Search results for ""author painters"

A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year.BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand, and look wonderful on a desk or table.PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy.THE ARTIST. Angela Harding is a fine art painter and illustrator based in Rutland, UK. She specialises in lino prints and her work is inspired by British birds and the countryside.THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

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A FLAME TREE POCKET NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand, and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. Angela Harding is a fine art painter and illustrator based in Rutland, UK. She specialises in lino prints and her work is inspired by British birds and countryside. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

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Ian Carmichael is Lord Peter Wimsey in these consummate BBC radio dramatisations of Dorothy L Sayers' much-loved mysteriesElegant, erudite and sharp-witted, aristocratic detective Lord Peter Wimsey featured in numerous novels and short stories by ‘Queen of Crime’ Dorothy L Sayers. These full-cast adaptations – first broadcast on BBC radio between 1975 and 1981– are loved by mystery fans all around the world.In The Unpleasantness at the Bellona Club, when General Fentiman is found dead at his club, Wimsey suspects foul play. Could he have been murdered for his money?Strong Poison introduces Harriet Vane – a crime novelist on trial for murdering her lover. Wimsey knows Harriet is no femme fatale, but an innocent victim embroiled in a diabolical plot…Five Red Herrings sees Peter faced with six men, all of whom have a motive for killing argumentative Scottish painter Sandy Campbell. But who was the culprit?In Have His Carcase, when Harriet Vane finds a body on the beach with his throat cut, Lord Peter must work out whether it was murder or suicide.These classic dramas also feature Peter Jones, Joan Hickson, Miriam Margolyes and Warren Clarke.Duration: 12 hours 15 mins approx.

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The poems in Jennifer Atkinson’s A Gray Realm the Ocean were all written under the influence of art-specifically twenty-and twenty-first-century abstract visual art. All the art referenced in the poems was done by women. Although many of these painters, sculptors, performance artists, ceramicists, and fabric artists have earned international reputations, albeit late in their lives or even after their deaths, most have only recently been given the notice and gallery space they deserve. Composed in response to the artists’ multiplicity of forms, styles, modes, and moods, the poems are variously experimental. Drunk on color and language, line and lines, they don’t so much describe the art as revel in it. No patriarchal anxiety here—the poet actively seeks to join in conversation with the artists, listening closely and seeking their influence. She ponders, interrogates, and celebrates the work, taking each artist on her own term—respecting the achieved calm of Agnes Martin’s “Night Sea” and the flare and smolder of Ana Mendieta’s “earth-body” work, the lyric voluptuousness of Joan Mitchell and the intellectual geometries of Carmen Herrera, the arrested explosions of Cornelia Parker and Ruth Asawa’s cool embodiments of shadow, the sun-drenched reveries of Emmi Whitehorse and Pat Steir’s un-skied star falls. Yet A Gray Realm the Ocean not only seeks to honor these artists—their work, their courage, and their curiosity. Taken together, the collection is also a meditation on looking—conscious, attentive looking—and the mysterious nature of abstraction.

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Taking aim at the mostly male bastion of art theory and criticism, Mira Schor brings a maverick perspective and provocative voice to the issues of contemporary painting, gender representation, and feminist art. Writing from her dual perspective of a practicing painter and art critic, Schor’s writing has been widely read over the past fifteen years in Artforum, Art Journal, Heresies, and M/E/A/N/I/N/G, a journal she coedited. Collected here, these essays challenge established hierarchies of the art world of the 1980s and 1990s and document the intellectual and artistic development that have marked Schor’s own progress as a critic.Bridging the gap between art practice, artwork, and critical theory, Wet includes some of Schor’s most influential essays that have made a significant contribution to debates over essentialism. Articles range from discussions of contemporary women artists Ida Applebroog, Mary Kelly, and the Guerrilla Girls, to "Figure/Ground," an examination of utopian modernism’s fear of the "goo" of painting and femininity. From the provocative "Representations of the Penis," which suggests novel readings of familiar images of masculinity and introduces new ones, to "Appropriated Sexuality," a trenchant analysis of David Salle’s depiction of women, Wet is a fascinating and informative collection.Complemented by over twenty illustrations, the essays in Wet reveal Schor’s remarkable ability to see and to make others see art in a radically new light.

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This catalogue focuses on works on paper by contemporary artist Jane Hammond, who garnered a reputation in the art world as a painter in New York in the 1990s. Through the interplay of text and recycled images, Hammond has produced a series of fresh, compelling, and provocative pieces. Most recently, Hammond has launched an exploratory journey into the realms of memory and communication, evoking mass media and scientific concepts while infusing her colorful works with a sense of youthful wonder. The catalogue’s sixty-four featured works show the diversity of her oeuvre. These pieces, though paper-based, are rarely confined to two dimensions or to a small scale. They combine mixed-media collage, text, and a series of symbols that create a visual vocabulary found throughout her work. This exhibit is a testament to Hammond’s scope of imagery, depth of symbolism, and willingness to expand the boundariesof artistic creation. The catalogue will accompany an exhibition of the same name that has its debut at the Mount Holyoke Art Museum and will then travel to other museums across the country beginning December 17. It will be showing at the Tucson Museum of Art; the Chazen Museum at the University of Wisconsin, Madison; the Arkansas Art Center in Little Rock, Arkansas; the Herbert F. Johnson Museum at Cornell University; the DeYoung Museum in San Francisco; and the Detroit Institute of Arts.Contributors include Nancy Princenthal, Faye Hirsch, and Douglas Dreishpoon.

