Search results for ""Author Painters"

An introduction to great painters, looking at their life story, techniques and collections, from well-known to unfamiliar works of art.

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In 2006, the collection of 224 antiquities assembled by Walter Kempner, M.D. was donated to the Nasher Museum of Art at Duke University by Barbara Newborg, M.D. Ranging from the 3rd millennium to the 3rd century B.C.E., the collection includes Mediterranean antiquities such as Cycladic marble artifacts; Greek ceramics attributed to significant Athenian painters, including the Kleophrades Painter, the Athenian Painter, and the Matsch Painter; and carved amber likely from an Etruscan workshop. In The Past Is Present, scholars and Duke University students present the collection, including many objects that have never been published before, and discuss its significance for art history, classics, museum studies, and archaeology. The introductory essay by Kimerly Rorschach, Director of the Nasher Museum, discusses the gift in the context of current issues surrounding the acquisition of antiquities and the aims of university museums. ContributorsCarla AntonaccioElizabeth BaltesLarissa BonfanteKaila DavisSheila DillonRobert DudleySusan FosterKiki FoxAlex JornChristina KaplanisMary KingAnna KivlanLindsay LevineMichael MaJennifer MorrisJenifer NeilsDaven ReaganKimerly RorschachBrendan SaslowTyler Jo SmithAndrew TharlerPublication of the Nasher Museum of Art at Duke University

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This facsimile edition of a 1922 children’s book features seventy-three dynamic and whimsical woodcut illustrations—the first woodcuts that the famed American craftsman Wharton Esherick produced. A high-quality replica authorized by the Wharton Esherick Museum, this book reveals the foundation of Esherick’s direction as an artist. Edited by Museum director Paul Eisenhauer, it also features a foreword by Museum assistant curator Laura Heemer. The illustrations frame verses that introduce children to the principles of evolution, a highly controversial topic at the time: the book was published three years before the famous Scopes “Monkey” trial of 1925 that resulted in the inclusion of the teaching of evolution in public schools. Drawn by the excitement of the controversy, Esherick threw his passion into these illustrations. Afterward he would go on to carve over 300 woodcuts, leading to decorative carving, and ultimately, to Esherick’s realization that he was a sculptor rather than a painter.

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Collected for the first time in a new translation: two of the most important and far-reaching biographies of an artist ever written, and our principal sources for the life of Velázquez. Diego Velázquez (1599-1660) is for many the greatest painter ever to have lived. His astonishing naturalism had an immediate and lasting impact on his contemporaries, inspiring both awe and fierce debate. Most of what we know about Velázquez's life and incomparably successful career comes from these two biographies. Francisco Pacheco, a second rank painter, was Velázquez's teacher and eventually father-in-law - possibly the closest relationship between a painter and his biographer in all art. This Life, part of Pacheco's theoretical work, the Art of Painting, has never been translated before, and it reveals the scale of the challenge to traditional painting presented by Velázquez's insurmountable talent. Antonio Palomino, the Spanish Vasari, was born just after Velázquez died, but knew many of the painter's friends and colleagues. His biography, precise and detailed, is an incomparable source, but like Pacheco's text, also tackles the aesthetic debate engendered by Velázquez's choice of subject matter and style. Together these biographies give an excitingly close insight into the mind and world of a great painter. The introduction by Michael Jacobs situates these biographies in the context of Spain's Golden Age, and the intellectual ferment in painting and in the theatre that lie behind Velázquez's magic. The translations are by Nina Ayala Mallory, the leading scholar of Spanish artistic biographies. The volume is richly illustrated with 30 plates illustrating the full gamut of Velázquez's work.

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FROM THE AUTHOR OF THE INTERNATIONAL BOOKER LONGLISTED AND WINNER OF THE STREGA PRIZE THE HOUSE ON VIA GEMITOStarnone uses languages the way a great painter works with colour, conjuring the illusion of three dimensions from a blank flat surface.Jhumpa LahiriCompelling One of Italy's most accomplished novelists.The GuardianTrick is a chillingly weird chamber piece - a very tricksy treat.The TimesTrick is a stylish drama about ambition, family, and old age that goes beyond the ordinary and predictable. Imagine a duel between two men. One, Daniele Mallarico, is a successful illustrator who, in the twilight of his years, feels that his reputation and his artistic prowess are fading. The other, Mario, is Daniele's four-year-old grandson. Daniele has been living in a cold northern city for years, in virtual solitude, focusing obsessively on h

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She didn''t want Prince Charming. She wanted the demon.THE SUNDAY TIMES BESTSELLER''THE SEVEN CIRCLES HAVE NEVER BEEN SO HOT'' JENNIFER L. ARMENTROUT''SECRETS, SPICE AND A STORY I COULD NOT PUT DOWN'' KATEE ROBERTSThrone of the Fallen is a seductive new romantasy standalone, from #1 New York Times bestselling author Kerri Maniscalco.A wicked prince. A fallen painter. Let the games begin . . .The Prince of Envy has never claimed to be a saint. But when a cryptic note arrives at his demon court, signalling the beginning of a deadly game, he knows it will take more than a hint of sin to win. Riddles, hexed objects, anonymous players, nothing will stand in his way.Camilla is an artist with troubles of her own: a desperate mistake has landed her in debt to a notorious rake. Threaten

