Search results for ""author painters"

Frank O'Hara (1926-66) composed poems 'any time, any place', collaborating with and inspired by a circle of artists, musicians and poets, immersed in the creative life of New York. For O'Hara, the city was a place of possibility, both disorientating and exciting, and his poems have an immediacy that draws its energies from the pace and rhythms of city life, and from the contemporary artforms of jazz, film and painting. It is this openness to experience that makes O'Hara an indispensable poet of the imaginative experience of the modern city. Reviewing this new selection in the Guardian, Charles Bainbridge wrote: 'Frank O'Hara is a wonderful poet - funny, moving, chatty, engaging, enthusiastic, risk-taking, elegiac, supremely urban - and anything that encourages people to read him is a good thing. His poems have a disarming intimacy, a kind spontaneous enthusiasm and his work proves, with tremendous elan and energy, that you don't have to adopt a solemn tone in order to write poetry of seriousness and purpose. As O'Hara himself says of the nature of writing in the brilliantly comic "Personism: A Manifesto": "You just go on your nerve. If someone's chasing you down the street with a knife you just run, you don't turn around and shout, 'Give it up! I was a track star for Mineola Prep'." '

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Godefridus Schalcken: A Late 17th-century Dutch Painter in Pursuit of Fame and Fortune is the first book in English dedicated to the entire artistic output of seventeenth-century Dutch artist Godefridus Schalcken (1643–1706). It examines the artist’s paintings and career trajectory against the background of his ceaseless pursuit of fame and fortune. Combining a comprehensive analysis of Schalcken's artistic development and style with our increasing biographical knowledge, it provides an authoritative overview of Schalcken’s ample production as an artist. It also integrates his art into the circumstances of his life in relation to his ambitious career aspirations, exploring how economic conditions, a concomitantly oversaturated art market, talent and ambition, demographics, and even sheer luck all played a role in Schalcken’s great professional success. Since Schalcken’s art, like that of all Dutch painters, provides a plethora of information about seventeenth-century culture—its predilections, its prejudices, indeed, its very mind-set—the book inevitably links his work to the broader socio-cultural contexts in which it was created.

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This story is part of Reading Champion, a series carefully linked to book bands to encourage independent reading skills, developed with Dr Sue Bodman and Glen Franklin of UCL Institute of Education (IOE).This traditional tale tells the story behind the Chinese proverb "Draw the dragons, dot the eyes" and the eye-dotting ceremony. A painter refuses to draw in the eyes of the dragons, but the Emperor will not listen...Reading Champion offers independent reading books for children to practise and reinforce their developing reading skills.Fantastic, original stories are accompanied by engaging artwork and a reading activity. Each book has been carefully graded so that it can be matched to a child's reading ability, encouraging reading for pleasure.

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MARIE-LOUISE JENNINGS is a daughter of Humphrey Jennings, an historian of eighteenth and nineteenth century Ireland and a Fellow of Birkbeck College, University of London, UK.

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Book Three in bestselling sensation Nicola May's gorgeous new series - catch up with Book One, WELCOME TO FERRY LANE MARKET, and Book Two, STARRY SKIES IN FERRY LANE MARKET, now!39-year-old Glanna Pascoe - also known as 'the Rainbow Painter' - runs the Hartmouth Gallery in Ferry Lane Market in Cornwall. She is just getting her head and broken heart around being single, childless, and sober when Cupid flies in, shooting arrows all over the place.Meeting the mysterious and fascinating Isaac Benson, famous local artist, and recluse, allows Glanna's disillusioned heart and attitude to soften, and she begins to learn more about herself than she ever thought possible. Confused by her growing feelings for Isaac, Glanna throws herself into organising a life-drawing class at her gallery, using both male and female nudes - and setting local tongues wagging.A theft from her gallery and the return of ex-love Oliver Trueman cause Glanna to wonder if a pot of gold will be appearing at the end of her rainbow. And will it bring her the happiness, she has sought for so long? Praise for Nicola May!'This book will twang your funny bone & your heartstrings' - Milly Johnson'A fun and flighty read' - Sun'A funny and fast-paced romp - thoroughly enjoyable!' WOMAN Magazine'One of those books that I can't stop thinking about way after I've read it! - Kim The Bookworm'This book is so addictive that you will literally lose 3 hours of your life, and you won't care!' - Cara's Book BoudoirReaders love Nicola May, too!'A FABULOUS must-read' - 5 STARS'An excellent book of friendship - with a little wickedness!' - 5 STARS'Good for the soul' - 5 STARS'I loved it and devoured it in a matter of days' - 5 STARS'A wonderful, feel-good novel with some grit thrown in' - 5 STARS'Marvellous, beautiful and heart-warming' - 5 STARS'Sea, sand and sex - a soppy delight' - 5 STARS'A truly lovely book' - 5 STARS'Fun and whimsy, plus a dog!' - 5 STARS