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De Chirico was one of the most important figures in Italy's modern art world, who with Carlo Carrà founded the metaphysics movement. The visionary work of Giorgio de Chirico (1888-1978) had an enormous impact on the course of twentieth-century art. His unsettling 'Metaphysical' imagery - with its illogical perspectives, looming mannequins and bizarre juxtapositions of objects - anticipated Surrealism's fascination with the irrational and the workings of the subconscious by many years. Even before the First World War, de Chirico had declared: "To be really immortal a work of art must go beyond the limits of the human: good sense and logic will be missing from it. In this way it will come close to the dream state, and also to the mentality of children." Although best known as a painter, de Chirico was fascinated by sculpture throughout his career, believing it to possess a mysterious spectral quality. Statues set in deserted city squares were a key element of his iconography from 1909 onward, and toward the end of the 1930s the artist began to experiment with sculpture, creating terracotta versions of the enigmatic figures that had long populated his paintings. In these works, which reflect de Chirico's enduring fascination with classical subjects, characters from mythology such as Hector and Andromache take on the forms of tailors' dummies or intricately constructed automatons. During the 1960s he produced bronze versions of such works, and subsequently began to create multiples, often with highly-polished gold or silver finishes.

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Mary Fedden (1915-2012) is one of Britain's most popular artists. The focus of this acclaimed book, newly available in paperback in celebration of her life's achievement, is the artist's creative process in various different media - oil, gouache, pencil and collage.While Fedden is often considered almost exclusively a still-life painter, still life was far from being her only preoccupation, as this book shows. Fantasy and imagination always also played a strong part, as is particularly evident in her small gouaches. A quietly surreal, enigmatic streak runs through much of her work.Fedden's collages are a witty and affectionate homage to the work of her husband, Julian Trevelyan. They lived, worked and travelled together from 1949 to 1988. The book re-emphasises her debt to him, but also her independence, even during their early life together when he stimulated her move into Modernism. In an engaging text, which draws on numerous conversations with the artist during her final years, Christopher Andreae considers why Fedden has always had such a popular following, looks at the English quality of her work, and talks about the commercialisation of her art and her attitudes to the art market. Fedden is shown to be an original, serious and prolific artist, a draftsman of unusual sensitivity and prowess, and a colourist of power and subtlety.Profusely illustrated with works from private and public collections, this is a book for Mary Fedden's existing devotees as well as newcomers to her work.

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A bird-monster devouring sinners, naked bodies in tantric contortions, a pair of ears brandishing a sharpened blade: with just 20 paintings and nine drawings to his name, Netherlandish visionary Hieronymus Bosch (c. 1450–1516) secured his place as a pillar of art history. To this day, the painter par excellence of hell and its demons continues to puzzle and enthrall scholars, artists, designers, and musicians alike.Based on the best-selling XXL edition, which saw TASCHEN commission new and exclusive photography of details and recently restored works, this large-scale monograph presents Bosch’s complete oeuvre. Texts from art historian and Bosch expert Stefan Fischer dissect the many compelling elements that populate each scene, from hybrid creatures of man and beast to Bosch’s pictorial use of proverbs and idioms. By tying together the elusive threads of his oeuvre into one exhaustive overview, this book reveals just what it was about Bosch and his painting that proved so immensely influential. Features: Impeccable full-page reproductions celebrating the artist’s staggering compositional scope Enlarged details unveiling the most intricate and bizarre scenes as much as the unsuspected technical minutiae, from subtle brush-strokes to the grain of the canvas A fold-out spread drawn from the legendary Last Judgement A special chapter focusing on Bosch’s most famous work, the mesmerizing and terrifying triptych The Garden of Earthly Delights

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A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. Anita Rée (1885–1933) was a German painter, whose works reflect the changes in society during the early twentieth century. She painted portraits, nudes, landscapes, and murals. Unfortunately, her work was denounced by the Nazis and removed from museums. However, much of it remains to be enjoyed today. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

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A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand, and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. Angela Harding is a fine art painter and illustrator based in Rutland, UK. She specialises in lino prints and her work is inspired by British birds and the countryside. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

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The historian as biographer must resolve questions that reflect the dual challenge of telling history and telling lives: How does the biographer sort out the individual’s role within the larger historical context? How do biographical studies relate to other forms of history? Should historians use different approaches to biography, depending on the cultures of their subjects? What are the appropriate primary sources and techniques that scholars should use in writing biographies in their respective fields? In Writing Biography, six prominent historians address these issues and reflect on their varied experiences and divergent perspectives as biographers. Shirley A. Leckie examines the psychological and personal connections between biographer and subject; R. Keith Schoppa considers the pervasive effect of culture on the recognition of individuality and the presentation of a life; Retha M. Warnicke explores past context and modern cultural biases in writing the biographies of Tudor women; John Milton Cooper Jr. discusses the challenges of writing modern biographies and the interplay of the biographer’s own experiences; Nell Irvin Painter looks at the process of reconstructing a life when written documents are scant; and Robert J. Richards investigates the intimate relationship between life experiences and new ideas. Despite their broad range of perspectives, all six scholars agree on two central points: biography and historical analysis are inextricably linked, and biographical studies offer an important tool for analyzing historical questions.

