Search results for ""author painters"

'A wonderful read (or a great present) for anyone who loves stories and art' Nina Stibbe, author of Love, NinaA beautifully illustrated new memoir of a life in art, a father and daughter, and what a shared love of a painting can come to mean.*SHORTLISTED FOR THE WRITERS' PRIZE FOR NON-FICTION 2024*'We see with everything that we are'On the morning of 12 October 1654, a gunpowder explosion devastated the Dutch city of Delft. The thunderclap was heard over seventy miles away. Among the fatalities was the painter Carel Fabritius, dead at thirty-two, leaving only his haunting masterpiece The Goldfinch and barely a dozen known paintings. The explosion that killed him also buried his reputation, along with answers to the mysteries of his life and career.What happened to Fabritius before and after this disaster is just one of the discoveries in a book that explores the relationship between art and life, interweaving the lives of Laura Cumming, her Scottish painter father, who also died too young, and the great artists of the Dutch Golden Age.This is a book about what a picture may come to mean: how it can enter your life and change your thinking in a thunderclap.**A SUNDAY TIMES, DAILY EXPRESS AND GUARDIAN BOOK OF THE YEAR 2023**'Brilliant ... rush out and buy it' Edmund de Waal, bestselling author of The Hare with Amber Eyes

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Part historical narrative, part modern fiction, the book consists of two interlinked stories: the first focuses on the 18th century painter Thomas Girtin and his relationship with his friend and rival J.M.W. Turner; the second tells the tale of three amateur artists in the present day, united by a shared interest in Girtin’s art. Using this dual narrative to draw parallels between two eras of rapid technological advancement and socio-political turbulence, Oscar Zarate’s long awaited new graphic novel restores to modern eyes this unjustly forgotten figure, whose work has been almost entirely ignored despite his huge influence in British painting. At the time of death, aged just 27, Girtin had already established himself as a pioneer and a master: his expressionist approach was a significant turning point in the British watercolour tradition. But the brevity of his career, coupled with his chosen medium (compared to oils, watercolours were a humbler and less easily exhibited form) meant that his work came to be overshadowed by that of Turner. As Turner himself famously remarked, “If Tom had lived, I should have starved.”

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Southampton, 1910. When the Oceanic sets sail its ultimate destination is New York. But it must make one very important stop first: at Cherbourg, to pick up internationally renowned financier and art collector J. P. Morgan, fresh from a continental buying spree. George Dillman and Genevieve Masefield, the ship's detectives, are nervous about the presence of such an important passenger, not to mention his valuable cargo. After all, it is rare for a transatlantic voyage to pass without incident for the two sleuths. The everyday difficulties of managing passengers including a charming rake intent on causing mischief and a controversial painter travelling with his bohemian wife and his alluring French model, are brought to a pitch when a major art theft takes place and a throat is cut. Dillman and Masefield must draw upon all their experience to find the killer before it is too late. Previously published under the name Conrad Allen, the Ocean Liner series is making waves with a new generation of readers.

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This highly illustrated book provides fresh assessments of the life and work of William Powell Frith, one of the most celebrated visual chroniclers of the mid-Victorian scene. William Powell Frith (1819-1909), famous for his picture The Derby Day which normally hangs at Tate Britain, was not only the most celebrated painter of modern-life subjects in mid-Victorian England, but the most popular British artist of that time. Published to mark the bicentenary of his birth and in association with an exhibition at the Mercer Art Gallery, Harrogate, this richly illustrated volume of essays offers fresh and fascinating perspectives on Frith’s career and context. Despite dramatic shifts in taste with regard to Victorian painting during subsequent generations, Frith’s name has never been eclipsed, let alone forgotten – unlike those of most of his genre-painter contemporaries – as an introductory survey of critical responses to the artist’s work reveals. This provides a starting point for investigations, drawing on much new and original material, of three of Frith’s great panoramas of the Victorian world – Life at the Sea-Side (Ramsgate Sands), The Derby Day and The Private View at the Royal Academy, 1881. Further contributions explore important but hitherto neglected aspects of Frith’s personal life and professional activity. Of significant biographical interest are studies of Frith’s close connections with Yorkshire (the county of his birth and also his first wife Isabelle’s) and his friendships with contemporary writers, notably the Sensation novelist Mary Elizabeth Braddon. The artist’s less well-known historical genre pictures are reappraised, with focus on the early success of An English Merry-Making, A Hundred Years Ago, while the key role played by the print trade in the widespread dissemination of Frith’s images is examined in detail for the first time. An intriguing manifestation of Frith’s popularisation was the re-creation of certain of his most famous compositions as tableaux on the London stage, yet another fresh topic in this presentation of ‘The People’s Painter’. Revisiting Frith and his achievement through new approaches, this book confirms his position as the pre-eminent visual chronicler of the mid-Victorian scene and the importance of his place in the history of British art.