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In 1886 Paul Cezanne let Paris permanently to settle in his native Aix-en-Provence. Nina M. Athanassoglou-Kallmyer argues that, far from an escapist venture like Gaugin's stay in Brittany or Monet's visits to Normandy, Cezanne's departure from Paris was a deliberate abandonment intimately connected with late-19th-century French regionalist politics. Like many of his childhood friends, Cezanne detested the homogenizing effects of modernism and bourgeois capitalism on the culture, people and landscapes of his beloved Provence. Turning away from the mainstream modernist aesthetic of his impressionist years, Cezanne sought instead to develop a new artistic tradition more evocative of his Provencal heritage. Athanassoglou-Kallmyer shows that Provence served as a distinct and defining cultural force that shaped all aspects of Cezanne's approach to representation, including subject matter, style, and technical treatment. For instance, his self-portraits and portraits of family members reflect a specifically Provencal sense of identity. And Cezanne's Provencal landscapes express an increasingly traditionalist style firmly grounded in details of local history and even geology. These landscapes, together with images of bathers, cardplayers and other figures, were key facets of Cezanne's imaginary reconstruction of Provence as primordial and idyllic - a modern French Arcadia. Highly original and lavishly illustrated, "Cezanne and Provence" gives us an entirely new Cezanne: no longer the quintessential icon of generic, depersonalized modernism, but instead a self-consciously provincial innovator of mainstream styles deeply influenced by Provencal culture, places and politics.

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Who is the intriguing man wearing a religious habit and a gold hoop earring in this portrait by Italian Baroque master Il Guercino? And why does he point to a stack of drawings? This fascinating book investigates The Ringling’s portrait of Fra Bonaventura Bisi, a Franciscan Minor Conventual friar whose work as an art dealer, printmaker, and celebrated painter of miniatures made him a major figure in the artistic culture of 17th-century Bologna. Beautifully illustrated, this volume offers new scholarship on both Guercino’s portrait and Fra Bisi’s life, including his extraordinary miniatures, his dogged pursuit of artworks for high-ranking collectors, his passionate efforts to promote the appreciation and collecting of drawings, and - not least - his incongruous gold hoop earring. Published to accompany an important exhibition of the same name at The Ringling (14 October 2023-07 January 2024), this book, based on years of research, provides a captivating glimpse into art making and art collecting in Baroque Italy.

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"An invaluable resource a delightful and compendious opus." - The Pre-Raphaelite Society Review The Death of Chatterton hangs from the wall of the Tate Britain, a resplendent depiction of tragedy. This is the canvas that earned Henry Wallis his lasting legacy. It embodies the Pre-Raphaelite aesthetic, from its morbid subject (Thomas Chatterton, a precocious 18th-century poet who poisoned himself to escape poverty, aged only seventeen), to its vibrant colourwork and detailed naturalism, characteristic of the first phase of Pre-Raphaelitism. Despite this, no significant study has been dedicated to Wallis - until now. Henry Wallis: From Pre-Raphaelite to Collector/Connoisseur - delivers the first comprehensive appraisal of this often-overlooked Pre-Raphaelite. Composed of three parts - a biography, a catalogue raisonné and a series of important appendices - this book demonstrates the full range of Wallis's contributions to the world of Victorian art. The biography acknowledges Wallis's expertise as a colourist and draughtsman, while paying respect to his lesser-known accomplishments as both collector and connoisseur. The Illustrated Catalogue gathers every identifiable work in the painter's name - of which there are many, including The Stonebreaker: Wallis's other great masterpiece. Finally, the appendices present a selection of correspondence between Wallis and various members of the Pre-Raphaelite circle - William Holman Hunt, Frederic George Stephens, Dante Gabriel Rossetti, William Bell Scott, Arthur Hughes, Edward Burne-Jones and William Morris. A pioneering exploration of the artist and the man, Henry Wallis will be at home on the bookshelf of any Pre-Raphaelite enthusiast.