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A picture's title is often our first guide to understanding the image. Yet paintings didn't always have titles, and many canvases acquired their names from curators, dealers, and printmakers--not the artists. Taking an original, historical look at how Western paintings were named, Picture Titles shows how the practice developed in response to the conditions of the modern art world and how titles have shaped the reception of artwork from the time of Bruegel and Rembrandt to the present. Ruth Bernard Yeazell begins the story with the decline of patronage and the rise of the art market in the seventeenth and eighteenth centuries, as the increasing circulation of pictures and the democratization of the viewing public generated the need for a shorthand by which to identify works at a far remove from their creation. The spread of literacy both encouraged the practice of titling pictures and aroused new anxieties about relations between word and image, including fears that reading was taking the place of looking. Yeazell demonstrates that most titles composed before the nineteenth century were the work of middlemen, and even today many artists rely on others to name their pictures. A painter who wants a title to stick, Yeazell argues, must engage in an act of aggressive authorship. She investigates prominent cases, such as David's Oath of the Horatii and works by Turner, Courbet, Whistler, Magritte, and Jasper Johns.????? Examining Western painting from the Renaissance to the present day, Picture Titles sheds new light on the ways that we interpret and appreciate visual art.

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A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand, and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. Angela Harding is a fine art painter and illustrator based in Rutland, UK. She specialises in lino prints and her work is inspired by British birds and the countryside. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

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A story inside a story inside a story. A man visits his aging father in a nursing home, where his father writes the novel he imagines his son would write. Or is it the novel that the son imagines his father would imagine, if he were to imagine the kind of novel the son would write?Let's simplify: a woman seeks an apprenticeship with a painter, claiming to be his long-lost daughter. A contractor-for-hire named Murphy can't distinguish between the two brothers who employ him. And in Murphy's troubled dreams, Nat Turner imagines the life of William Styron. These narratives twist together with anecdotes from the nursing home, each building on the other until they crest in a wild, outlandish excursion of the inmates led by the father. Anchoring these shifting plotlines is a running commentary between father and son that sheds doubt on the truthfulness of each story. Because, after all, what narrator can we ever trust?Not only is Percival Everett by Virgil Russell a powerful, compassionate meditation on old age and its humiliations, it is an ingenious culmination of Everett's recurring preoccupations. All of his prior work, his metaphysical and philosophical inquiries, his investigations into the nature of narrative, have led to this masterful book. Percival Everett has never been more cunning, more brilliant and subversive, than he is in this, his most important and elusive novel to date.

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Today we view Cézanne as a monumental figure, but during his lifetime (1839-1906), many did not understand him or his work. With brilliant insight, drawing on a vast range of primary sources, Alex Danchev tells the story of an artist who was never accepted into the official Salon: he was considered a revolutionary at best and a barbarian at worst, whose paintings were unfinished, distorted and strange. His work sold to no one outside his immediate circle until his late thirties, and he maintained that 'to paint from nature is not to copy an object; it is to represent its sensations' - a belief way ahead of his time, with stunning implications that became the obsession of many other artists and writers, from Matisse and Braque to Rilke and Gertrude Stein. Beginning with the restless teenager from Aix who was best friends with Emile Zola at school, Danchev carries us through the trials of a painter tormented by self-doubt, who always remained an outsider, both of society and the bustle of the art world. Cézanne: A life delivers not only the fascinating days and years of the visionary who would 'astonish Paris with an apple', with interludes analysing his self-portraits, but also a complete assessment of Cézanne's ongoing influence through artistic imaginations in our own time. He is, as this life shows, a cultural icon comparable to Monet or Toulouse.

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This is a groundbreaking examination of one of the most important artists in the Western tradition by one of the leading art historians and critics of the past half-century. In his first extended consideration of the Italian Baroque painter Michelangelo Merisi da Caravaggio (1573-1610), Michael Fried offers a transformative account of the artist's revolutionary achievement. Based on the A. W. Mellon Lectures in the Fine Arts delivered at the National Gallery of Art, The Moment of Caravaggio displays Fried's unique combination of interpretive brilliance, historical seriousness, and theoretical sophistication, providing sustained and unexpected readings of a wide range of major works, from the early Boy Bitten by a Lizard to the late Martyrdom of Saint Ursula. And with close to 200 color images, The Moment of Caravaggio is as richly illustrated as it is closely argued. The result is an electrifying new perspective on a crucial episode in the history of European painting. Focusing on the emergence of the full-blown "gallery picture" in Rome during the last decade of the sixteenth century and the first decades of the seventeenth, Fried draws forth an expansive argument, one that leads to a radically revisionist account of Caravaggio's relation to the self-portrait; of the role of extreme violence in his art, as epitomized by scenes of decapitation; and of the deep structure of his epoch-defining realism. Fried also gives considerable attention to the art of Caravaggio's great rival, Annibale Carracci, as well as to the work of Caravaggio's followers, including Orazio and Artemisia Gentileschi, Bartolomeo Manfredi, and Valentin de Boulogne.

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Born in Mexico in 1935 and a resident of Washington State for nearly five decades, Alfredo Arreguín has long been recognized as a major force in pattern painting. His canvases are tapestries that mingle diverse and interpenetrating influences and images: the traditional crafts of his native Michoacán; the lush rainforests of his homeland and of the Pacific Northwest; Japanese ukiyo-e prints; sacred and endangered animals; gods and and totemic figures; icons like Frida Kahlo and César Chávez; and motifs including masks, eyes, and abstractly patterned tiles. But Arreguin’s paintings, for all the apparent flatness of their surfaces, conceal an astonishing depth of perspective. The basis of their composition is a grid of colorful patterns applied to superimposed planes, and below the surface of each completed painting are many others, transformed by the artist’s strategic occlusions and erasures. The result is an exuberant, phosphorescent visual interplay in which images combine to form other images, yielding a potent narrative power and pointing up the profound, ambiguous symbiosis between human beings and nature, fiction and reality, and the natural and supernatural worlds. Lauro Flores reveals Alfredo Arreguin as "a genuinely American painter, in the real, hemispheric sense of this term" - an artist of magic, mystery, and revelation whose place in the history of North American art has already been secured. Twenty-three new paintings are included in the second edition of this highly regarded book first published in 2002.