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A major new study and celebration of the career and legacy of the modernist sculptor, painter, collagist and educator Luise Clayborn Kaish (1925-2013). This is a major new study and celebration of the career and legacy of the modernist sculptor, painter, collagist and educator Luise Clayborn Kaish (1925 – 2013). Kaish was a key figure in the New York art scene of the late 20th century, whose multidisciplinary and process-oriented practice contributed to various artistic discourses at the time. The strength and breadth of her work, her influential role in education, and the prestigious awards she received in recognition of her practice set her apart as an early female leader in the arts. She will be remembered for her immense talent, highly individual point of view, pursuit of the sublime, keen execution, and passion for life, which, despite the tides of changing tastes, will remain forever significant. This volume brings together nearly of her works. Essays covering Kaish's life and career, her artistic practices, her lifelong interest in the spiritual and metaphysical, and her work as an educator are followed by a main plate section, Illustrated Chronology and Exhibition History. AUTHOR: Maura Reilly is a curator and arts writer, based in New York. Gail Levin is an American art historian, biographer, artist, and a Distinguished Professor of Art History, American Studies, Women's Studies, and Liberal Studies at Baruch College and the Graduate Center of the City University of New York. Daniel Belasco is executive director of the Al Held Foundation, New York. 185 colour illustrations

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Scotland, 1743. In Blackwater Castle, in the Highlands, the Duke of Plaxton is looking for a new portrait painter. A member of Clan Grant, supporters of the Act of Union with England, the duke has a son, William, whose heart leans towards the Jacobite cause, and a daughter, Amelia, betrothed to an English lord she has never met. It's there, in this crucible of rebellion and ambitions, that arrives Joseph Callander, local boy back from years spent in Italy, and talented painter...

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Over the centuries, landscape painting has attracted countless artists. Its diversity, enhanced by the weather, special lighting conditions and seasonal change, offers the painter an infinite variety of subject matter. Oils are an extremely versatile and immediate medium, enabling artists to express themselves in a variety of creative ways. They are relatively easy to use, suitable for both the beginner and the more experienced painter.

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The latest in Karma's acclaimed series of overviews, this 424-page clothbound volume is the first comprehensive survey of New York–based minimalist painter Paul Mogensen (born 1941). Born in Los Angeles, Mogensen arrived in New York in 1966 already associated with such peers as David Novros and (through Novros) Brice Marden. His first solo exhibition at the Bykert Gallery came the following year. Since that time, Mogensen has created often colorful works that follow rule-based progressions (such as the “n + 1” method) to generate sharply executed geometric abstractions. In a text for this volume, the artist Lynda Benglis usefully summarizes the special character of Mogensen’s art: “Paul is a colorist who is measured in his method. It may be said that he is a decorative painter as well a painter of a philosophical disposition. He is stringent in his approach, as stringent as a mechanic might be with a Ferrari. There are no accidents.”

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The incomparable play of light and color in Paul Cezanne’s work was the foundation of his reputation as a forerunner of modernism. From the start he went his own way, and his paintings initially evoked a lack of understanding in art critics of the time, as well as ridicule. Despite his romantic, baroque, impressionist, and finally classical influences, it is still difficult to ascribe Cezanne to any particular art movement. Still, which specific places left lasting impressions on the scion of a provincial banker’s family? What and who were major influences supporting and advancing his innovative oeuvre? James H. Rubin traces Cezanne’s life and work from A to Z in this brief volume, creating an image of a painter who wanted to transform painting itself. The author—and established connoisseur—succeeds in closely approaching the artist while at the same time maintaining the necessary distance to his inimitable paintings.

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Three adventurers set out to kill a sea monster, but all is not as it seems. Out in the vast expanse of the Pacific they find not a beast but a submarine - the Nautilus, an advanced craft captained by the enigmatic Captain Nemo. Captured and hauled aboard, they accompany him through coral reefs, shipwrecks, and ancient ruins. There they hunt sharks, and battle giant squid, not realising that the greatest danger is Nemo himself, who will stop at nothing in his quest for vengeance.Beautifully illustrated by the French painter Édouard Riou, who worked with Jules Verne on six of his novels, this Macmillan Collector's Library edition of Twenty Thousand Leagues Under the Sea also includes an afterword by author David Stuart Davies.Designed to appeal to the booklover, the Macmillan Collector's Library is a series of beautiful gift editions of much loved classic titles. Macmillan Collector's Library are books to love and treasure.

