Search results for ""Author Painters"

This beautifully illustrated book, with over 300 colour reproductions, showcases many of the greatest masterpieces of 19th century Orientalist art. During this period, colonization, and a revolution in means of transportation allowed artists to visit countries from North Africa to the Middle East that had previously been relatively inaccessible. The patterns, colours, and light of this region influenced artists such as Delacroix, Decamps, Berchère, Bridgman, Ziem, Gérôme, Corrodi, Dinet, Matisse, Majorelle and many others. Upon returning to Europe, these artists captured the atmosphere of these distant and exotic lands in painted scenes of daily life and wrote memoirs of their travels. Some returned to settle there, including painters like Dinet, who spent a large part of his life in Algeria, and Majorelle, known as the “painter of Marrakech.” This book offers insight into the Orientalist aesthetic that inspired the movement, and lays the groundwork for a deeper understanding of these vibrant works of art. Text in English and French.

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At an otherwise forgettable party in Los Angeles, a queer Korean American painter spots a woman who instantly controls the room: gorgeous and distant and utterly white, the centre of everyone's attention. Haunted into adulthood by her Korean father's abandonment of his family, as well as the spectre of her beguiling, abusive white mother, the painter finds herself caught in a perfect trap. She wants Hanne, or wants to be her, or to sully her, or destroy her, or consume her, or some confusion of all the above. Since she's an artist, she will use art to get closer to Hanne, beginning a series of paintings with her new muse as model. As for Hanne, what does she want? Her whiteness seems sometimes as cruel as a new sheet of paper. When the paintings of Hanne become a hit, resulting in the artist's first sold-out show, she resolves to bring her new muse with her to Berlin, to continue their work, and her seduction. But, just when the painter is on the verge of her long sought-after breakthrough, a petition started by a Black performance artist begins making the rounds in the art community, calling for the boycott of major museums and art galleries for their imperialist and racist practices. Torn between her desire to support the petition, to be a success, and to possess Hanne, the painter and her reality become more unstable and disorienting, unwilling to cut loose any one of her warring ambitions, yet unable to accommodate them all. Is it any wonder so many artists self-destruct so spectacularly? Is it perhaps just a bit exciting to think she could too? Your Love Is Not Good stuffs queer explosive into the cracks between identity and aspiration, between desire and art, and revels in the raining debris.

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"Forget the rural idylls. This sublime show recasts John Constable as the godfather of the Avant Garde, producing explosive, nightmarish paintings of a vanishing world." – Jonathan Jones, Guardian One of Britain’s greatest landscape painters, John Constable (1776–1837) was brought up in Dedham Vale, the valley of the River Stour in Suffolk. The eldest son of a wealthy mill owner, he entered the Royal Academy Schools in 1800 at the age of 24, and thereafter committed himself to painting nature out of doors. His ‘six-footers’, such as The Hay Wain and The Leaping Horse, were designed to promote landscape as a subject and to stand out in the Academy’s Annual Exhibition. Despite this, he sold few paintings in his lifetime and was elected a Royal Academician late in his career. With texts by leading authorities on the artist, this handsome book looks at the freedom of Constable’s late works and records his enormous contribution to the English landscape tradition.

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This book charts a geography of the art market and the art museum in the early 20th century through the legacy of one influential dealer. Born in Ireland, Hugh Lane (1875–1915) established himself in London in the 1890s. With little formal education or training, he orchestrated high-profile sales of paintings by the likes of Holbein, Titian, and Velázquez and described his life’s work as “selling pictures by old painters to buy pictures by living painters.” Lane assembled a collection of modern art for the Johannesburg Art Gallery, amassed a collection of Dutch and Flemish paintings for Cape Town, and gave his own collection of modern art to the National Gallery in London. He also donated paintings to the National Gallery of Ireland, where he was named director in 1914. Each chapter in this revelatory study focuses on an important city in Lane’s practice as a dealer to understand the interrelationship of event and place.Published in association with the Paul Mellon Centre for Studies in British Art

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In 1922, Léon Bonnat bequeathed to the Louvre a wonderful album of almost forty drawings by one of the most famous painters of the Florentine Renaissance: Baccio della Porta, known as Fra Bartolommeo (1469-1517). The collection traces the career of the artist, who trained in Florence around 1485 with Cosimo Rosselli, but above all in the shadow of the most brilliant workshop of the period, that of Andrea del Verrocchio. Sensitive to the prodigious innovations coming out of this extraordinary environment, which had produced such geniuses as Botticelli, Ghirlandaio and Leonardo da Vinci in the previous decade, Baccio, as he was then known, studied above all with Lorenzo di Credi, to whom Verrocchio had entrusted the running of the workshop when he left Florence for Venice. Baccio also closely followed all the great Florentine painters of the last decade of the fifteenth century, in particular the works of foreigners who had been in Florence for several years, especially Pietro Perugin