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Art history as we know it would not exist without Vasari, and Barolsky shows us that something of the same claim should be made for literary history. He demonstrates the ways in which a literary approach to Vasari's book deepens our understanding of its historical, art-historical, and imaginative character. Why Mona Lisa Smiles discusses Vasari's shrewd, witty, intimate awareness of Dante, Petrarch, and Boccaccio and relates the Lives to the works of Castiglione, Aretino, Cellini, and Rabelais. Barolsky reveals the unexpected fantasy of Vasari, who imagined and then invented artists and works of art, totally fabricating the lives of artists about whom he knew little or nothing. Barolsky traces the myth of Pygmalion through the Lives, demonstrating that Vasari was himself a Pygmalion in words and showing how he wittily played on the names of artists, revealing these poetical fantasies as part of the very iconography of Renaissance art. By approaching the Lives as a combination of genres—biography, history, novella, autobiography, novel, and literary banquet—Barolsky connects Vasari's highly fictionalized history to the modern historical novel. The fictional character of Vasari's book should not be ignored or dismissed by art historians, Barolsky insists, since it is itself a historical document—the record of how a painter and writer of extraordinary sensibility beheld works of art at a particular moment in history. Barolsky's unique approach to the Lives makes this study a valuable contribution to the history of the reception of art.

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Despite his posthumous fame as a painter of flowers, still-lifes, gardens, landscapes and city scenes, during his lifetime Vincent van Gogh believed that his portraits constituted his most important works. Although as an artist he was ‘touched by so many different things’, he was nevertheless committed to the art of portraiture – a quality that distinguished him from his contemporaries. Van Gogh was passionate in his avoidance of bland, photographic resemblances, in the hope of capturing the essential character of his models by means of expressive colour and brushwork. Showcasing a dramatic set of portraits created during Van Gogh’s ten-year career, this book reflects the strong visual impact with which the artist captured the diversity of contemporary life. In his many portraits, we can discern the artist’s desire to record expressively a number of themes, from the plight of the agricultural workers in his native Brabant and the destitution of prostitutes and their children in urban Europe, to the lives of his cosmopolitan acquaintances in Paris, including café owners and art dealers. It was here that he began his remarkable sequence of self-portraits. With reference to Van Gogh’s extensive correspondence, Skea elaborates how the artist perceived his chosen subjects as would a writer, and how he felt that his portraits should somehow evoke what he considered to be the spiritual underpinning of human existence

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Explore Dún Laoghaire and its coastal surroundings with local painter, historian and writer Peter Pearson as he reveals the story behind its transformation from rocky granite shoreline to grand Victorian ‘watering place’. Peter Pearson is a Dún Laoghaire man, familiar with every brick and stone of the harbour and town. Here he traces the social, historical and architectural development of Dún Laoghaire, Sandycove and Dalkey, from a stretch of granite coastline with a small fishing village up to the present day. Pearson tells the story of a harbour designed to be a refuge from storms. Begun in 1816, and built in Dalkey granite, it is one of the most attractive artificial harbours in the world. It witnessed one of the world’s first lifeboat services, the fastest mail and passenger boats of the day, and the arrival of the first railway line in Ireland. Pearson also examines the social dimension, from the early settlement and development of houses and villas, with evocative names like Sorrento and Vico, to the slum alleys of Kingstown and the first council housing. With over 250 illustrations, including early maps and many previously unseen photographs and images, this is a fascinating journey through the history and heritage of Dún Laoghaire, Sandycove and Dalkey. Praise for Peter Pearson’s Decorative Dublin: ‘Beautifully illustrated … contains endless riches.’ The Sunday Tribune ‘[Pearson] writes with enthusiasm and knowledge about his subject.’ Frank McDonald, The Irish Times ‘Pearson’s is an infectious passion.’ Books Ireland

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The enthralling story of an eighteenth-century family and their extraordinary achievements.Four brothers, three sisters. Brought up in a Northumberland rectory and in the close of Durham Cathedral, the Sharps would achieve exalted positions at the heart of British society. In 1781, the celebrated painter Johan Zoffany put the final brush strokes on the luminous portrait that immortalised the siblings’ rise, and their remarkable unity and passion for life. Ambitious, free-thinking and courageous, the Sharps were pioneers in the major movements that defined the eighteenth century – from political reform and philanthropy to medicine and industry. John, an eminent priest, established a model welfare state at Bamburgh Castle and commissioned the world’s first lifeboat; William became surgeon to George III; while James was a visionary inventor, canal promoter and engineer. Most famously of all, Granville, the youngest son, battled tirelessly as Britain’s first great campaigner for the abolition of the slave trade. Despite the social strictures of their day, Elizabeth, Judith and Frances claimed significant independence, and played key roles in hosting the Sharps’ famous musical parties on barges on the Thames.In this vivid, moving biography, Hester Grant charts the siblings’ shared journey to prominence, and explores the values and enduring bonds that inspired their success. The Good Sharps brings to life not just these men and women who realised that the future could be different, but also the new world they created.