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INTRODUCED BY PHILIP HENSHER'Elizabeth Taylor is finally being recognised as an important British author: an author of great subtlety, great compassion and great depth. As a reader, I have found huge pleasure in returning to Taylor's novels and short stories many times over. As a writer I've returned to her too - in awe of her achievements, and trying to work out how she does it' SARAH WATERSA brilliant novel about the damage caused by relentless 'niceness'. Uncritical, encouraging, 'the soul of kindness', Flora's help is the cruelest hindrance to those who love her most.'Here I am!' Flora called to Richard as she went downstairs. For a second, Meg felt disloyalty. It occurred to her of a sudden that Flora was always saying that, and that it was in the tone of one giving a lovely present.Elegant, blonde and beautiful, Flora has everything under control: her perfect home, her husband Richard, her friend Meg, adoring Kit, and the writer Patrick. Flora entrances everyone, dangling visions of happiness and success before their spellbound eyes. All are bewitched by this golden tyrant. Except, that is, for the clear-eyed painter, Liz, who can see that Flora's kindness is the sweetest poison of them all.

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Asle is an ageing painter and widower who lives alone on the southwest coast of Norway. His only friends are his neighbour, Asleik, a traditional fisherman-farmer, and Beyer, a gallerist who lives in the city. There, in Bjorgvin, lives another Asle, also a painter but lonely and consumed by alcohol. Asle and Asle are doppelgangers - two versions of the same person, two versions of the same life, both grappling with existential questions. In this second instalment of Jon Fosse’s Septology, ‘a major work of Scandinavian fiction’ (Hari Kunzru), the two Asles meet for the first time in their youth. They look strangely alike, dress identically, and both want to be painters. At art school in Bjorgvin, Asle meets and falls in love with his future wife, Ales. Written in ‘melodious and hypnotic slow prose’, I is Another: Septology III-V is an exquisite metaphysical novel about love, art, God, friendship, and the passage of time.

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Faust Foutu (Faust Screwed) is a satire featuring a mid-20th-century Faust as a bourgeois artist "suffering" for his art. It was first performed by poets and painters in San Francisco in 1955. The book includes drawings by the poet made to accompany the printed text."In the early fifties the art of painting was at the cutting edge (Clyfford Still, Pollock, Rothko) -- it's not surprising that this "screwed" Faust is a painter or that a public reading and performance of the piece should have taken place at San Francisco's most intensely avant garde art gallery, the Six Gallery. It's no surprise either that the actors in the presentation, seated at a long table on a little dais, should be friends, actors, experimental film-makers, poets, painters, and playwrights. Poet Jack Spicer leaned towards the audience at moments with intensity and almost boyish innocence of expression and near harshness of diction. Larry Jordan, the film-maker, had been encouraged by Duncan to just sing loudly and naturally letting his untrained voice carry Faust's songs. Painter, and life-friend of Duncan's, Jess Collins, spoke his lines with immense clarity and irony. The play was being tested on the ear, there was no acting-out as Duncan did in his solo performances, this was to be heard—and, listen, it's still sounding." -Michael McClureRobert Duncan's "comic masque" Faust Foutu was first performed in 1955 and published in a small edition in 1960 with drawings by the poet, reproduced here in a trade edition.

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This book is an excellent tool for learning to sketch on location. Through the "no drawing first" technique, readers will learn to use only watercolour and a brush to draw in notebooks, make quick urban sketches, keep visual journals and create compelling outdoor urban work. Designed like a workshop on the go, with more than fifty progressive exercises, this book invites you to experiment with watercolour by translating space and movement through shapes and color into masses and values rather than contours and strict rules of perspective. The author, a theatrical scenic painter, urban sketcher and urban sketching teacher, shows you how to represent the world around us. She encourages the reader to observe the place, to understand it, to learn how to choose the subject when capturing the place’s soul, preserving the sense of the fleetingness of the instant described. The themes include vegetation, buildings, forms of people in movement and stop-motion.

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Full Spectrum: Paintings by Raimonds Staprans is the most extensive survey of the figures, landscapes and still lifes of Latvian-American painter Raimonds Staprans (born 1926). Published by the Crocker Art Museum in Sacramento, the book accompanies the museum’s exhibition of the same name. Elegant design and superb reproductions reveal Staprans as a master of composition, color and existential nuance. Essayists include Scott A. Shields, Crocker Art Museum Associate Director and Chief Curator; Paul J. Karlstrom, art historian and former West Coast regional director of the Smithsonian Archives of American Art; David Pagel, art critic for the Los Angeles Times and Professor of Art Theory and History at Claremont Graduate University; Nancy Princenthal, author and former senior editor at Art in America; Ed Schad, Associate Curator at The Broad; and John Yau, art critic and poet.