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An intimate testament to the power of friendship between two creative forces“I exaggerate, I sometimes make changes to the subject, but I still don’t invent the whole of painting; on the contrary, I find it ready-made—but to be untangled—in the real world.” —Vincent van Gogh to Émile Bernard The painter and poet Émile Bernard’s firsthand account of the beloved painter Vincent van Gogh’s life offers deep perspective into the Dutch artist’s process, artistic preoccupations, and difficulties. In the 1890s, Bernard penned prefaces for collections of letters from Van Gogh, some of which were published while others were not. In 1911, Bernard gathered together these prefaces for a new publication, to which he also contributed a new introductory text, of the artist’s letters and sketches which he enclosed in his correspondence. This volume comprises these prefaces, published in English for the first t

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In a painting career spanning half a century, Helen Clapcott (b.1952) has remained consistent in both her choice of subject and her disregard of the art establishment's playbook. In this, the first major monograph on the artist, Andrew Lambirth charts Clapcott's unconventional path and presents a painter with an uncompromising vision. Clapcott is a painter pre-occupied with the destruction and regeneration of the landscape of her native North-West England. Depictions of the mutation and evolution of what was once Stockport's industrial valley, now a commuter corridor, are expressions of our developing environments and the growth of vernacular townscapes. Based on numerous conversations with the artist, and an in-depth understanding of Clapcott's oeuvre, Andrew Lambirth's text provides a lively account of the artist's background, training and working methods, including her mastery of tempera. Above all, this is a study of an artist's very personal relationship with the evolving la

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This definitive biography and catalog raisonne of Walter Launt Palmer discusses his personal and creative life in great detail. The personal history of this twentieth century painter has been derived from never before used primary sources. Information from Palmer's diaries, letters, and personal scrapbooks has been correlated with insight and enthusiasm to present a very human picture of the artist, who was a contemporary of John Singer Sargent and William Merrit Chase. A student of Frederick Church, and a friend of Teddy Roosevelt and Henry Flagler, Palmer has often been compared to Corot. Yet his style is uniquely his own. The text and catalog raisonne combine to cover the entire scope of Palmer's oeuvre-tracing his experiments with style from academicism to impressionism. Although Palmer was hailed as the "painter of the American winter", his other works were noteworthy as well.

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A study of the Socialist Realist aesthetic focusing on the artist Aleksandr Deineka. Dislodging the avant-garde from its central position in the narrative of Soviet art, Collective Body presents painter Aleksandr Deineka's haptic and corporeal version of Socialist Realist figuration as an alternate experimental aesthetic that, at its best, activates and organizes affective forces for collective ends. Christina Kiaer traces Deineka's path from his avant-garde origins as the inventor of the proletarian body in illustrations for mass magazines after the revolution through his success as a state-sponsored painter of monumental, lyrical canvases during the Terror and beyond. In so doing, she demonstrates that Socialist Realism is best understood not as a totalitarian style but as a fiercely collective art system that organized art outside the market and formed part of the legacy of the revolutionary modernisms of the 1920s. Collective Body accounts for the way the art of the October Rev

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The British painter Francis Bacon (1909–1992) is famed for his idiosyncratic mode of depicting the human figure. Thirty years after his death, his working methods remain underexplored. New research on the Francis Bacon Studio Archive at Hugh Lane Gallery, Dublin, sheds light on the genesis of his works, namely the photographic source material he collected in his studios, on which he consistently based his paintings. The book brings together the artist’s pictorial springboards for the first time, delineating and interpreting recurring patterns and methods in his preparatory work and adoption of photographic material. In addition, it correctly locates ‘chance’ as a driving force in Bacon’s working method and qualifies the significance of photography for the painter. German Photo Book Award 23/24, Gold in the category Text Volume Photo Theory

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Discover how Frida Kahlo became one of the most recognizable artists in the world in this powerful graphic novel written by award-winning author Terry Blas and illustrated by Ignatz Award-winning artist Ashanti Fortson.Presenting Who HQ Graphic Novels: an exciting addition to the #1 New York Times best-selling Who Was? series!Explore Mexican painter Frida Kahlo's rise to stardom as she travels from Mexico to New York City for her first-ever solo exhibition and sets the art world aflame. A story of independence, determination, and finding beauty within one's scars, this graphic novel invites readers to immerse themselves into the incredible power of one of the greatest artists of all time—brought to life by gripping narrative and vivid full-color illustrations that jump off the page.