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Oil paint is such a responsive and versatile medium that no two painters need use it in exactly the same way, and since its invention in Renaissance times it has never lost its popularity with artists. Amateurs also find it appealing, both because it is enjoyable to use and because mistakes can be so easily rectified. This compact book explains all the materials, techniques and different approaches to painting with oils. Step-by-step sequences show how to paint a range of themes, from still life to portraits and landscapes, with advice on more difficult subjects. There are also suggestions for presenting your finished paintings and how to go about getting your work seen and exhibited.

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Peter Paul Rubens (1577-1640) is the most important painter of sketches in the history of European art. His Italian and Flemish predecessors had for the most part prepared their paintings by using drawings. Rubens transformed this process by systematically making sketches in colour, with oil paint, and nearly always on panel supports. Rubens's oil sketches were essentially a new form of painting. They brought together the design and colour stages of preliminary work. Because their purpose was to advance another work of art, oil sketches demanded less effort and time than the final products, and this translated into a less polished finish and smaller size. Rubens's sketches invite us to indulge in his art. They are powerful, vivid renditions of a variety of themes, from ancient history and mythology to religion, still life and portraits. They combine seriousness of purpose and a zest for life, transmitted through a masterly lightness of touch. Their small size and appearance of incompleteness draw us in and entice us to look closely. Their sheer quality is a great source of pleasure and learning. This catalogue presents detailed studies and superb illustrations of eighty-two of Rubens's most eloquent oil sketches, and two essays explaining the historical context from which they emerged, their salient features and how they were viewed by contemporaries.

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Food, art and life combine in a lavishly-illustrated book about Turkish cuisine, Turkish village life - and the will to survive a frightening diagnosis. In July 2019, painter and art teacher Eljay Dickins was diagnosed with a Grade 4 inoperable malignant glioblastoma brain tumour. Sufferers have a 1 in 12 chance of surviving six months. Early diagnosis, radio- and chemotherapy, together with a determination that somehow she wouldn't be crushed by it, helped save her life. Published three and a half years later, A Painter's Palate is a result of that dogged drive to live. As a creative person, Eljay responded to her diagnosis her own way - through her rich and vibrant paintings (a selection of which are included in the book) and through writing, drawing upon her years running painting holidays in an old stone house near the Aegean in Turkey. Funny and often touching, the book brings together over 180 recipes of authentic Turkish daily family fare with vivid descriptions of her life as an Englishwoman in Turkey, of the people she met and the food she cooked while she was there. A Painter's Palate is a lighthearted, uplifting and inspirational tale of village life and local food, infused with Eljay's ever-positive attitude, irreverent sense of humour and hope for the future against seemingly insurmountable odds.

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Virgina Woolf’s collection of writings on visual arts offer a whole new perspective on the revolutionary author. Despite wide interest in Woolf's writings, her circle, and her relationship with the visual arts, there is no accessible edition or selection of essays dedicated to her writings on art. This newest edition in David Zwirner Books’s ekphrasis series collects such essays including “Walter Sickert: A Conversation” (1934), “Pictures” (1925), and “Pictures and Portraits” (1920). These formally inventive texts examine the connection between the literary writer and the visual artist and are innovative in their treatment of ideas about color and modern art as experienced in picture galleries. In these essays, Woolf looks at the complex and interdependent relationship between the artist and society. She also provides sharp and astute commentary on specific works of art and the relationship between art and writing. An introduction by Claudia Tobin situates the essays within their cultural contexts.