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“A vibrant and sophisticated ode to nature.” —Kirkus (starred review)From Caldecott Medalist and Newbery Honor author Kevin Henkes and acclaimed painter Laura Dronzek, the bestselling and award-winning creators of Winter Is Here, When Spring Comes, and In the Middle of Fall, this book about summer celebrates the sights, sounds, and smells of the season.Bees buzz, birds sing, and children roll in the grass and feel the heat of the summer sun. With striking verbal imagery, repetition, and alliteration, Kevin Henkes introduces basic concepts of language and the summer season. Laura Dronzek's glowing paintings beautifully illustrate the wonders of summer.In the Middle of Fall, Winter Is Here, When Spring Comes, and Summer Song make for a beautiful quartet of seasonal-theme picture books to share at home or in the classroom. Ideal for introducing the season, for story time, and for bedtime reading.

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A monkey runs away from the zoo and becomes a dishwasher, a window washer, painter, and finally a movie star.

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This book interprets the later murals of the Mexican painter David Alfaro Siqueiros in light of his Marxist internationalism. -- .

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Paul Gough examines the aftermath of the Great war and the impact of terrain militaria on contemporary British and Australian painters, photographers and writers.

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Two starred reviews! “Achingly touching, heartfelt, and true, Brynn’s story of reinvention and self-discovery resonates on every page. A book to savor and hold dear.” —Kathleen Glasgow, New York Times bestselling author of Girl in Pieces and The Agathas For fans of Talia Hibbert and Lynn Painter comes an “emotionally rich” (Publishers Weekly, starred review) and unflinchingly honest story about a teen who must come to terms with her disability and what it means for her identity, her love life, and her future.Brynn Kwan is desperate for her high school persona to be real. That Brynn is head of the yearbook committee, the favorite for prom queen, and definitely not crumbling from a secret disability that’s rapidly wearing her down. If no one knows the truth about her condition, Brynn doesn’t have to worry about the pitying looks or accusations of being a faker t

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In "Writing Ethnographic Fieldnotes", Robert M. Emerson, Rachel I. Fretz, and Linda L. Shaw present a series of guidelines, suggestions, and practical advice for creating useful fieldnotes in a variety of settings, demystifying a process that is often assumed to be intuitive and impossible to teach. Using actual unfinished notes as examples, the authors illustrate options for composing, reviewing, and working fieldnotes into finished texts. They discuss different organizational and descriptive strategies and show how transforming direct observations into vivid descriptions results not simply from good memory but from learning to envision scenes as written. A good ethnographer, they demonstrate, must learn to remember dialogue and movement like an actor, to see colors and shapes like a painter, and to sense moods and rhythms like a poet. This new edition reflects the extensive feedback the authors have received from students and instructors since the first edition was published in 1995. As a result, they have updated the race, class, and gender section, created new sections on coding programs and revising first drafts, and provided new examples of working notes. An essential tool for budding social scientists, the second edition of "Writing Ethnographic Fieldnotes" will be invaluable for a new generation of researchers entering the field.

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This collective biography of six remarkable twentieth-century New Mexicans, sheds light on the distinct role of women in shaping American multi-culturalism. Maureen Reed recounts the lives of Mary Austin and Mabel Dodge Luhan, both Anglo American literary figures; Cleofas Jaramillo and Fabiola Cabeza de Baca, both Hispanic authors and folklorists; Kay Bennett, a Navajo writer and political activist; and Pablita Velarde, a Pueblo Indian painter and author. Reed shows how the emerging ideal of multiculturalism guided these women's efforts to preserve tradition even as it limited their ability to speak honestly about their lives. They endured painful conflicts between the romanticised New Mexican home they boosted publicly and the traditional gender roles they resisted privately. Their lives illustrate the difficulty of prioritising both tradition and individualism, but they also testify to the invigorating possibilities of cultural change.

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Although Elgar achieved fame, status and recognition in his lifetime, his earnings did not match the standard of living to which he aspired. The late nineteenth century was a propitious time for British composers. But while the demand from music publishers for their works grew substantially, the copyright and royalty terms were such that even successful composers couldnot achieve the levels of earnings enjoyed by other creative artists such as authors, painters and dramatists. However, in the early twentieth century, new sources of earnings emerged, notably performing fees, broadcasting fees and royalties from record sales. Unlike other leading contemporary British composers, who also held prestigious, salaried positions, Elgar was, by his own volition, a freelance composer who relied entirely on the precarious earnings from his works, supplemented by conducting fees and a brief tenure at Birmingham University. As a result, although Elgar achieved fame, status and recognition in his lifetime, both nationally and internationally, his earnings did not match the standard of living to which he aspired. This lack of money, exacerbated by too much expenditure, was a constant source of worry, complaint and frustration to Elgar, even though he had become a beneficiary fromthe new sources of income in the twentieth century. Elgar's Earnings investigates whether Elgar's complaints about a lack of money can be justified by the facts. Drawing on hitherto neglected primary sources, especially the Novello Business Archive, John Drysdale examines the relatively poor terms offered by music publishers to composers of serious music in general and Elgar in particular and explores the reasons why successful painters and authors, such as G. B. Shaw, could obtain much better terms. This comparative analysis enriches our understanding of the economic and social forces at work in nineteenth and early twentieth century Britain and shows how Elgar, despite his insecure financial position, helped to establish the profession of the English composer, to the lasting benefit of future generations. JOHN DRYSDALE is a musicologist and former investment banker.