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A unique seventeenth-century account of painting as it was practiced, taught, and discussed during a period of extraordinary artistic and intellectual ferment in the Netherlands. The only comprehensive work on painting written by a Dutch artist in the later seventeenth century, Samuel van Hoogstraten's Inleyding tot de hooge schoole der schilderkonst, anders de zichtbaere werelt (Introduction to the Academy of Painting; or, The Visible World, 1678) has long served as a source of valuable insights on a range of topics, from firsthand reports of training in Rembrandt's studio to contemporary engagements with perspective, optics, experimental philosophy, the economics of art, and more. Van Hoogstraten's magnum opus--here available in an English print edition for the first time--brings textual sources into dialogue with the author's own experience garnered during a multifaceted career. Presenting novel twists on traditional topics, he makes a distinctive case for the status of painting as a universal discipline basic to all the liberal arts. Van Hoogstraten's arguments for the authority of what painters know about nature and art speak to contemporary notions of expertise and to the unsettled relations between theory and practice, making this book a valuable document of the intertwined histories of art and knowledge in the seventeenth century.

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Among the women artists who have transcended art history, none had a meteoric rise quite like Mexican painter Frida Kahlo (1907–1954). Her unmistakable face, depicted in over fifty extraordinary self-portraits, has been admired by generations; along with hundreds of photographs taken by notable artists such as Manuel and Lola Álvarez Bravo, Nickolas Muray, and Martin Munkácsi, they made Frida Kahlo an icon of 20th century art.After an accident in her early youth, Frida became a painter. Her marriage to Diego Rivera in 1929 placed her at the forefront of an artistic scene not only in the cultural Renaissance of Mexico, but also in the United States. Her work garnered praise from the poet André Breton, who added the Mexican painter to the ranks of international surrealism and exhibited her work in Paris in 1939 to the admiration of Picasso, Kandinsky, and Duchamp.We access the intimacy of Frida’s affections and passions through a selection of drawings, pages from her personal diary, and an extensive illustrated biography featuring photos of Frida, Diego, and the Casa Azul, Frida’s home and the center of her universe.This book allows readers to admire Frida Kahlo’s paintings like never before, including unprecedented detail shots and famous photographs. It presents pieces in private collections and reproduces works that were previously lost or have not been exhibited for more than 80 years.

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Herkomer: A Victorian artist is a study of the life and work of the Victorian portraitist and social-realist painter, a self-made polymath whose boundless enthusiasm led him to take an early and important interest in photography, film-making, stagecraft and motoring.

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Sanford Schwartz explores the trailblazing career of 19th-century Quaker folk artist Edward Hicks Edward Hicks (1780–1849) was the creator of one of the most familiar scenes in American art: the Peaceable Kingdom, which depicts a realm where wild and flesh-eating animals come together with defenseless creatures, and will not harm them. Because Hicks was a Quaker minister, his many renderings of the scene have been taken as largely a self-taught artist’s professions of Quaker pacifism. But here, author and curator Sanford Schwartz, in a wide-ranging study that for the first time looks at Hicks as an imaginative artist as well as a minister, shows how the Peaceable Kingdom paintings—there are some 60 examples, made over 30 years—tell a richer story. In Schwartz’s hands, Hicks emerges as a person and a painter who hardly seems to be of the past. We spend time with this passionate, vehement figure who was also empathic and ardently connected to his wide community. And we see how the Kingdom series, though labeled folk art, share much with the work of mainstream artists of the time and even with work we now call outsider art.

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In the 1950s, American painter Philip Pearlstein completed his MA thesis, ‘The Paintings of Francis Picabia 1908–1930’. When his research coincided with Picabia’s death in 1953, Pearlstein became the authority on the work of Picabia and his influence in European modernism that set the stage for modern art in America. Of course, it is impossible to discuss Picabia without also considering the work of Marcel Duchamp. At different intervals in his career, Pearlstein wrote three subsequent essays on Picabia for major arts journals: ‘The Symbolic Language of Francis Picabia’ for Arts magazine, 1956; ‘Hello & Goodbye, Francis Picabia’ for Art News, 1970, and ‘When the Dada Daddies Got Real; Or, How I Turned Picabia Inside Out’ for Brooklyn Rail, 2017. Pearlstein’s articles present a fascinating comparison between Picabia, Duchamp and Pearlstein himself. Picabia Inside Out brings together Pearlstein’s articles in full, published in an illustrated paperback book with a facsimile of the 1955 MA thesis presented as an historical document showing all the nuances of his typewriter. A foreword by Robert Storr highlights the broader art historical context and Pearlstein’s importance as a precursor to what became known as postmodernism.

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The Norwegian painter Bjørn Ransve (b. 1944) is one of the best-known contemporary Scandinavian artists. Very few painters indeed express themselves so brilliantly in two dimensions, thematically, technically and formally. The third volume of the catalogue raisonné is devoted to Ransve 's graphic oeuvre: in over 1,300 illustrations it documents prints and multiples, created from the 1960s to 2013. This book is not only an indispensable standard reference for all scholars, art dealers and collectors, it also provides insights in the complex interrelations between prints, paintings and drawings in Ransve 's artistic work. The accompanying text by Lars Eisenlöffel investigates the changing and recurrent groups of motifs and places the works in their art historical context. Since each page of the book has been designed individually in close collaboration between Ransve and the graphic artist and book designer Silke Nalbach, Bjørn Ransve 's development as an artist can be traced in a way that is particularly illuminating. Text in Norwegian.