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The Landscape Painter’s Workbook is the definitive hands-on guide to the time-honored techniques and essential elements of landscape painting. Written by celebrated landscape artist, instructor, and author Mitchell Albala, this richly informative and beautifully illustrated volume leads you step by step through his approach to the genre, from establishing a composition using basic shapes to applying time-tested color strategies, with all-new lessons, practical exercises, and special topics, including: The Complete Color Strategy. What are the three aspects of color contrast that guide a painting’s strategy? Notan. Explore this special type of compositional study, which identifies the underlying shapes and patterns of a composition. Picture Formats. How does the picture format—horizontal, vertical, or square—affect the composition? What are the pros and cons of each? Color Grouping. A full chapter details this special practice, which helps maintain harmony by organizing colors into a limited number of groups. Composition. An in-depth review of variation, movement, and active negative space, with illustrations that diagram the action in each example. Workshop Exercises. Instead of demonstrations that show how the author paints, The Landscape Painter’s Workbook includes 10 skill-building workshop exercises to help you work through essential lessons on your own. With examples of work by 45 contemporary landscape painters—more than 80 paintings in all—​in oil, acrylic, pastel, and watercolor, the lessons are suitable for all mediums. Each painting is thoroughly analyzed in terms of shape, composition, or color, with supporting diagrams, thumbnails, and photographs. The Landscape Painter’s Workbook inspires and informs all artists, from aspiring to accomplished, on how to successfully portray the majesty and subtlety of the natural world. The For Artists series expertly guides and instructs artists at all skill levels who want to develop their classical drawing and painting skills and create realistic and representational art.

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Chang's paintings are so good, his birds and animals seem alive. So when the Emperor's new temple needs painting, he sends for Chang. But why is Chang painting dragons without any eyes? Is it true, as he claims, that if he adds eyes the painted dragons will actually come to life? With free online audio.

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Yasmin's painting for the art contest is due Friday, but she has lots of excuses for putting it off. She doesn't know what to paint, she doesn't think she's any good, and painting is messy. Turns out a mess is just what Yasmin needs for inspiration!

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Illustrated with the author's own superb pen-and-ink illustrations and spectacular close-up photographs of moths found in the eastern U.S., this book will be of interest not only to nature enthusiasts, but also to parents, birders, butterfly aficionados, and anyone interested in the outdoors.

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SHORTLISTED FOR THE ROYAL PHILHARMONIC SOCIETY AWARD FOR STORYTELLINGClaude Debussy was that rare creature, a composer who reinvented the language of music without alienating the majority of music lovers. He is the modernist everyone loves. How did he manage this? Was it through the association of his music with visual images, or was it simply that, by throwing out the rule book of the Paris Conservatoire where he studied, his music put beauty of sound above the spiritual ambitions of the German tradition from which those rules derived. Stephen Walsh's thought-provoking biography, told partly through the events of Debussy's life, and partly through a critical discussion of his music, addresses these and other questions about one of the most influential composers of the early twentieth century.

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The paintings of Vilhelm Hammershoi (1864 1916) have become increasingly popular due their almost contemporary aesthetic. Admired and celebrated during his lifetime, Hammershoi gradually fell into oblivion before being rediscovered in the 1990s. He is now recognized as the iconic painter of Nordic light and solitude. This newly researched monograph presents the artist s best works, many drawn from rarely seen private collections. Enigmatic and subtle, his paintings feature empty interiors, shades of gray, and the silhouette of a lone figure. Reminiscent of Edward Hopper, Hammershoi has an impassioned following who will appreciate this new volume. Multiple scholarly texts and an illustrated chronology shed new light on Hammershoi s art and explore links with contemporary artists highlighting Hammershoi s singular genius and more radical aesthetic, which still engages and surprises us today.