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Albert Duvall Quigley spent most of his life painting the people and landscapes of the Monadnock region. A self-taught musician, he built and repaired fiddles, wrote dance tunes, and played at local dances. He also made frames known for their beautiful workmanship and originality, and prized by many Monadnock artists. This catalog has been compiled for an exhibition celebrating Quigley’s life and work that will open at the Historical Society of Cheshire County (NH) in May 2017, and for the 250th anniversary celebration of the town of Nelson, NH, where Quigley lived for many years.

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Since 2011, photographer Marie-Jeanne van Hövell tot Westerflier has been working on a series of portraits in which a century-old white blouse plays a leading role. Over 75 people of all ages and both sexes have accepted her invitation to pose for a photo shoot with the antique garment. This book presents the results of her project, preceded by an account of the photographer's work and career. It contains white blouse portraits not only of Dutch celebrities like Jenny Arean, Jort Kelder, Alexandra Radius, Toer van Schayk and Daan Schuurmans, but also of lesser-known people and some children. Text in English and Dutch.

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Over the course of a long and very successful career spanning the first half of the 20th century, Lucy Kemp-Welch established herself as one of the leading equestrian painters at work in the UK and one of the country’s best-known women artists. David Boyd Haycock’s new, extensively illustrated biography of Kemp-Welch brings this remarkable artist and her work back into sharp focus. Born in 1869, Kemp-Welch first came to the art establishment’s attention in 1897 when her immense painting, Colt Hunting in the New Forest, caused a sensation at the Royal Academy’s Summer Exhibition; the work was bought for the Nation by the Chantry Bequest in the year of exhibition. In 1915, she illustrated Anna Sewell’s Black Beauty, and was commissioned to paint images for the Government during the First World War. Later, the mural Women’s Work in the Great War, was placed in the Royal Exchange in London, where it remains to this day. Respected art writer and curator Boyd-Haycock shines new light on Kemp-Welch’s life, writing from a 21st-century perspective and reflecting on her as a female painter in a male-dominated environment. Alongside Kemp-Welch’s paintings, the book will feature exclusive period photographs of the artist herself, shown at work and in her studio.

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MARIE-LOUISE JENNINGS is a daughter of Humphrey Jennings, an historian of eighteenth and nineteenth century Ireland and a Fellow of Birkbeck College, University of London, UK.

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The painter Carl Haag (1820–1915) gained acclaim for his colorful scenes of the Orient and true-to-life portraits, in which Nubian slaves, Arabian camel drivers or Egyptian snake charmers enliven the visual topography. After attending art school in Nuremberg, the son of a baker advanced to become a sought-after portraitist in Munich, and later refined his art with watercolor painting in Brussels and London. As court painter to the duke of Saxe-Coburg and Gotha, he worked for Britain’s Queen Victoria. His watercolors that portray the life of the royal family in the Scottish Highlands are now part of the royal collection. Always searching for new motifs, Haag traveled extensively through Europe. In 1859 he headed to the Orient, visiting Cairo, Jerusalem, Damascus, Palmyra and Baalbek. In this first biography about the painter, Walter Karbach conveys a vivid impression of society in the Victorian age, discussing Haag’s artistic influences, personal preferences, as well as his artist friends and patrons. At the same time, he elicits enthusiasm for Haag’s landscape sketches, portraits and drawings of ruins, which oscillate between documentary representations and romantic or idealized scenic views.

