drawing japan and japanese things, so she put together the work-throughs in this book. She travelled around Japan to choose the best subjects, and invites the reader to join her in experimenting with buildings, movements, and above all aspects of Japanese culture. Myths, animals and food are all included.

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Book SynopsisSkin represents a place where art, science, philosophy and social culture intersect. With a growing number of bodily extensions and the continuous discovery of new areas – physical, virtual and psychological – the clear distinctive lines between individuals, countries and even species are beginning to blur. Advances in bio-medical research together with deconstructivist theories in philosophy are reflected in the work of many artists using skin, materially or metaphorically, as an interface, whose work goes beyond the descriptive surface of the skin, to explore issues of xeno-transplants, trans-species and trans-racial exchanges. In recent years, a trend towards the analysis of skin, its functions and meanings, has emerged in the practice of many artists using wet biology, bio-architecture and self-experimentation. Jens Hauser has been involved in much of the development in this area. Bound in a unique thermochromic cover (designed by artist Zane Berzina), this book provides an engaging, critical and thought-provoking approach to how current technologies are changing our perceptions of the body, the self and the interactions between bodies. Edited by one of the leading curators in (bio)technology based art and including contributions from 25 major international artists, scholars and critics in this field, this provocative art and text book examining some of the most contentious moral, aesthetical and philosophical issues of our day will complement the exhibition and encourage debate within this exponentially growing field.Trade ReviewAnd what a book it is! Liverpool University Press has taken academic publishing into the next phase with this book in its integration of various modes for representing knowledge production. Richard Cavell... this book reacts to the body heat of the reader, [the cover]changing colour on contact, fading from bright orange to reveal a whitesurface with a texture not that far from some kind of skin...the book endpapers also reveal printed skin patterns...If the complexity of these external and internal surfaces intrigues you, then so will the ideas contained within them.Times Higher Education SupplementTable of Contents Welcoming sk-interfaces to FACT – Mike Stubbs Culturing Change – Marta Rupérez Who’s Afraid of the In-Between? – Jens Hauser The Return of Marsyas: Creative Skin – Stéphane Dumas McLuhan and the Body as Medium – Richard Cavell Endogenous Design of Biofacts: Tissues and Networks in Bio Art and Life Science – Nicole C. Karafyllis Fitter, Better, Stronger, Faster – John A. Hunt e-skin: Research into Wearable Interfaces, Cross-modal Perception and Communication for the Visually Impaired on the Mediated Stage – Jill Scott Feel Me, Touch Me: The hymNext Project – Julia Reodica In the Face of the Victim: Confronting the Other in the Tissue Culture and Art Project – Adele Senior Harlequin Coat – Orlan Secularism, Preface from Michel Serres, The Troubadour of Knowledge The Fusional Haptics of Art Orienté pbjet – Marion Laval-Jeantet Marsyas – beside myself – Kira O’Reilly Extra Ear: Ear on Arm – Stelarc The Telepresence Garment – Eduardo Kac World Skin: A photo safari in a land of war – Maurice Benayoun Why Immolation? – Critical Art Ensemble The Office of Experiments’ Truth Serum Threat: Notes on the Psychopharmacology of Truthfulness – Nicolas Langlitz Wim Delvoye’s Sybille II – Ralf Kotschka Immobile, Bleu... Remix! – Yann Marussich Biological Habitat: Developing Living Spaces – Zbigniew Oksiuta Light, only light – Jun Takita The Midas Project – Paul Thomas Re-thinking Touch – Zane Berzina Olivier Goulet’s SkinBag Corps.EXT – Fabienne Stahl Biographies Funders and Supporters sk-index

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