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Snow scenes are a popular subject of painters all year round. In this inspiring and accessible guide, best-selling author and popular tutor Terry Harrison shares a wealth of tips and techniques for painting snow in watercolour. Suitable for artists of all abilities, Terry shows you how to capture the beauty of snow-covered landscapes using easy techniques. The book begins with guidance on colour mixes and brushes for achieving different effects, and moves on to step-by-step demonstrations of painting snow-laden trees, frozen streams, wintry skies, falling snow, and the warm glow of a low winter sun. He provides valuable tips on using photographs for reference, and turning a summer landscape into a snow-covered one. There's also a section on how to create a traditional Christmas scene, and how to turn it into a Christmas card. With numerous examples of Terry's beautiful artwork, this book is a truly indispensable guide for anyone wishing to paint snow scenes in watercolour.

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The Glasgow Boys revolutionized Scottish painting from 1880 until around 1895, although their influence lasted until just before World War 1. Painters such as Sir John Lavery, Sir James Guthrie, George Henry, Edward Atkinson Hornel, Joseph Crawhall, Edward Arthur Walton, and William Kennedy formed the main group of painters, although there were 18 in total. They were a loose group, with various friendships and painting groups among them. Influenced by the Impressionists and post-Impressionists, they were also inspired by Japanese and Dutch art. Their style went against Victorian sentimentality and they brought the look of some forms of Impressionism and post-Impressionism to Scotland, with fresh views of the Scottish countryside and typical scenes from Scottish life. They painted outdoors, and captured a way of life that changed Scottish painting. Many settled after their early rebellious phase into quieter styles, or moved away as the art scene evolved into the Scottish Colourists' phase. As Glasgow became the fourth largest city in Europe, with a massive explosion in its population, money from wealthy industrialists, publishers and merchants became available to support the art commissioned from The Glasgow Boys. New walls needed art, as Glasgow celebrated its prosperity in a new phase of building - the city centre saw a new Art School, and City Chambers, and industrialists built homes in the country. The author's understanding of the art world and the importance of financial support and also painting techniques makes this book a unique contribution to books written on The Glasgow Boys. The Glasgow Boys are the subject of an exhibition at Kelvingrove Art Gallery in spring/summer 2010, and then at the Royal Academy, London until January 2011.

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In a combination of discourse and lyric, paragraph and couplet, Bay Area poet and novelist Laura Moriarty explicates the poetics of a group of writers that resists categorization. This book-length essay uses the work of the California Tonalist painters to articulate new understanding and new possibilities for poetic practice.

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Illuminator, painter, scribe, clerk, teacher, doctor of theology, restorer and binder, Mesrop was one of the greatest Armenian artists of his and following generations. He was prolific, working for at least forty-two years in Sos (New Julfa) from 1608 to 1651. This book will be the first serious study of the 46 of his manuscripts that have survived. The focus of the book, however, is The Four Gospels, one of the few manuscripts painted entirely by Mesrop’s hand and one of the most extensively illuminated in his oeuvre. It includes an extraordinary series of illuminations of both Old and New Testament scenes, with no less than twenty-three full page miniatures, and seventeen smaller miniatures.The author will shed light not only on Mesrop’s career but on those of Armenian miniaturists of the sixteenth and seventeenth centuries. Through a thorough analysis of Mesrop’s works Arakelyan is able to closely study the working methods of artists working in the scriptoria of Vaspurakan, Mokk' and New Julfa. He demonstrates the dramatic and exciting way in which these artists deliberately maintained a style of illumination rooted in Early Christianity. The monograph will have tremendous significance not only for Armenologists but also for Byzantinists and all historians of Christian art.

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An exploration of British male fashion of the late eighteenth century “A brilliant account of a controversial moment in men’s self-fashioning.”—Valerie Steele, director and chief curator, Museum at the Fashion Institute of Technology The term “macaroni” was once as familiar a label as “punk” or “hipster” is today. In this handsomely illustrated book devoted to notable eighteenth-century British male fashion, award-winning author and fashion historian Peter McNeil brings together dress, biography, and historical events with the broader visual and material culture of the late eighteenth century. For thirty years, “macaroni” was a highly topical word, yielding a complex set of social, sexual, and cultural associations. Pretty Gentlemen is grounded in surviving dress, archival documents, and art spanning hierarchies and genres, from scurrilous caricature to respectful portrait painting. Celebrities hailed and mocked as macaroni include politician Charles James Fox, painter Richard Cosway, freed slave Julius “Soubise,” and criminal parson Reverend Dodd. The style also rapidly spread to neighboring countries in cross-cultural exchange, while Horace Walpole, George III, and Queen Charlotte were active critics and observers of these foppish men.