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A revolutionary figure throughout his career, Dante Gabriel Rossetti’s work provides a distinctly revolutionary lens through which the Victorian period can be viewed. Suggesting that Rossetti’s work should be approached through his poetry, Brian Donnelly argues that it is both inscribed by and inscribes the development of verbal as well as visual culture in the Victorian era. In his discussions of modernity, aestheticism, and material culture, he identifies Rossetti as a central figure who helped define the terms through which we approach the cultural productions of this period. Donnelly begins by articulating a method for reading Rossetti’s poetry that highlights the intertextual relations within and between the poetry and paintings. His interpretations of such poems as the 'Mary’s Girlhood' sonnets, the sonnet sequence The House of Life, and 'The Orchard-Pit' in relationship to paintings such as The Girlhood of Mary Virgin and Ecce Ancilla Domini! shed light on Victorian ideals of femininity, on consumer culture, and on the role of gender hierarchies in Victorian culture. Situating Rossetti’s poetry as the key to all of his work, Donnelly also makes a case for its centrality in its representation of the dominant discourses of the late Victorian period: faith, sex, consumption, death, and the nature of representation itself.

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It is 1777, and England's second-greatest portrait artist, Thomas Gainsborough, has a thriving practice a stone's thrown from London's royal palaces. Meanwhile, the press talks up his rivalry with Sir Joshua Reynolds, the pedantic theoretician who is the top dog of British portraiture. Fonder of the low life than high society, Gainsborough loathes pandering to grand sitters, but he changes his tune when he is commissioned to paint King George III and his large family. In their final, most bitter competition, who will be chosen as court painter, Tom or Sir Joshua? Two and a half centuries later, a badly damaged painting turns up on a downmarket TV antiques show being filmed in Suffolk. Could the monstrosity really be, as its eccentric owner claims, a Gainsborough? If so, who is the sitter? And why does he have donkey's ears? Mixing ancient and modern as he did in his acclaimed debut The Hopkins Conundrum, Simon Edge takes aim at fakery and pretension in this highly original celebration of one of our greatest artists.

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A brand new edition of the bestselling book, endorsed by the Royal Botanic Garden at Kew, by renowned watercolour artist Adelene Fletcher. From azalea to zantedeschia, this unique watercolour artist's guide offers easy-to-follow, plant-specific information on how to paint over 50 of the most popular species of flower in a crisp and natural style. Adelene teaches you the essential skills of creating a realistic structure and form of a flower by close observation of the pattern of light and shade on petals and foliage. Included are step-by-step photographs, details, and instructions on capturing the individual essence of the flower, together with comprehensive information on the appropriate techniques and colour mixes to use. Glorious full-colour photographs of the finished watercolour show the depth and variety of the plant portraits, from the exquisitely executed passion flower to the bold luminosity of the oriental poppy. Finally, a handy colour key is included for every flower, helping you prepare your palette before delving into your floral portait. If you have never painted flowers before, or have always wanted to capture that specific species on canvas that you've never managed to grow in your own garden, this is the book for you.

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John Richardson draws on the same combination of lively writing, critical astuteness, exhaustive research, and personal experience which made a bestseller out of the first volume and vividly recreates the artist's life and work during the crucial decade of 1907-17 - a period during which Pablo Picasso and Georges Braque invented Cubism and to that extent engendered modernism. Richardson has had unique access to untapped sources and unpublished material. By harnessing biography to art history, he has managed to crack the code of cubism more successfully than any of his predecessors. And by bringing a fresh light to bear on the artist's often too sensationalised private life, he has succeeded in coming up with a totally new view of this paradoxical man of his paradoxical work. Never before has Picasso's prodigious technique, his incisive vision and not least his sardonic humour been analysed with such clarity.

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The nineteenth century in France witnessed the emergence of the structures of the modern art market that remain until this day. This book examines the relationship between the avant-garde Barbizon landscape painter, Théodore Rousseau (1812-1867), and this market, exploring the constellation of patrons, art dealers, and critics who surrounded the artist. Simon Kelly argues for the pioneering role of Rousseau, his patrons, and his public in the origins of the modern art market, and, in so doing, shifts attention away from the more traditional focus on the novel careers of the Impressionists and their supporters. Drawing on extensive archival research, the book offers fresh insight into the role of the modern artist as professional. It provides a new understanding of the complex iconographical and formal choices within Rousseau’s oeuvre, rediscovering the original radical charge that once surrounded the artist’s work and led to extensive and peculiarly modern tensions with the market place.