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Painter and illustrator Edward Bawden’s five scrapbooks, assembled over a period of more than 55 years, contain everything from stamps, photographs, cigarette cards, Christmas cards and letters to newspaper cuttings, drawings and autographs, amongst other fascinating ephemera. Beautifully designed and illustrated with over 250 images taken from these books, Edward Bawden Scrapbooks reveals this wonderful and at times eccentric collection and provides a new insight into one of the most popular artists of 20th-century Britain.The pages illustrated provide an alternative window into Bawden’s world, showing his very conscious awareness of both Surrealism and the work of other contemporary designers and typographers. But it is not only aficionados of Bawden who will be beguiled by these scrapbooks: perusing them is like trawling through an almanac of art, design and literature of the inter- and post-war years and the work of other key artists of the era such as Ben Nicholson, David Jones, Evelyn Dunbar, Eric Ravilious and Hugh Casson also appears. Some pages are beautiful, some instructive and others simply baffling but when taken in conjunction with Bawden’s watercolours, prints, illustrations, murals and other designs, the scrapbooks are the closest thing we have to an autobiography of one of the 20th-century’s most reclusive and English of artists.

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See what goes on within Santa's base of operations in this exciting life-the-flap book. Open the door to observe the postman arriving, and peek into a locker to spy Santa's secret stash of cakes! There are also special die-cut holes - peer through windows to watch toys being made by elves, and look in the loading bay to see a stack of cuddly toys. With sparkly snow on the front cover, this is a Christmas story to keep and to treasure. In the weeks leading up to Christmas, Santa's workshop becomes a very busy place indeed! During December, the postman delivers lots and lots of letters. Lift the flap and you'll see him there in the doorway. Soon afterwards, Santa and his elves get to work making the toys that all the boys and girls have asked for. Peek through die-cut windows to see various stages of the operation. Toys get painted in the paint shop by specialist painter elves. Look carefully and you'll see mice helping out...or relaxing in a doll's house. Elsewhere, cuddly toys are sewn up - and come to think of it, Santa's red coat could do with a few stitches while his helpers are about it! And who's that through the window? It's a reindeer!On Christmas Eve, the elves load up the sleigh while Santa feeds the deer. Now children everywhere can have fun seeing all the hard work that goes into making their presents.

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Send your best wishes with the beautifully reproduced artwork on these full-colour Piet Mondrian QuickNotes notecards, packaged in a sleek reusable box with magnetic snap closure. Piet Mondrian QuickNotes notecards includes 4 classic art designs for a fun take on stationery. Our QuickNotes are perfect to keep on hand for any occasion notes and greetings to friends and family. 20 notecards and envelopes, 5 each of 4 images Packaged in a sleek, sturdy flip-top box with magnetic closure Cards printed on coated paper stock to bring out their full colour Cards and envelopes bundled together with a paper belly band inside each box Box measurements 120 x 142 x 36 mm Our on-trend designs and high print quality make our cards the best value out there. We choose the best images from well-known classic and contemporary fine artists, plus talented emerging illustrators and designers from around the globe. Piet Mondrian (1872-1944) was a painter from Amersfoort, Netherlands. Along with Theo van Doesburg, he was a founding member of the Dutch art movement, De Stijl, and the main theorist behind Neoplasticism, which sought to express the principles of pure abstraction through non-representational art – as defined by flat, non-dimensional space, bold primary colours, and geometric lines.

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Shadow of the Owl is Matthew Sweeney's final collection, bringing together the poems he wrote during a year of debilitating illness. He died from Motor Neuron Disease in 2018 shortly after publishing My Life as a Painter, written before he became ill, but – like all his previous collections – preparation for this final work. In a sequence of dark fables, a hapless figure is hounded by a procession of invisible enemies who want him dead. These jokers – kidnappers, assassins, liars all – have many methods at their disposal, from crucifixion or hanging to bombing or mauling by crocodile… A menacing owl comes to the garden each night for twelve nights, but refuses to deliver its devastating news. All of Sweeney’s verve and spiky humour are present in these last poems, following, as always, the unnerving logic of dreams. But the dream has become a nightmare, and the catastrophe, impending in all the earlier collections, has now come to pass. The man on the run needs to reach new heights of ingenuity, if he is to escape, repeatedly, the most horrible of deaths. The poet is writing for his life. For more than forty years Matthew Sweeney sought to capture, in poetry, the life of a body menaced and condemned to wander in a terrifying place – but a body fully alive to the sensuous pleasures of the world, and the vulnerability of exposure to its loss. His final poems are imbued with a lyrical beauty and great sadness at leaving that world just as the spirit was burning as brightly as ever.

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This gorgeously illustrated book examines the practice and materials of a prominent Abstract Expressionist The career of the German-American painter and educator Hans Hofmann (1880-1966) describes the arc of artistic modernism from pre-World War I Munich and Paris to mid-twentieth-century Greenwich Village. His career also traces the transatlantic engagement of modern painting with the materials of its own making, a relationship that is perhaps still not completely understood. In these interrelated narratives, Hofmann is a central protagonist, providing a vital link between nineteenth- and twentieth-century art practice and between European and American modernism. The remarkable vitality of his later work affords insight not only into the style but also the literal substance of this formative period of artistic and material innovation. This richly illustrated book, the fourth in the Getty Conservation Institute's Artist's Materials series, presents a thorough examination of Hofmann's late-career materials. Initial chapters present an informative overview of Hofmann's life and work in Europe and America and discuss his crucial role in the development of Abstract Expressionism.Subsequent chapters present a detailed analysis of Hofmann's materials and techniques and explore the relationship of the artist's mature palette to shifts in the style and aging characteristics of his paintings. The book concludes with lessons for the conservation of modernist paintings generally, and particularly those that incorporate both traditional and modern paint media. This book will be of value to conservators, art historians, conservation scientists, and general readers with an interest in modern art.