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She didn't want Prince Charming. She wanted the demon.From #1 New York Times bestselling author Kerri Maniscalco, Throne of the Fallen is a seductive new romantasy standalone novel set within the Kingdom of the Wicked world.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. Threatened with ruinous scandal, she is forced to enter a devil's bargain with Envy. A bargain that reveals secrets and ignites passions that neither of them expects. Together, Envy and Camilla must embark on a perilous journey through the underworld - from glittering demon courts to the sultry vampire realm and beyond - while trying to avoid the most dangerous trap of all: falling in love.

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She didn't want Prince Charming. She wanted the demon.From #1 New York Times bestselling author Kerri Maniscalco, Throne of the Fallen is a seductive new romantasy standalone novel set within the Kingdom of the Wicked world.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. Threatened with ruinous scandal, she is forced to enter a devil's bargain with Envy. A bargain that reveals secrets and ignites passions that neither of them expects. Together, Envy and Camilla must embark on a perilous journey through the underworld - from glittering demon courts to the sultry vampire realm and beyond - while trying to avoid the most dangerous trap of all: falling in love.

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Universally regarded as the father of French painting, Nicolas Poussin is arguably the greatest of all painters of that school. Yet Poussin's reputation has been founded more on the intellectual and philosophical qualities of his art than its sheer visual beauty. In Poussin as a Painter: From Classicism to Abstraction, Richard Verdi redresses the balance, describing and analyzing Poussin's outstanding gifts as a pictorial storyteller, designer and colourist - in short, on the purely aesthetic (and often abstract) aspects of his art that have inspired so many later painters, from Cezanne to Picasso. The book features more than 220 fine illustrations, the majority in colour, and encompasses all aspects of Poussin's art from the mid 1620s to his death in 1665. This ground-breaking study gives new insight into Poussin, and is essential reading for all who admire this seminal French painter.

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Accompanying a major retrospective of Anders Zorn’s work, this is the first volume in English to explore the Swedish Impressionist’s entire career in depth. Anders Zorn (1860–1920) is one of Sweden’s most accomplished and beloved artists. Renowned for his light, expressive watercolors, he attained mastery of the genre at an early age and later applied his techniques to oil painting. Zorn is often compared with the artists John Singer Sargent and Joaquín Sorolla y Bastida, contemporaries who also were known for their portraits of high-society figures. Taking up residence in London and then in Paris, Zorn established himself as an international portrait painter, depicting fashionable clients in a style both elegant and relaxed. He became a favorite among wealthy American collectors, bankers, and industrialists who sat for him, including art collector Isabella Stewart Gardner and three U.S. presidents. Although perhaps best known for his portraits, Zorn brought equal skill to painting genre scenes and views of nature. This handsome volume provides a thorough introduction to the artist and his works, from portraiture to landscapes and his famous nudes. Four illustrated essays are accompanied by a chronology, selected bibliography, an exhibition checklist, and an index.

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Many couples devour beautiful images in their desire to infuse meaning and memory into their wedding celebration, but they don't have the tools they need to translate the ideas. Award-winning stationery designer, painter, and stylist Kristy Rice, consultant to celebrities, bridges the gap between how to dream your wedding and how to do your wedding. She works inspiration from iconic artists like Monet, Hopper, Dali, O'Keeffe, and Wyeth into stunning scenery, historic estates, gardens, materials, and color compositions. Sixteen chapters of painterly ideas come alive with commentary from some of the world's most respected wedding professionals, such as Abby Larson of Style Me Pretty, Mindy Weiss, and fine art photographer Jose Villa. Her approach fosters lessons that will be used beyond the big day to style a life and home.