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Post-Impressionism is a movement in France that represented both an extension of Impressionism and a rejection of that style’s inherent limitations. The term Post-Impressionism was coined by the English art critic Roger Fry for the work of such late 19th-century painters as Paul Cézanne, Georges Seurat, Paul Gauguin, Vincent van Gogh, Henri de Toulouse-Lautrec, and others. Most of these painters began as Impressionists; each of them abandoned the style, however, to form his own highly personal art. Impressionism was based, in its strictest sense, on the objective recording of nature in terms of the fugitive effects of colour and light. The Post-Impressionists rejected this limited aim in favour of more ambitious expression, admitting their debt, however, to the pure, brilliant colours of Impressionism, its freedom from traditional subject matter, and its technique of defining form with short brushstrokes of broken colour. The work of these painters formed a basis for several contemporary trends and for early 20th-century modernism.

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A fresh perspective on the celebrated Dutch painter Rembrandt van Rijn.

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Based on the author's successful courses and workshops, "Painting for the Absolute and Utter Beginner" really does start at the beginning, helping new painters find 'what works' while providing information on all the necessary tools, tips and techniques they'll need to create a representational painting. The chapters follow a progressive sequence that teaches basic skills through practical, accessible exercises; building a solid foundation that readers can rely on as painting projects grow more challenging. A special feature is the artwork and commentary of real students, which helps beginners set realistic goals and shows them how other artists have worked through inevitable setbacks to achieve success.

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Norman Rockwell and Andy Warhol, J.C. Leyendecker and Georgia O'Keeffe, the Metropolitan Museum of Art and Pepsi-Cola, the avant-garde and the Famous Artists Schools, Inc.: these are some of the unexpected pairings encountered in this study of commercial art and design. In this interdisciplinary study of the imagery and practices of commercial artists, the author explores in detail the world of commercial art - its illustrators, publishers, art directors, photographers, and painters. She maps out the long, permeable border between art and commerce, seeking to expand our understanding of artistic culture in the 20th century. From the turn of the century through the 1950s, the explosive growth of popular magazines and national advertising offered artists new sources of income and new opportunities for reaching huge audiences. Bogart shows how, at the same time, this change in the marketplace also forced a rethinking of the purpose of the artistic enterprise itself. She examines how illustrators such as Howard Pyle, Charles Dana Gibson, and Norman Rockwell claimed their identities as artists within a market-oriented framework. She looks at billboard production and the growing schism between "art" posters and billboard advertisements; at the new roles of the art director; at the emergence of photography as the dominant advertising medium; and at the success of painters in producing "fine art" for advertising during the 1930s and 1940s.

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Visually stunning, informative, and broad in scope, this comprehensive overview gathers the works of renowned still-life painter Scott Fraser. Beautiful full color images of his body of work are accompanied by companion drawings and detailed close-ups, demonstrating the artist's approach to painting. A summary of his work, an interview of Fraser by artist Robert C. Jackson, and an extensive chronology of works allow the reader to explore the path of growth and development that took him from a landscape painter in the 1980s to the nationally renowned still-life painter that Fraser is today. His intense scrutiny of objects is revealed in full-page details of several important works. The over 200 drawings and paintings included here also reveal how Fraser’s passion for art history is a strongly recurring theme, often demonstrating itself in surprising ways. This book offers valuable insights for collectors, museums, students, academics, artists, and everyone interested in contemporary still life painting.

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As one of the most innovative and enlightened painters of the early Italian Renaissance, Piero della Francesca knew how to capture the moment. He brought space, luminosity and unparalleled subtlety to painting, during an era that was aware it was forging epochal change. Piero invented the role of the modern artist by becoming a traveller, a courtier, a geometrician, a patron and much else, and his pursuits were taken up by countless authors and artists from Leonardo da Vinci to Giorgio Vasari. In this nuanced account of his life and art, Machtelt Bruggen Israels reconstructs how Piero came of age. Successfully demystifying the persistent notion of Piero's art as enigmatic, she reveals the simple and stunning intentions behind his work.