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This book of stories and recipes introduces two eccentric families that would never have eaten together, let alone exchanged recipes, but for the improbable marriage of the author’s parents: a nuevomexicano from Taos and a painter who came from Texas to New Mexico to study art. Recalling the good and the terrible cooks in her family, Anita Rodríguez also shares the complications of navigating a safe path among contradictory cultural perspectives. She takes us from the mountain villages of New Mexico in the 1940s to sipping mint juleps on the porch of a mansion in the South, and also on a prolonged pilgrimage to Mexico and back again to New Mexico. Accompanied by Rodríguez’s vibrant paintings—including scenes of people eating on fiesta nights and plastering an adobe church—Coyota in the Kitchen shows how food reflects the complicated family histories that shape our lives.

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‘Warm-hearted fiction at its best’ - SunA seaside town helps one young woman rediscover hope and healing in a brand-new novel from bestselling author Debbie Macomber.Rocked by tragedy, Annie Marlow returns to the one place she knows she can heal: the cottage by the sea where she spent many happy childhood holidays with her family.There, Annie meets Keaton, a local painter with a big heart; Mellie, the reclusive landlord Annie is determined to befriend; and Britt, a teenager with a terrible secret. With them her broken spirit starts to heal.Then events threaten Annie’s new idyll. And when the opportunity of a lifetime lands in her lap, she is torn between the excitement of a new journey and the pull of the haven – and the man – she has come to call home. Will she be able to make her new-found happiness last?

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When Thomas's wish is magically granted, he can fly! But it's not a soaraway success . . . A brilliant story from award-winning author Sally Gardner, in her MAGICAL CHILDREN series.One day a fairy turns up at Thomas Top's house to grant him a birthday wish. Thomas wishes he could fly and soon goes from being just an ordinary boy whom no one notices to being the most popular boy in the school. But his flying gets him suspended from school, and that makes his dad so cross and his mum miserable. Then the fairy turns up again and, with help from her and Thomas's new friend Mr Vinnie, a retired painter and decorator who has been flying since he was Thomas's age, everything changes.An enchanting story about growing in confidence and using your gifts.

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A novel about a family even more dysfunctional than the one you grew up in. Will’s Surreal Period is a richly satisfying tale—at times laugh-out-loud hilarious and at times deeply moving—that features a rollickingly dysfunctional family, a seemingly endless array of succulent foodstuffs, and a brain tumor that transforms a mediocre painter into a virtuoso. Now toss in a smidgen of BDSM and a few beguiling tidbits exploring brain chemistry and human evolution, and you have a story that will hook you fast and captivate you till the end. “Will’s Surreal Period proves why works of fiction are high art. . . . Robert Steven Goldstein deftly converts our raw human foibles into emotive entertainment and, as he does, reminds us, sometimes painfully, sometimes hilariously, who we are.” —MICHAEL J. COFFINO, award-winning author of Truth Is in the House

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When handsome young Dorian Gray sees a painter's stunning portrait of him, he is transfixed by its reflection of his own beauty. He is also troubled by the knowledge that the image in the painting will remain forever youthful and handsome while he himself will grow older and less desirable.

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The grande dame of Norwegian Painting – teacher of Nikolai Astrup and Harald Sohlberg. Harriet Backer (1845–1932) was one of Norway’s most prominent painters of the 19th century and a pioneer among women artists in Europe. In 1880, she debuted in the Paris Salon and lived in Munich and Paris. Back in Oslo, she established a successful school for painters. This catalogue presents Backer to an international audience, thus giving her back the place she deserves in art history. Harriet Backer’s richly coloured interior scenes, sensitive portrayals of simple rural life, her portraits and still lifes are characterised by plein-air painting, realism and Impressionism. Her works stand out, not only in Norway, but also in the European context, when it comes to originality, scope and quality. The publication highlights her artistic achievements and places her oeuvre in the European context.

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The grande dame of Norwegian Painting – teacher of Nikolai Astrup and Harald Sohlberg. Harriet Backer (1845–1932) was one of Norway’s most prominent painters of the 19th century and a pioneer among women artists in Europe. In 1880, she debuted in the Paris Salon and lived in Munich and Paris. Back in Oslo, she established a successful school for painters. This catalogue presents Backer to an international audience, thus giving her back the place she deserves in art history. Harriet Backer’s richly coloured interior scenes, sensitive portrayals of simple rural life, her portraits and still lifes are characterised by plein-air painting, realism and Impressionism. Her works stand out, not only in Norway, but also in the European context, when it comes to originality, scope and quality. The publication highlights her artistic achievements and places her oeuvre in the European context.