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Since 1961 James Reeve has been exhibiting and selling his paintings, first in Florence, then in Madrid. From 1974 onwards he has travelled widely, often with subsequent London gallery exhibitions. Here he vividly describes and illustrates the characters he meets and the adventures which unfold in Haiti, Madagascar, India, Australia, Jordan, the Yemen and Mexico. As his cousin, the historian, Antonia Fraser remarks in a letter to him: ‘Dearest James, When God gave you your great artistic talent She [sic] made a big mistake, contrary to what is generally thought.’ ‘This is because you are really meant to be a brilliant writer.’ And so now, badgered by Antonia Fraser and other writer friends, James Reeve has at last put his talents together in a series of self-contained short stories recalling travels, anecdotes and encounters which he has illustrated with his vividly colourful vignettes. Always travelling with the purpose of work, in Italy James meets Harold Acton. In the Australian Outback he draws among other things dumps and decrepit dwellings, and there too is Madam Tongere catching a Wichetty grub. He meets Princess Elizabeth of Toro in Uganda and is captured by pygmies in the Congo forest. He paints the fearsome Mrs Gilbert Miller’s portrait in Palm Beach and travels in Rajasthan with Diana Wordsworth, a last relic of the Raj. At last, weary of wandering, he discovers a distant cloud-forest village in Mexico, where Edward James, as the only other Englishman, had preceded him. There he built a house. Living in Mexico for 35 years, among his friends are Doña Olive, the retired prostitute, and the Dominican nuns of an enclosed order who let him in to teach them how to make marmalade.

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Esther Pressoir: A Modern Woman’s Painter situates Esther Estelle Pressoir’s body of work within the effervescent art scene of the early 20th century, both in America and abroad. The first book to present the wide-ranging oeuvre of this American modernist, it covers the span of Pressoir’s long life (1902-86) with a particular focus on the interwar decades (1920-40). Coming of age in the 1920s, Stella, as she was known to her friends, cast off societal expectations of a working-class immigrant family in New England and moved through the studios, galleries, and nightclubs of New York. Following an unprecedented 18,000 km bicycle trip across Europe in 1927, where she kept a daily journal and made hundreds of sketches, Pressoir developed an expressionistic style that straddled figuration and abstraction. She made provocative renderings of the female nude that challenged historical models, including unabashed self-portraits and intimate depictions of her longtime model, muse, and lover, a black dancer from Harlem named Florita. Pressoir’s work is illuminated here in an examination of her private travel journal, letters, and numerous paintings, prints and drawings, some of which were recovered from the veritable time capsule of her art studio after she died. Placing Pressoir’s work in relation to trailblazing contemporaries such as Alice Neel, Florine Stettheimer and Suzanne Valadon, this book establishes Pressoir as a force to be reckoned with in the decades of emergent feminism and modern art in America and restores her to her rightful place in the expanding canon of art and women’s histories.

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In the Louvre museum hangs a portrait that is considered the iconic image of Rene Descartes, the great seventeenth-century French philosopher. And the painter of the work? The Dutch master Frans Hals--or so it was long believed, until the work was downgraded to a copy of an original. But where is the authentic version, and who painted it? Is the man in the painting--and in its original--really Descartes? A unique combination of philosophy, biography, and art history, The Philosopher, the Priest, and the Painter investigates the remarkable individuals and circumstances behind a small portrait. Through this image--and the intersecting lives of a brilliant philosopher, a Catholic priest, and a gifted painter--Steven Nadler opens a fascinating portal into Descartes's life and times, skillfully presenting an accessible introduction to Descartes's philosophical and scientific ideas, and an illuminating tour of the volatile political and religious environment of the Dutch Golden Age. As Nadler shows, Descartes's innovative ideas about the world, about human nature and knowledge, and about philosophy itself, stirred great controversy. Philosophical and theological critics vigorously opposed his views, and civil and ecclesiastic authorities condemned his writings. Nevertheless, Descartes's thought came to dominate the philosophical world of the period, and can rightly be called the philosophy of the seventeenth century. Shedding light on a well-known image, The Philosopher, the Priest, and the Painter offers an engaging exploration of a celebrated philosopher's world and work.