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The brand-new escapist summer read from the internationally bestselling author of The Paris Secret!ONE UNFORGETTABLE SUMMER WILL UNLOCK A DECADES-OLD SECRET . . .'A meticulously researched novel with a perfectly woven dual timeline . . . I think The Riviera House is her best book yet' KATHRYN HUGHES, bestselling author of The LetterFRENCH RIVIERA, PRESENT DAYWhen Remy discovers she's mysteriously inherited a house on the French Riviera, she drops everything to go there, desperately seeking answers. There, she's shocked to uncover a catalogue of the artwork known to have been stolen by the Nazis during WWII, but there's something oddly familiar about one of the paintings . . .PARIS, 1939While working at the Louvre, bold and beautiful Eliane falls for talented painter Xavier. But when the Nazis occupy the city, Xavier leaves Eliane behind for the safety of England. Heartbroken, she throws herself into helping the resistance catalogue the priceless treasures the Nazis are stealing. But Eliane is playing a dangerous game, and soon realises she may have put her trust in the wrong person . . .As Remy questions everything she thought she knew about her family, in the past Eliane finds herself in real peril. Could it be that the Riviera house holds more secrets than either Remy or Eliane are ready to face?Set between war-torn Paris and the present day, The Riviera House is a breathtakingly beautiful story of love and sacrifice, from the internationally bestselling author of The Paris Secret. Perfect for fans of Rachel Hore, Lucinda Riley and Tracy Rees.

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The manuscript known as the Hungarian Angevin Legendary, made for Hungarian royal patrons, is an extraordinary relic of medieval book illumination; a luxurious codex worthy of a ruler. It was created in Bologna in the early 14th century by number of painters. Dispersed in four countries and six collections, the 142 richly gilded leaves recount the legends of fifty-eight saints at varying length. The miniatures are all clearly distinguishable and colorfully depicted. In the course of his twenty years of research the author examined almost all of the surviving leaves, including the largest sets in the Vatican Library and in the New York Morgan Library. The analysis of the codex has three levels: identifying the original criteria of saints selected, the presentation of the iconographic features of the respective legends, and the exposure of the recurrent image types on the leaves. One section of the book is an attempt to reconstruct the original appearance of the manuscript. Lastly, there is an investigation of the fate of the copies across centuries. Charts, tables, and drawings are included to help illuminate the structure and history of the codex.

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Late works from the abstract painter devoted to pictorial disruption and vivacious color work DC-based painter Sam Gilliam (1933–2022) paved a distinct course through abstraction by way of tireless formal, material and tonal experimentation. During the late 1960s, Gilliam advanced the processes and aesthetics employed by the Color Field painters while radically disrupting the Greenbergian ideal of the contained picture plane. This robust period of output yielded his canonical Beveled-edge and Drape series, which he spent decades elaborating upon. Sam Gilliam: The Last Five Years presents a suite of works created by the late artist in the final years of his life, encompassing arresting variations on his iconic tondos, drapes and beveled-edge paintings. Replete with photographs and foldouts as well as an essay by acclaimed art historian Lowery Stokes Sims, this volume offers an all-encompassing look at Gilliam’s dynamic, vibrant compositions.

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At the time of his death in 1806, the Rococo artist Jean-Honore Fragonard had not painted for two decades. Following a period of huge public success, the painter's reputation fell. Personally secretive, Fragonard created revealing images that undermined a normal sense of space and time. Satish Padiyar investigates the life and work of the last of the libertine painters of the ancien regime, a contemporary of Denis Diderot and Jean-Jacques Rousseau, and presents dramatic new perspectives on works such as The Progress of Love, painted for Madame du Barry, the infamous The Bolt and the ever-popular The Swing.

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This book examines in depth the painter Michelangelo Merisi da Caravaggio (1571–1610) and the sculptor Gian Lorenzo Bernini (1598–1680). Other painters and sculptors gathered around these two geniuses in Rome in the first decades of the 17th century. Together they formulated a new artistic language which later came to be known as Roman Baroque. In a very short period of time, Rome became an international cultural hotspot, the breeding ground of new ideas and initiatives. Artists from all over Europe came to the Eternal City to study the many remnants of Roman Antiquity and to seek the increasing patronage of the popes, cardinals, and the local nobility. More than ever before, painters and sculptors shared ambitions, personal friendships, and worked together, often on large papal projects. Caravaggio, Bernini, and their fellow artists embody this artistic fraternisation. Together, their works tell the story of the birth of this new movement in art, and the radical artistic innovation which would prove to have far reaching influence in Europe.

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Out of Earshot offers a reconfiguration of three of the nineteenth century’s most prolific painters: Winslow Homer (1836–1910), Thomas Eakins (1844–1916), and Thomas Dewing (1851–1939). Asma Naeem considers how these painters turned, in ways significant for their individual artistic ventures, to themes of sound and listening throughout their careers. She shows how the aural dimension of these artists’ pictures was an ideological product of period class, gender, cultural, racial, and technological discourses. Equally important, by looking at such materials as the artists’ papers, scientific illustrations, and technological brochures, Naeem argues that the work of these painters has complex and previously unconsidered connections to developments in sound and listening during a period when unprecedented innovation in the United States led to such inventions as the telegraph and phonograph and forged a technological narrative that continues to have force in the twenty-first century. Naeem's unusual approach to the work of these three well-known American artists offers a transformative account of artistic response during their own era and beyond.