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Anyone interested in traditional Chinese painting will find these four volumes useful for self-study. Each of the four volumes teach amateur brush painters to execute the intricacies of Chinese brush painting. Beginning with the separate parts and then progressing to the composition, these volumes feature exquisite illustrations that will enable the learner to pick up the basics as if in a classroom setting.

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The most famous work of Japanese literature and the world''s first novel—written a thousand years ago and one of the enduring classics of world literature.Written centuries before the time of Shakespeare and even Chaucer, The Tale of Genji marks the birth of the novel—and after more than a millennium, this seminal work continues to enchant readers throughout the world. Lady Murasaki Shikibu and her tale''s hero, Prince Genji, have had an unmatched influence on Japanese culture. Prince Genji manifests what was to become an image of the ideal Heian era courtier; gentle and passionate. Genji is also a master poet, dancer, musician and painter. The Tale of Genji follows Prince Genji through his many loves and varied passions. This book has influenced not only generations of courtiers and samurai of the distant past, but artists and painters even in modern times—episodes in the tale have been incorporated into the design of kimonos and handicra

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Celebrates one of the greatest and most beloved painters of the Early Renaissance with luxurious, large-format images Sandro Botticelli, one of the greatest painters of the Italian High Renaissance, enjoyed the patronage of the greatest Florentine families. He spent most of his career in the humanist circle of the Medici, for whom he painted such masterpieces as Primavera and Venus and Mars, works that combine a decorative use of line with Classical elements in harmonious and supple compositions. This sumptuously produced volume features an updated, full-colour selection of the artist's works made for the original 1937 edition by Ludwig Goldscheider, co-founder of Phaidon Press. The original essay by Lionello Venturi is accompanied by a new introduction from Renaissance specialist Alessandro Cecchi, putting Botticelli and his school into a contemporary context. Elegant design, fine papers and tipped-on image plates make this a true collector's edition.

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Throughout the last 30 years, Los Angeles–based painter James Hayward’s (born 1943) practice has focused exclusively on the monochrome, developing from flatter works into thicker, impasto abstractions. This monograph compiles Hayward’s most recent monochromatic paintings, exploring their sculptural peaks and fissures.

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In premodern China, elite painters used imagery not to mirror the world around them, but to evoke unfathomable experience. Considering their art alongside the philosophical traditions that inform it, "The Great Image Has No Form" explores the "nonobject" - a notion exemplified by paintings that do not seek to represent observable surroundings. Francois Jullien argues that this nonobjectifying approach stems from the painters' deeply held belief in a continuum of existence, in which art is not distinct from reality. Contrasting this perspective with the Western notion of art as separate from the world it represents, Jullien investigates the theoretical conditions that allow us to apprehend, isolate, and abstract objects. His comparative method lays bare the assumptions of Chinese and European thought, revitalizing the questions of what painting is, where it comes from, and what it does. Provocative and intellectually vigorous, this sweeping inquiry introduces new ways of thinking about the relationship of art to the ideas in which it is rooted.

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From Mondrian's bold geometric forms to Kandinsky's use of symbols to Pollock's "dripped paintings," the richly diverse movement of abstract painting challenges anyone trying to make sense of either individual works or the phenomenon as a whole. Applying his insights as an art historian and a painter, John Golding offers a unique approach to understanding the evolution of abstractionism by looking at the personal artistic development of seven of its greatest practitioners. He re-creates the journey undertaken by each painter in his move from representational art to the abstract--a journey that in most cases began with cubism but led variously to symbolism, futurism, surrealism, theosophy, anthropology, Jungian analysis, and beyond. For each artist, spiritual quest and artistic experimentation became inseparable. And despite their different techniques and philosophies, these artists shared one goal: to break a path to a new, ultimate pictorial truth. The book first explores the works and concerns of three pioneering European abstract painters--Mondrian, Malevich, Kandinsky--and then those of their American successors--Pollock, Newman, Rothko, and Still. Golding shows how each painter sought to see the world and communicate his vision in the purest or most expressive form possible. For example, Mondrian found his way into abstraction through a spiritual response to the landscape of his native Holland, Malevich through his apprehension of the human body, Kandinsky through a blend of religious mysticism and symbolism. Line and color became the focus for many of their creative endeavors. In the 1940s and 50s, the Americans raised the level of pictorial innovation, beginning most notably with Pollock and his Jung-inspired concept of action.p>Golding makes a powerful case that at its best and most profound, abstract painting is heavily imbued with meaning and content. Through a blend of biography, art analysis, and cultural history, Paths to the Absolute offers remarkable insights into how a sense of purpose is achieved in painting, and how abstractionism engaged with the intellectual currents of its time.