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A comprehensive survey of the work of this most influential Florentine artist and teacherAndrea del Verrocchio (c. 1435–1488) was one of the most versatile and inventive artists of the Italian Renaissance. He created art across media, from his spectacular sculptures and paintings to his work in goldsmithing, architecture, and engineering. His expressive, confident drawings provide a key point of contact between sculpture and painting. He led a vibrant workshop where he taught young artists who later became some of the greatest painters of the period, including Leonardo da Vinci, Sandro Botticelli, Lorenzo di Credi, and Domenico Ghirlandaio.This beautifully illustrated book presents a comprehensive survey of Verrocchio's art, spanning his entire career and featuring some fifty sculptures, paintings, and drawings, in addition to works he created with his students. Through incisive scholarly essays, in-depth catalog entries, and breathtaking illustrations, this volume draws on the latest research in art history to show why Verrocchio was one of the most innovative and influential of all Florentine artists.Published in association with the National Gallery of Art, Washington, DC

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Compiled by members of the Bosch Research and Conservation Project and published on the 500th anniversary of Hieronymus Bosch's death, this is the definitive new catalogue of all of Bosch's extant paintings and drawings. His mastery and genius have been redefined as a result of six years of research on the iconography, techniques, pedigree, and conservation history of his paintings and on his life. This stunning volume includes all new photography, as well as up-to-date research on the individual works. For the first time, the incredible creativity of this late medieval artist, expressed in countless details, is reproduced and discussed in this book. Special attention is being paid to Bosch as an image maker, a skilled draughtsman, and a brutal painter, changing the game of painting around 1500 by his innovative way of working.Distributed for Mercatorfonds

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Uwe Hand's (*1952) painting is unique. His images open up vast spaces for the imagination... It almost seems as if the elements of nature have been transformed into painting. A masterly use of countless layers, colours, pigments and even sand are applied, abrasively excavated, and rebuilt again until an image comes into being: abysmal in its surreal and dreamy motives, graceful in its rugged materiality. With inspiration ranging from the Baroque to the films of Hitchcock, Tarkovsky and David Lynch, Uwe Hand creates paintings so intriguing that one hardly wants to turn away. Text in English and German.

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A revelatory study of one of the 18th century’s greatest artists, which places him in relation to the darker side of the English Enlightenment Joseph Wright of Derby (1734–1797), though conventionally known as a ‘painter of light’, returned repeatedly to nocturnal images. His essential preoccupations were dark and melancholy, and he had an enduring concern with death, ruin, old age, loss of innocence, isolation and tragedy. In this long-awaited book, Matthew Craske adopts a fresh approach to Wright, which takes seriously contemporary reports of his melancholia and nervous disposition, and goes on to question accepted understandings of the artist. Long seen as a quintessentially modern and progressive figure – one of the artistic icons of the English Enlightenment – Craske overturns this traditional view of the artist. He demonstrates the extent to which Wright, rather than being a spokesman for scientific progress, was actually a melancholic and sceptical outsider, who increasingly retreated into a solitary, rural world of philosophical and poetic reflection, and whose artistic vision was correspondingly dark and meditative. Craske offers a succession of new and powerful interpretations of the artist’s paintings, including some of his most famous masterpieces. In doing so, he recovers Wright’s deep engagement with the landscape, with the pleasures and sufferings of solitude, and with the themes of time, history and mortality. In this book, Joseph Wright of Derby emerges not only as one of Britain’s most ambitious and innovative artists, but also as one of its most profound.Distributed for the Paul Mellon Centre for Studies in British Art

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In the Louvre museum hangs a portrait that is considered the iconic image of Rene Descartes, the great seventeenth-century French philosopher. And the painter of the work? The Dutch master Frans Hals--or so it was long believed, until the work was downgraded to a copy of an original. But where is the authentic version, and who painted it? Is the man in the painting--and in its original--really Descartes? A unique combination of philosophy, biography, and art history, The Philosopher, the Priest, and the Painter investigates the remarkable individuals and circumstances behind a small portrait. Through this image--and the intersecting lives of a brilliant philosopher, a Catholic priest, and a gifted painter--Steven Nadler opens a fascinating portal into Descartes's life and times, skillfully presenting an accessible introduction to Descartes's philosophical and scientific ideas, and an illuminating tour of the volatile political and religious environment of the Dutch Golden Age. As Nadler shows, Descartes's innovative ideas about the world, about human nature and knowledge, and about philosophy itself, stirred great controversy. Philosophical and theological critics vigorously opposed his views, and civil and ecclesiastic authorities condemned his writings. Nevertheless, Descartes's thought came to dominate the philosophical world of the period, and can rightly be called the philosophy of the seventeenth century. Shedding light on a well-known image, The Philosopher, the Priest, and the Painter offers an engaging exploration of a celebrated philosopher's world and work.