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Part biography, part cultural history, part literary study, Ruben Gallo's book explores the presence of Latin America in Proust's life and work. The novelist lived in an era shaped by French colonial expansion into the Americas: just before his birth, Napoleon III installed Maximilian as emperor of Mexico, and during the 1890s France was shaken by the Panama Affair, a financial scandal linked to the construction of the canal in which thousands of French citizens lost their life savings. It was in the context of these tense Franco-Latin American relations that the novelist met the circle of friends discussed in Proust's Latin Americans: the composer Reynaldo Hahn, Proust's Venezuelan lover; Gabriel de Yturri, an Argentinean dandy; Jose-Maria de Heredia, a Cuban poet and early literary model; Antonio de La Gandara, a Mexican society painter; and Ramon Fernandez, a brilliant Mexican critic turned Nazi sympathizer. Gallo discusses the correspondence - some of it never before published - between the novelist and this heterogeneous group and also presents insightful readings of In Search of Lost Time that posit Latin America as the novel's political unconscious. Proust's speculation with Mexican stocks informed his various fictional passages devoted to financial transactions, and the Panama Affair shaped his understanding of the conquest of America in a little-known early text. Proust's Latin Americans will be of interest to scholars of modernism, French literature, Proust studies, gender studies, and Latin American studies.

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Through individual case studies involving the professions of sculptor, painter, potter, printmaker, and architect, this book addresses the question about what it meant to be an artist in Japan from the seventh century to the twentieth. How did artists go about their business? What degree of control did they exercise over their metier? How were they viewed by society? How was the image of the artist fashioned in various periods? Throughout much of Japan’s past, artists’ thoughts about their activities have remained unrecorded. Some of the essays in this volume reveal how the machine of political discourse worked to invent different views of the same artist over time. Others explore cases of later artists manipulating the names of earlier ones for professional or cultural gain, while still other essays reconstruct some of the forces brought to bear on artistic reception by the makers' contemporaries. The activities of artists whose stories are told here required the collaboration of numerous skilled colleagues, often deployed in the hierarchical structure of the hereditary workshop; they had to fight hard to gain social and economic recognition. The book also addresses issues of canon formation: by what complex process are some artists and objects singled out to communicate rhetorical or aesthetic meaning while others lapse into the background? Contributors include Karen L. Brock, Louise Allison Cort, Julie Nelson Davis, Christine M. E. Guth, Donald F. McCallum, Jonathan M. Reynolds, and Melinda Takeuchi.

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An illuminating reassessment of the architect whose innovative drawings of ruins shaped the enduring image of ancient RomeGiuliano da Sangallo (1443–1516) was one of the first architects to draw the ruins and artifacts of ancient Rome in a systematic way. Cammy Brothers shows how Giuliano played a crucial role in the Renaissance recovery of antiquity, and how his work transformed the broken fragments of Rome's past into the image of a city made whole.Drawing new insights from the Codex Barberini and the Taccuino Senese—two exquisite collections of Giuliano's drawings on parchment—Brothers reveals how the Florentine architect devoted enormous energy to the representation of ruins, and how his studies of Rome formed an integral part of his work as a designer. She argues that Giuliano's inventive approach, which has often been mischaracterized as fantastical or naive, infused the architect's craft with the sensibilities of a poet and painter. Brothers demonstrates how his drawings form the basis for a reevaluation of the meaning and method of the Renaissance study of ancient artifacts, and brings to life the transformative moment when artists and architects began to view the fragments of ancient Rome not as broken artifacts of little interest but as objects of aesthetic contemplation.Featuring a wealth of Giuliano's magnificent drawings, this compelling book provides an incomparable lens through which to explore essential questions about the aesthetic value, significance, and the uses of the past for today's architects.

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The great painter Henri Matisse was also a great book illustrator. A pioneering member of the Fauves, a supreme colorist, a remarkable draftsman, and a creative genius: this is the Matisse known and admired by everyone with even a passing interest in modern art. But few know Matisse as an artist who designed and illustrated his own books. From 1912 until his death in 1954, he engaged in nearly fifty illustration projects, many of which rank among the greatest artists’ books of the twentieth century. A master printmaker, equally adept in various media, he ensured that his prints would appear to best advantage in conjunction with the printed page. He directly participated in page layout, typography, lettering, ornament, cover design, and even the choice of text. More than any others of his rank and stature, he knew the principles of visual communication and perceived the potential of letterpress printing.Graphic Passion recounts the publication history of nearly fifty books illustrated by Matisse, including masterworks such as Lettres portugaises, Mallarmé’s Poésies, and his own Jazz. It is the first comprehensive, in-depth analysis of his book-production ventures and the first systematic survey of this topic in English. Drawing on unpublished correspondence and business documents, it contains new information about his illustration methods, typographic precepts, literary sensibilities, and staunch opinions about the role of the artist in the publication process.

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Kawai Koume (1804–1889) was an accomplished poet and painter and a wife, mother, and grandmother in a lower-ranking samurai family in the provincial castle town of Wakayama. She was an eyewitness to many of the key events leading up to the Meiji Restoration and the radical changes that followed, including the famine of 1837, the great earthquake of 1854, the cholera epidemic of 1859, and the departure of samurai to fight in the civil wars of the 1860s. For more than fifty years, she kept a diary recording her family’s daily life—meals and expenses, visitors and the weather, small-town gossip and news of momentous events.Through Koume’s eyes and words, Simon Partner opens a window on social, economic, and cultural life amid some of the most dramatic periods of Japan’s transformative nineteenth century. Koume’s World vividly portrays the everyday activities, social interactions, information networks, cultural production, and household economy of a samurai family across the Tokugawa-Meiji divide. Partner’s narrative offers a remarkably detailed portrait of the dynamic working life of a female artist and household manager while also giving a regional perspective on the upheavals surrounding the Meiji Restoration. A compelling microhistorical study of gender, economy, and society in nineteenth-century Japan, Koume’s World is a compelling account of how one woman experienced both mundane routines and drastic social transformations.