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There is 'luxury and inconvenience on the one hand, liberty, hard living and filth on the other'. So Edward Lear described the mysterious and often misunderstood country of Albania. Edward Lear's travels through Albania and Macedonia in 1848 came about when an outbreak of cholera closed off all other routes out of Salonica - the port in which he arrives as these journals begin - setting him off on this unusual adventure. His meticulous journals offer a unique insight into the Balkans in this period; the difficulties and romance of travelling in Albania - especially as an Englishman, visiting places never previously seen by foreigners; and the profound effect of the landscape and its people on an artist's mind. Lavishly illustrated with the artist's own paintings and suffused with a unique charm, "Edward Lear in Albania" catalogues his idiosyncratic observations of this beautiful and unknown land. Including vivid insights into the environment, culture and politics of the period, these Journals offer an intimate portrait of a wild yet captivating corner of Europe.

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In 1929, Eileen Gray designed Villa E 1027 for herself and her youthful partner Jean Badovici, but only lived there for three years. Today, the elegant house in Roquebrune-Cap-Mar- tin in southern France is an icon of modernism. In 1937, Le Corbusier discovered the place and the “Maison en Bord de Mer”. Inspired by the genius of the place and the light on the Côte d'Azur, he created a total of eight large-format wall paintings there in 1938 and 1939 onwards, some of which complement the building congenially, while others set counterpoints. In 1952, he built his Cabanon nearby and decorated it with murals as well. The book by the well-known architectural historian Tim Benton documents Le Corbusier's artwork at this special place, explores its controversies, and places it in his overall oeuvre. The fascinating photographs by Manuel Bougot capture the special atmosphere of the villa Le Corbusier's painting is lesser known but was formative for his lifelong preoccupation with polychromy After extensive renovation work until 2021, E 1027, as well as the Cabanon, is open to the public again

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Penelope Pip can paint your pet in any colour, size and style you can think of - no animal is too difficult. As the day goes on she realises that the owners seem to look just like their pets - how silly! But a surprise might just be in store when Penelope Pip returns home … Highly engaging, illustrated picture book to be read out loud to children aged 5–6 Ideal for reading aloud at home with your child Helps expose your child to rich language and curriculum-linked vocabulary Includes key terms from Art and the topic area of portraits Part of the Bug Club reading series used in over 3500 schools ‘These books are a great start to addressing the wider curriculum and the vocabulary issues that schools are identifying.’ - Assistant Head, Primary Academy The Bug Club Shared books are highly engaging, beautifully illustrated stories designed to be read out loud to children. The programme exposes children to rich, curriculum-linked vocabulary, helping to build an understanding across school subjects and cultivate a love for reading.

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An indispensable guide to painting 40 popular flowers in acrylics, perfect for flower artists. This beautiful book is a illustrated directory for acrylic flower artists, revealing how to paint 40 floral subjects, from agapanthus to zinnia, with plant-specific instructions for capturing the unique beauty of each species. All the techniques you will need are clearly explained and demonstrated, from analyzing the shape and structure of flowers to mixing and blending rich luminous colours, laying washes, creating textured effects, and adding highlights. Each featured flower includes information about its distinguishing characteristics, detailed step-by-step instructions, a complete colour palette, mini demonstrations showing special techniques and a stunning full-colour image of a finished painting.

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Geoff Hunt is known to millions of readers across the world as the artist responsible for the covers of Patrick O'Brian's Aubrey-Maturin novels, and more recently for those of Julian Stockwin's Thomas Kydd books. He is widely acknowledged to be one of the leading marine artists of his generation. More than a showcase of the versatility and creativity of his work, this book, written by the artist himself, also reveals its accuracy, through five key case studies that explain the initial inspirations, gathering of source material and often lengthy artistic progression that leads to the creation of a finished painting. The artist has selected over 150 paintings and sketches to illustrate his prolific career, painting techniques and influences, dividing them into sections on Nelson's Navy, The American War of Independence, illustrating the naval writers and the Modern Maritime Scene, which includes recent commissions from the commercial sector and yachting community.

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