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For more than two centuries the group of early modern English manuscripts presented in this volume sat mostly ignored on the shelves of the British Library, known only to the librarians who catalogued them. Six of them, for four different elaborate allegorical paintings, appear in the manuscript catalog of the Sloane Collection as “Instructions to painters.” A seventh, from the Harley collection in the same library, has more recently been added to the group. On art historical, iconographic, and historical grounds the manuscripts add significantly to our knowledge of Elizabethan visual allegory, and reveal a provocative new contribution to the evolution of English political thought. And the development across three of the programs of a warm personal relationship between the patron and the artist opens a unique window into early modern relationships of this kind. Unlike most other surviving artistic programs, this one reveals its author’s personality and interests in a rich and beguiling way, and although as a writer he is no Sidney or Nashe, the naïve yet widely informed enthusiasm with which he addresses his readers has considerable force and charm.

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A personal journey of discovery through the Catskills. Sixty paintings illustrate the land of James Fenimore Cooper's Leatherstocking stories and the site of the Hudson River School of Painting.

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He accomplishes this without doing the deep dive into digital camera functionality that befuddles most users. Instead he creates a user-friendly journey through his own experience, touching on those aspects of the visual experience that painting and photography have in common and leaving the reader with a better understanding of how photography can indeed make an artist a better painter.

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It remains a stroke of fortune that in the turbulent times of the 17th century with its numerous cultural and military upheavals the artistic depiction of human life took a similarly rapid and proliferous development. Never before in history had society in all its squalor and splendor been presented in so many pictures of outstanding artistic quality. At the end of the 16th century the Golden Age of Painting began to evolve especially in the Low Countries. Many contemporary paintings also show events from the Eighty Years War, the United Provinces’ struggle for independence from Spain. However, an entire generation of artists also chose to paint events from the great European conflict which erupted at the same time: the Thirty Years War. Born in Antwerp, Pieter Snayers was a fairly typical representative of this generation of painters. From a military historian’s point of view, his works are considered particularly authentic. Many of his paintings showing sieges betray meticulous care in the depiction of the cities and fortresses concerned. Snayers’ topographical and analytical approach remains unsurpassed. Even his paintings of major battles (which rarely occurred) defy any form of profound criticism. Snayers’ rendering of the everyday life of the common people involved is straightforward, graphic and occasionally dramatic. We are thus able to gain insight into the events of his time unimpeded by clichés and historic myth. Pieter Snayers’ works are on display in numerous collections worldwide. With the help of his paintings, many of which are very large in format, this lavishly illustrated book will seek to relate the history of the conflicts depicted. Author Roland Sennewald has compiled a collection of more than 100 of Snayers’ works from all over the world, creating an impressive testimony of his creative talent and relating the story of both the Eighty and Thirty Years Wars, and the times before and after. Pieter Snayers (1592- 1667) Snayers was born in Antwerp where he was baptized on 24 November 1592. His father Lodewijk was the city messenger of Antwerp for Brussels. He was enrolled as a pupil of Sebastiaen Vrancx in Antwerp’s Guild of St. Luke in 1612. Sebastiaen Vrancx was a prominent battle and genre painter. In 1613 Snayers became a master in the Guild. In 1618 Snayers married Anna Schut, a cousin of the painter Cornelis Schut. Their first child Cornelis was baptized on 8 September 1620. Snayers achieved success as an artist. In Antwerp the family lived in luxury and Snayers participated annually in the lavish banquet of the chamber of rhetoric Violieren. Snayers joined the painters‘ guild in Brussels on 16 June 1628. He became a citizen of Brussels at the same time. It is believed he had been working for the Archduke Albert (died in 1621) while living in Antwerp. He had been appointed court painter and ‚domesticq van ‚t Hof” (domestic of the court) by the Archduke. Snayers likely moved to Brussels in order to pursue opportunities at the court of the Archduchess Isabella, the widow of the Archduke and the governess of the Southern Netherlands. After Isabella’s death in 1633, Snayers became court painter to the next two governors, the Cardinal-Infante Ferdinand of Austria (1634-1641) and the Archduke Leopold (Wilhelm) (1647 to 1656). For them he painted scenes of victorious battles in the tradition of sixteenth-century tapestries. He painted portraits of the aristocracy in Brussels and large landscapes. He also worked for other eminent patrons and the open market. A highlight in his career was a commission for 22 battle paintings by general Ottavio Piccolomini. While working in Brussels he regularly visited his hometown Antwerp but never returned to live there. He collaborated with painters in Antwerp such as Peter Paul Rubens on several occasions, including on the never-finished Life of Henry IV cycle (1628–30) and the Torre de la Parada series (c. 1637–1640). Both during his Antwerp and his Brussels periods, He mingled with the elite of his time. He climbed the social ladder and aspired to live a lifestyle similar to that of the aristocrats of his day. He was thus an example of the 17th century ‚aristocratization‘ of successful citizens. His pupils included Guilliam van Schoor and Adam Frans van der Meulen. The latter became a leading battle painter and court painter to Louis XIV of France. There is no record of when Snayers died but it is believed he died in Brussels in 1667. Quelle: https://en.wikipedia.org/wiki/Peter_Snayers