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In this life of painter John Singleton Copley, Jane Kamensky untangles the web of principles and interests that shaped the age of America’s revolution. Copley’s talent earned him the patronage of Boston’s leaders but he did not share their politics and painting portraits failed to satisfy his lofty artistic goals. A British subject who lamented America’s provincialism, Copley looked longingly across the Atlantic. When resistance escalated into war, he was in London. A painter of America’s revolution as Britain’s American War, the magisterial canvases he created made him one of the towering figures of the British art scene. Kamensky brings Copley’s world alive and explores the fraught relationships between liberty and slavery, family duty and personal ambition, legacy and posterity—tensions that characterised the era of the American Revolution and that beset us still.

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The untold story of a major Australian artist. Regarded in his day as an important Australian impressionist painter, A.H. Fullwood (1863–1930) was also the most widely viewed British–Australian artist of the Heidelberg era. Fullwood’s illustrations for the popular Picturesque Atlas of Australasia and the Bulletin, as well as leading Australian and English newspapers, helped shape how settler—colonial Australia was seen both here and around the world. Meanwhile his paintings were as celebrated as those of his good friends Tom Roberts and Arthur Streeton. So why is Fullwood so little known today?In this pioneering, richly illustrated biography, Gary Werskey brings Fullwood and his extraordinary career as an illustrator, painter, and war artist back to life, while casting a new light on the most fabled era in the history of Australian art.

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This first-ever biography of Thomas Crotty weaves insightful commentary on his painting with the story of his life as a painter and an outspoken commentator in his own right on modern theories of art. Often described as a romantic-realist, Crotty is more comfortable with the word naturalist when an attempt is made to categorize him.

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Millions of paintings were produced in the Dutch Republic. The works that we know and see in museums today constitute only the tip of the iceberg — the top-quality part. But what else was painted? This book explores the low-quality end of the seventeenth-century art market and outlines the significance of that production in the genre of history paintings, which in traditional art historical studies, is usually linked to high prices, famous painters, and elite buyers. Angela Jager analyses the producers, suppliers, and consumers active in this segment to gain insight into this enormous market for cheap history paintings. What did the supply consist of in terms of quantity, quality, price, and subject? Who produced all these works and which production methods did these painters employ? Who distributed these paintings, to whom, and which strategies were used to market them? Who bought these paintings, and why?

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With motion and machines as its most treasured tropes, Futurism was founded in 1909 by Filippo Tommaso Marinetti, along with painters Giacomo Balla, Umberto Boccioni, Carlo Carrà, and Gino Severini. With affiliate painters, sculptors, designers, architects, and writers, the group sought to subsume the dusty establishment into a new age of sleek, strong, purified modernity. Futurism’s place in art history is as ambivalent as it is important. The movement pioneered revolutionary methods to convey movement, light, and speed, but sparks controversy in its glorification of war and fascist politics. Their frenzied, almost furious, canvases, are as remarkable for their macho aggression as they are for their radical experimentation with brushstrokes, texture, and color in the quest to record an object moving through space. With key examples from the Futurists’ prolific output and leading practitioners, this book introduces the movement that spat vitriol at all -isms of the past and, in so doing, created an -ism of their own.

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This portfolio-style monograph by New York–based painter Marina Adams draws from Bernini’s sculpture “The Ecstasy of Saint Teresa” and Picasso’s study of the Weeping Woman for “Guernica.” The juxtaposing of these images--one of ecstasy, the other of agony--inspired Adams' diptych spreads of vibrating forms and vivid color.

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This scholarly publication presents the work of the designer, painter and illustrator Claude Gillot (1673–1722). The first volume on the artist in English, it accompanies a major exhibition at the Morgan Library& Museum that explores Gillot’s inventive and highly original draftsmanship and places his work in the context of artistic and intellectual activity in Paris ca. 1700.The history of eighteenth-century French art under the ancien régime is dominated by great names. But the artistic scene in Paris at the dawn of the century was diverse and included artists who forged careers largely outside of the Royal Academy. Among them was Claude Gillot. Known primarily as a draftsman, Gillot specialized in witty scenes taken from the Italian commedia dell’arte plays performed at fairground theaters and vignettes of satyrs enacting rituals that expose human folly. The book will address Gillot’s work as a designer, painter, and book illustrator, and advance a chronology for his career. Crafting a timeline for Gillot’s life and work will clarify his relationship with his younger collaborators Antoine Watteau and Nicolas Lancret.Through an artistic biography and six chapters, each devoted to an aspect of his oeuvre, Gillot’s role in developing quintessential rococo subjects is established. We follow Gillot from his start as the son of a decorative painter in the bishopric of Langres to his arrival in Paris in the 1690s, as the city and its secular entertainments flourished apart from the royal court at Versailles. Myriad opportunities awaited artists outside official channels, and Gillot built his career working in the theater and as a painter and designer long before seeking official academic status. His involvement with writers, playwrights, and printmakers helped define his sphere. Gillot’s preference for theatrical subjects brought him critical attention, and also attracted talented assistants such as Watteau and Lancret. Gillot came to prominence around 1712 working at the Paris Opéra and as a printmaker and illustrator of books, lending his droll humor to satires. By 1720, Gillot was enlisted to design costumes for the last royal ballet, one of the final projects of his career. He died nine months after his most celebrated pupil, Watteau. The sale of his estate, which including his designs and many etched copper plates, provided material for printmakers and publishers and ensured Gillot’s lasting fame among print connoisseurs. His oeuvre as a draftsman and painter, however, was largely forgotten until drawings and canvases began to emerge in the first half of the twentieth century.