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What better way to spark joy and wonder than through inspiring prompts and creative puzzles centered around iconic painter Bob Ross. From nature and art-themed prompts for sketching and doodling to word searching, mazes, crosswords, and more that celebrate Bob Ross's serene philosophy, this is the only kids activity book of its kind featuring the beloved painter. Follow Bob and his squirrel friend Peapod throughout the book as they get kids thinking about nature, art, and having fun on a sunny or rainy day.

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A prominent scholar of Baroque painting, Richard Spear has explored a wide range of cultural, iconographic, connoisseurial, and conservation problems in his publications, many of which arose from two of his earliest research projects: organization of an international loan-exhibition, Caravaggio and His Followers, and his dissertation on the Bolognese painter, Domenichino, which resulted in a two-volume monograph with catalogue raisonné. His directorship of the Oberlin College museum strengthened his view that the work of art is the essential fact of inquiry, regardless of the approaches he has taken to interpreting the art of Domenichino, Guido Reni, Guercino, Artemisia Gentileschi, Georges de La Tour, and Poussin, among other 17th-century artists. As Editor-in-Chief of the Art Bulletin (1985-88) he commissioned essays on "the state of research" in Western art history, whose varied methodologies and interdisciplinarity underpin his recent writings, notably The "Divine" Guido: Religion, Sex, Money and Art in the World of Guido Reni. This volume brings together more than thirty of Richard Spear's most important articles and selected chapters from his main books, organized in three sections, Caravaggio and Caravaggism, Italy and France, and Bolognese Painters. The author provides important addenda and retrospective critical reflections on each of the essays.

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A beautiful, lively tour through the portraits of one of the most celebrated painters of 17th century Europe In this sumptuously illustrated volume, eminent art historian Sir Christopher White places the portraiture of renowned Flemish painter Anthony Van Dyck (1599–1641) in context among the work of his contemporaries working in and around the courts of seventeenth-century Europe. Van Dyck’s artistic development is charted through his travels, beginning in his native Antwerp, then to England, Italy, Brussels, the Hague, and back again. Combining historical insights with a discerning appreciation of the work, White brings Van Dyck’s paintings to life, showing how the virtuoso not only admired his artistic predecessors and rivals but refashioned what he learned from them into new kind of portraiture. Beautifully produced and a pleasure to read, this book is an important contribution to the literature on a celebrated painter.Distributed for Modern Art Press

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This book is about Welsh pictures painted between the eighteenth and the twentieth centuries, and why they matter today. It mainly concerns how pictures are understood by the people who use them - patrons, museum curators, and the general public - rather than by the painters who paint them. It consists of a series of chapters on different aspects of painting, which are unified by a common theme. Individual chapters discuss an eighteenth-century painting, a nineteenth-century genre, a twentieth-century painter, how pictures are valued by museums and the art market, and how, since the 1980s, the Welsh art establishment has fought a reactionary battle against the New Art History movement. The chapters are unified by their concern with the question of how a tradition of art is created, and what effect a tradition has on how a nation sees itself - and is seen by others. The pictures and painters are discussed in the context of contemporary literature, and the social and political circumstances of their period. Comparisons are made with the experience of other cultures, notably the United States and Ireland.

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This lavishly-illustrated book re-assesses the work of the nineteenth-century botanical painter Marianne North (1830-1890) and the purpose-built gallery that houses her paintings at the Royal Botanical Gardens, Kew. Lynne Howarth-Gladston, a trained botanical illustrator and scholar, re-examines North's working methods, which extend beyond those of conventional botanical illustration, and discusses North's painterly techniques, in addition to her use of photography as a possible aid to her extraordinarily prolific output. Marianne North: A Victorian Painter for the 21st Century situates North both as an unconventional botanical painter and as a technically progressive artist who melded differing stylistic approaches, techniques and media from both scientific and aesthetic perspectives. The study presents North as a progressive, multi-faceted individual who was rooted in the complex circumstances of her own time. Yet it also reveals how her legacy continues to resonate with the concerns

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Challenging prevailing theories regarding the birth of the subject, Catherine M. Soussloff argues that the modern subject did not emerge from psychoanalysis or existential philosophy but rather in the theory and practice of portraiture in early-twentieth-century Vienna. Soussloff traces the development in Vienna of an ethics of representation that emphasized subjects as socially and historically constructed selves who could only be understood—and understand themselves—in relation to others, including the portrait painters and the viewers. In this beautifully illustrated book, she demonstrates both how portrait painters began to focus on the interior lives of their subjects and how the discipline of art history developed around the genre of portraiture.Soussloff combines a historically grounded examination of art and art historical thinking in Vienna with subsequent theories of portraiture and a careful historiography of philosophical and psychoanalytic approaches to human consciousness from Hegel to Sartre and from Freud to Lacan. She chronicles the emergence of a social theory of art among the art historians of the Vienna School, demonstrates how the Expressionist painter Oskar Kokoschka depicted the Jewish subject, and explores the development of pictorialist photography. Reflecting on the implications of the visualized, modern subject for textual and linguistic analyses of subjectivity, Soussloff concludes that the Viennese art historians, photographers, and painters will henceforth have to be recognized as precursors to such better-known theorists of the subject as Sartre, Foucault, and Lacan.