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'This is an extraordinary book.' Review of Jean Haines' Atmospheric Watercolours in The Artist Magazine 'It simply dazzles on the page and makes you want to grab your brushes and get going straight away.' Review of Jean Haines' Atmospheric Watercolours in The Leisure Painter Jean Haines is arguably one of the world’s most accomplished and inspirational artists, and in this, her fifth book, she explores one of her most beloved subjects - flowers. Taking inspiration from her own beautiful garden in the English countryside where she lives, Jean takes you on an artistic journey that not only teaches you how to create gorgeous paintings, but also shares with you the joy to be gained from the simple act of painting flowers. In this beautiful book, Jean explains with passion and enthusiasm how to loosen up your painting style and include just enough detail in your paintings to portray the essence of flowers, bringing them to life on the paper and infusing them with vibrancy and energy. She shares unreservedly the materials and techniques she uses, provides a wealth of expert tips and advice, and guides you step-by-step through numerous studies and projects. Throughout the book there are many glorious examples of Jean’s paintings of a dazzling variety of flowers, providing an abundance of inspiration for artists of all abilities. Jean uses Daniel Smith materials in this book but other materials can be used to achieve similar results.

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At the end of his long, prolific life, Titian was rumored to paint directly on the canvas with his bare hands. He would slide his fingers across bright ridges of oil paint, loosening the colors, blending, blurring, and then bringing them together again. With nothing more than the stroke of a thumb or the flick of a nail, Titian's touch brought the world to life. The clinking of glasses, the clanging of swords, and the cry of a woman's grief. The sensation of hair brushing up against naked flesh, the sudden blush of unplanned desire, and the dry taste of fear in a lost, shadowy place. Titian's art, Maria H. Loh argues in this exquisitely illustrated book, was and is a synesthetic experience. To see is at once to hear, to smell, to taste, and to touch. But while Titian was fully attached to the world around him, he also held the universe in his hands. Like a magician, he could conjure appearances out of thin air. Like a philosopher, his exploration into the very nature of things channelled and challenged the controversial ideas of his day. But as a painter, he created the world anew. Dogs, babies, rubies, and pearls. Falcons, flowers, gloves, and stone. Shepherds, mothers, gods, and men. Paint, canvas, blood, sweat, and tears. In a series of close visual investigations, Loh guides us through the lush, vibrant world of Titian's touch.

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A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand, and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. Twentieth-century painter, designer and wood engraver Eric Ravilious was responsible for a whole host of different works, including book illustrations, woodcuts and ceramic designs for the Wedgwood pottery firm. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

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Pieter Bruegel (ca. 1525-1569), generally considered the greatest Flemish painter of the sixteenth century, was described in 1604 by his earliest biographer as a supremely comic artist, few of whose works failed to elicit laughter. Today, however, we approach Bruegel's art as anything but a laughing matter. His paintings and drawings are thought to conceal profound allegories best illuminated with scholarly erudition. In this delightfully engaging book, Walter S. Gibson takes a new look at Bruegel, arguing that the artist was no erudite philosopher, but a man very much in the world, and that a significant part of his art is best appreciated in the context of humor. In his illuminating examination of the witty and amusing elements in Bruegel's paintings, prints, and drawings in relation to the sixteenth century European culture of laughter, Gibson reminds us exactly why Bruegel was one of the most original artists of his time. In a series of engrossing chapters, Gibson explores the function and production of laughter in the sixteenth century, examines the ways in which Bruegel exploited the comic potential of Hieronymus Bosch, and traces how the artist developed his remarkable gift for physiognomy in his work, culminating in three paintings of festive peasants he produced during the 1560s: the Wedding Dance, the Kermis, and the Wedding Banquet. Gibson also takes a detailed look at the Dulle Griet, Bruegel's most complex evocation of Bosch.

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A new study of the early Renaissance portraitIn fourteenth-century Italy, ever more women and men—not only clergy but also laity—introduced their own portraits into sacred paintings. Images of modern supplicants, submissive and prayerful, shared space with the holy narratives. The portraits mimicked the first worshippers of Christ: Mary, the Three Magi, Mary Magdalene. At the same time, they modeled, for modern viewers, ideal involvement in the emotion-laden stories. In The Embedded Portrait, Christopher S. Wood traces these incursions of the real and profane into Florentine sacred painting between Giotto and Fra Angelico.The portraits not only intruded upon a sacred space, but also intervened in an artwork. The pressure exerted by the modern interlopers—their lives and experiences, implied by their portraits—threatened the formal closure that had served as a powerful symbolic form of the pact between God and humans. The Embedded Portrait reconstructs this art historical drama from the point of view of the artists rather than the patrons. Following clues left by Vasari, the book assigns a leading role to the painter Giottino, or “little Giotto.” Little-known today but highly regarded in his lifetime, Giottino proposed a new manner of painting that was later realized by Fra Angelico through his own innovative approach to the problem of the embedded portrait.Seeking not to stabilize the artworks but to extend their reach, the interpretations offered in The Embedded Portrait re-create and update the psychic and libidinal energies that gave rise to these works in the first place.