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Anyone interested in traditional Chinese painting will find these four volumes useful for self-study. Each of the four volumes teach amateur brush painters to execute the intricacies of Chinese brush painting. Beginning with the separate parts and then progressing to the composition, these volumes feature exquisite illustrations that will enable the learner to pick up the basics as if in a classroom setting.

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For many in the West, Chinese contemporary art is synonymous with the political realist painters of the 1980s and 90s, who recycled the styles of communist social Realism with pop cynicism. This book examines the different modes of production, artist groups, market systems and infrastructure that shape artistic production in China.

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Queer Pollen discusses three notable black queer twentieth century artists--painter and writer Richard Bruce Nugent, author James Baldwin, and filmmaker Marlon Riggs--and the unique ways they turned to various media to work through their experiences living as queer black men. David A. Gerstner elucidates the complexities in expressing queer black desire through traditional art forms such as painting, poetry, and literary prose, or in the industrial medium of cinema. This challenge is made particularly sharp when the terms "black" and "homosexuality" come freighted with white ideological conceptualizations. Gerstner adroitly demonstrates how Nugent, Baldwin, and Riggs interrogated the seductive power and saturation of white queer cultures, grasping the deceit of an entrenched cultural logic that defined their identity and their desire in terms of whiteness. Their work confounds the notion of foundational origins that prescribe the limits of homosexual and racial desire, perversely refusing the cordoned-off classifications assigned to the "homosexual" and the "raced" body. Queer Pollen articulates a cinematic aesthetic that unfolds through painting, poetry, dance, novels, film, and video that marks the queer black body in relation to matters of race, gender, sexuality, nation, and death.

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We all have a secret buried under lock and key in the attic of our soul. This is mine . . .In May 1980, 15-year-old Óscar Drai suddenly vanishes from his boarding school in the old quarter of Barcelona. For seven days and nights no one knows his whereabouts . . .His story begins in the heart of old Barcelona, when he meets Marina and her father German Blau, a portrait painter. Marina takes Óscar to a cemetery and at 10 am, a coach pulled by horses appears. From it descends a woman dressed in black, her face shrouded, wearing gloves, holding a single rose. She walks over to a gravestone that bears no name, only the mysterious emblem of a black butterfly with open wings. When Óscar and Marina decide to follow her they begin a journey that will take them to the heights of a forgotten, post-war Barcelona, a world of aristocrats and actresses, inventors and tycoons; and a dark secret that lies waiting in the mysterious labyrinth beneath the city streets.From the bestselling author of THE SHADOW OF THE WIND comes a haunting gothic mystery - now an international BookTok sensation.

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A newly expanded edition of the defining book on one of French Romanticism’s most influential and elusive paintersEugène Delacroix (1798–1863) was a solitary genius who produced stormy Romantic works like The Death of Sardanapalus as well as more classically inspired paintings such as Liberty Leading the People. Over the long span of his career, he responded to the literary fascination with Orientalism, the politics of French imperialism, and the popular interest in travel, painting everything from sweeping, epic tales to intimate interiors. In this beautifully illustrated book, Barthélémy Jobert delves into all facets of Delacroix’s life and art, providing an unforgettable portrait of perhaps the greatest and most elusive painter of the French Romantic movement.Bringing together large canvases, decorative cycles, watercolors, and engravings, Jobert explores the inner tensions and contradictions that drove the artist, re-creating the political and cultural arenas in which Delacroix thrived and enabling readers to fully appreciate the extraordinary range of his artistic production. He reveals how Delacroix successfully navigated the Salons of Paris and the halls of government, socialized with George Sand and Victor Hugo, engaged in intense philosophical discussions about art with Baudelaire, and maintained a lively repartee with the press. He vividly describes Delacroix’s journey to Morocco, which unexpectedly led him to rediscover his classical roots, and shows how Delacroix profoundly influenced later painters such as Cézanne and Picasso.This new and expanded edition of Jobert’s acclaimed book includes a thoroughly updated introduction and conclusion, and a wealth of new information and illustrations throughout.

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How to Ruin an Omelet is the third in a series of artist’s books by Los Angeles–based painter Michael Williams (born 1978), following California Land for Sale!! and Yoga Online. Using a fashion sketchbook with figurative templates as its foundation, How to Ruin an Omelet is a lively amalgam of text and image.

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