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This definitive appreciation of Kahlo's career features gorgeous full-page reproductions and insightful commentary to illuminate connections between the artist's life and work. Few painters have been as celebrated and adopted into popular culture as Frida Kahlo-often to the detriment of her amazing achievements as a painter. In this striking volume, one of the world's foremost scholars on Kahlo's art looks past the hype to focus on the artist's technique and motifs. Reproductions of Kahlo's paintings, along with selected details, are accompanied by illuminating observations about the role of physical and mental suffering in the creative process, Kahlo's mastery and reinvention of European traditions, and the wealth of coded and metaphorical elements hidden in so much of her work. A rich and rewarding exploration of an artist all too easily reduced to a single narrative, this nuanced study is also an exquisitely produced celebration of Kahlo's genius.

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Among the cultural figures of the Old West, Frederick Remington stands head and shoulders above the rest-literally. A good-natured ogre by size and appetite, the artist portrays the West with such skill that the American government entrusts his safety to Lucky Luke. Looking after such a national treasure is not usually an easy task, but Luke will soon discover that Remington hardly needs protecting-except maybe from his own excessive impulses...

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The impressions which Paul Klee collected on his journey to Tunisia in 1914, and especially to the city of Kairouan, were of fundamental significance: »Colour and I are one. I am a painter.« A few years later, in 1921, Wilhelm Hausenstein placed his friend Paul Klee at the centre of his book Kairuanand was thus one of the first people to recognise the artist’s genius.This commented edition, which opens with a foreword by Peter Härtling, combines Hausenstein’s original text with important works by Klee and a profound essay by Michael Haerdter. Its particular charm lies in the combination of Klee monograph, novel narrating the development of the artist and exclusive book presentation: a treasure for established lovers of Klee as well as those whose interesthas just been awakened. It grants an incomparable insight into the life of Paul Klee as an artist within the context of European art and society.

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This timely follow-up to Conway’s highly successful Marine Art of Geoff Hunt (2004) presents the considerable artistic output of Britain’s leading marine painter since 2003. This new volume is heavily illustrated with images ranging from large paintings to sketchbook drawings with text written by the artist himself. The new book reflects Hunt's developing career during a time in which he served a five-year term as President of the Royal Society of Marine Artists, worked on large-scale paintings such as the definitive Mary Rose,and also completed numerous outdoor sketches and paintings. The book is divided into six sections: 1. The Sea Painter's World, an introduction to the artist's studio work at Merton Place, London and his plein air work on the River Thames; 2. Home Waters; 3. The Mediterranean; 4. In the Wake of Nelson; 5. North America and 6. The West Indies and Beyond. This concept sets Geoff's work in a broadly geographical context, showcasing the artist's freer plein air style alongside the exhaustively researched maritime history paintings to which he owes his standing as Britain’s leading marine artist.

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