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A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. Angela Harding is a fine art painter and illustrator based in Rutland, UK. She specialises in lino prints and her work is inspired by British birds and the countryside. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

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A FLAME TREE POCKET NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand, and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. Angela Harding is a fine art painter and illustrator based in Rutland, UK. She specialises in lino prints and her work is inspired by British birds and countryside. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

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Disparate worlds collide in Williams's two novellas. In My Planet of Ras a young German woman joins a Rastafarian commune in Jamaica. Under the guidance of Selassie, reader and healer with herbs, Ikael, artist-painter, and Kilmanjaro, master drummer, and under the healing influence of 'the herb of nations' she learns to marvel, and to understand the true nature of community ('You and I talking, one and one - that is community! Hardest thing to build these days. Not enough empty reflecting silence, like mortar, to build with'). Williams' portrayal of the rootedness, the inner calm and visionary enlightment of the group is movingly convincing, not least because the novella realistically conveys the group's vulnerability, temptations and the costs of their denials. In their rejection of materialism and competition, they indeed have to live as if they are on another planet, constantly threatened by the surrounding Babylon.What Happening There, Prash, is a contrary and equally convincing portrayal of the magnetic pull of North America and its offer of the possibilities of individual recognition, competitive edge and material success. Prash and his wife Sookmoon abandon the decaying 'socialist' republic of Guyana for New York and for Sookmoon, at least, there is the chance, eagerly seized, to remake her life as a liberated woman. But when Prash gets mixed up in some serious drugs business, he discovers that the freedom of the market has its price.N.D. Williams is Guyanese and lives in New York. In 1976 his novel Ikael Torass won the prestigious Casa de las Americas prize.

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A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand, and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. Angela Harding is a fine art painter and illustrator based in Rutland, UK. She specialises in lino prints and her work is inspired by British birds and the countryside. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

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A FLAME TREE POCKET NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand, and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. Lucy Innes Williams is a painter and illustrator with an artistic interest in highly ornate textiles, patterns, and the decorative arts of the early-mid twentieth century. She uses a combination of gouache, watercolour and printmaking. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

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A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand, and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. Angela Harding is a fine art painter and illustrator based in Rutland, UK. The Salt Path was featured on the cover of the bestselling book (of the same name) by Raynor Winn, shortlisted for the 2018 Wainwright Prize and the 2018 Costa Book Awards in the biography category. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

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No cases to focus on, no leads to investigate, just a whole summer on a remote West Cork peninsula with her teenage daughter Lilly and her boyfriend, Conor, and his son. The plan is to prepare Lilly for a move to Ireland. But their calm vacation takes a dangerous turn when human remains wash up below the steep cliffs of Ross Head. When construction worker Lukas Adamik disappeared months ago, everyone assumed he had gone home to Poland. Now that his body has been found, the guards, including Maggie's friends Roly Byrne and Katya Grzeskiewicz, seem to think he threw himself from the cliffs. But as Maggie gets to know the residents of the nearby village and learns about the history of the peninsula and its abandoned Anglo Irish manor house, once home to a famous Irish painter who died under mysterious circumstances, she starts to think there's something else going on. Something deadly. And when Lilly starts dating one of the dead man's friends, Maggie grows worried about her daughter being so close to another investigation and about what the investigation will uncover. Old secrets, hidden relationships, crime, and village politics are woven throughout this small seaside community, and as the summer progresses, Maggie is pulled deeper into the web of lies, further from those she loves, and closer to the truth.

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A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand, and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. Angela Harding is a fine art painter and illustrator based in Rutland, UK. She specialises in lino prints and her work is inspired by British birds and the countryside. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

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A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand, and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. Angela Harding is a fine art painter and illustrator based in Rutland, UK. She specialises in lino prints and her work is inspired by British birds and the countryside. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

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A Profound New Look at the Italian Master and His Lasting Legacy Now celebrated as one of the great painters of the Renaissance, Michelangelo Merisi da Caravaggio fled Rome in 1606 to escape retribution for killing a man in a brawl. Three years later he was in Naples, where he painted The Seven Acts of Mercy. A year later he died at the age of thirty-eight under mysterious circumstances. Exploring Caravaggio's singular masterwork, in The Guardian of Mercy Terence Ward offers an incredible narrative journey into the heart of his artistry and his metamorphosis from fugitive to visionary.Ward's guide in this journey is a contemporary artist whose own life was transformed by the painting, a simple man named Angelo who shows him where it still hangs in a small church in Naples and whose story helps him see its many layers. As Ward unfolds the structure of the painting, he explains each of the seven mercies and its influence on Caravaggio's troubled existence. Caravaggio encountered the whole range of Naples's vertical social layers, from the lowest ranks of poverty to lofty gilded aristocratic circles, and Ward reveals the old city behind today's metropolis. Fusing elements of history, biography, memoir, travelogue, and journalism, his narrative maps the movement from estrangement to grace, as we witness Caravaggio's bruised life was gradually redeemed by art.

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John Castagno's Artists' Signatures and Monograms have become the standard reference source for galleries, museums, libraries, and collectors around the world. Whether used to identify, authenticate, or verify signatures and works of both well-known and little-known artists, Castagno's work has no equal. In this new volume, Castagno has collected the signatures and monograms of artists who have spent all or a part of their careers in abstract art—painters, printmakers, sculptors, and photographers worldwide. This book features approximately 2,300 artists with more than 3,900 signature examples of how they sign their works. In addition to the standard signature entries, the book contains sections for monograms and initials, common surname signatures, alternative surname signatures, symbols, and Cyrillic signatures. This book also lists an additional 1,500 artists whose entry bears no signature. All 3,800 artists are listed with the most updated information on nationality, birth, and/or death dates. The entries direct the researcher to many biographical and bibliographical sources not found on web site searches, and many of the resources offer additional references. Several individual listings provide gallery referrals and catalog auction dates, which can be used to buy or sell a particular artist's work. The use of Abstract Artists Signatures and Monograms: An International Directory provides the researcher a reference tool not duplicated elsewhere—one that will save many hours of research.

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