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Georgia O'Keeffe's bold and colorful depictions of flowers, New York skylines, and desert landscapes are easily recognizable to most adults and endlessly intriguing to young readers. This introduction to the life and work of the world renowned painter is filled with details of her unique life: her choice to live alone in the desert, her fascination with the treasures she found there, and her dedication to her work. O'Keeffe's signature paintings are intertwined with photographs of the artist at work creating a seamless narrative that links the painter's captivating personal history to her iconic art.

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From the bestselling author of the acclaimed novel AMERICAN GODS and the prize-winning THE OCEAN AT THE END OF THE LANE.In May 2012, Neil Gaiman delivered the commencement address at Philadelphia's University of the Arts, in which he shared his thoughts about creativity, bravery, and strength. He encouraged the fledgling painters, musicians, writers, and dreamers to break rules and think outside the box. Most of all, he urged them to make good art.The book MAKE GOOD ART, designed by renowned graphic artist Chip Kidd, contains the full text of Gaiman's inspiring speech.Praise for Neil Gaiman:'A very fine and imaginative writer' The Sunday Times'Exhilarating and terrifying' Independent'Urbane and sophisticated' Time Out'A jaw-droppingly good, scary epic positively drenched in metaphors and symbols... As Gaiman is to literature, so Antoni Gaudi was to architecture' Midweek'Neil Gaiman is a very good writer indeed' Daily Telegraph

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In what ways did the Jesuits deploy the Baroque visual language of the time to persuade the public of their vision on humankind, religion and society? In this beautifully illustrated book, which includes numerous artworks by Peter Paul Rubens and others, diverse authors rise to the challenge of finding answers to this complex question. The setting is Antwerp in the 17th century. At that time, the city was the Jesuit Order’s headquarters in the Netherlands and a bastion against the Calvinism in the Northern Netherlands Republic. The fine arts were flourishing there like never before. Painters such as Peter Paul Rubens and Anthony van Dyck produced works for the Jesuits and participated in the Catholic community life organised by the order, with large groups of fellow believers. This publication takes a close look at the Baroque Saint Ignatius Church, now the Saint Charles Borromeo Church on Hendrik Conscienceplein, for which Rubens created magnificent ceiling paintings. The authors also show how more modest forms of art, such as religious folk prints, illustrated lives of the saints, schoolbooks, emblemata books and prayer books, were used to kindle the enthusiasm of as many believers as possible, both in their own country and in distant overseas territories. Baroque Influencers – Jesuits, Rubens and the Arts of Persuasion presents written contributions from researchers affiliated with the Universities of Antwerp, Louvain and Stuttgart and various heritage institutes.

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This “painter’s painter” constantly explored the variety of American modernist art, inspired by many locations and artistic styles B. J. O. Nordfeldt was described by a Minneapolis art critic in 1935 as a “painter’s painter,” and his prolific career evinced constant experimentation with subjects, genres, and media of modernist art. The Swedish emigrant lived throughout the world—from his early training and teaching in Chicago to the dynamic art scenes of Paris and New York to popular American art colonies in Provincetown, Santa Fe, and Lambertville, New Jersey. These various locales encouraged him to engage with new styles and techniques in oil paintings, watercolors, prints, woodcuts, and etchings. His landscapes, portraits, and still lifes showed similarities with the work of Matisse and Cézanne, as well as elements of cubism, and his wood carvings and prints revealed influences from Paul Gauguin and Japanese traditions.In the 1930s Nordfeldt taught at the Minneapolis School of Art (now the Minneapolis College of Art and Design). In 2021 the Weisman Art Museum at the University of Minnesota will host a major exhibition of Nordfeldt’s diverse art. A comprehensive review of this “independent regionalist” and intensely innovative artist, B. J. O. Nordfeldt: American Internationalist also presents the impressive breadth and creative exploration of twentieth-century American modernist art.Contributors: Annika Johnson, Paul Kruty, and Janet Whitmore.

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The stark beauty of the Southwest mountains and deserts have attracted numerous artists working in many media. Painters, sculptors, potters, jewelers, and photographers study and work in this region, which is steeped in rich heritage and natural beauty. This eye-catching book contains a thoughtfully written foreword by Julie Sasse, Chief Curator and Curator of Modern and Contemporary Art at the Tucson Museum of Art, and over 600 compelling photos of the contemporary artwork from Arizona, New Mexico, Oklahoma, and Texas. The materials used are varied, ranging from stoneware to steel and everything in between. The subject matter includes the natural landscape, wildlife, and human life, historical scenes, and whimsical imagery, in forms both realistic and abstract. Each artist provides valuable insight into their work. The author states that the book's intent is to take a fresh look at the magical and insightful ways the area's artists have interpreted life in this region. That it does.

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