Search results for ""Author Lee Hendrix""

Due to the technological advances of the nineteenth century, an abundance of black drawing media exploded onto the market. Charcoal, conte crayon, and fabricated black chalks and crayons; fixatives; various papers; and many lifting devices gave rise to an unprecedented amount of experimentation. Indeed, innovation became the rule, as artists developed their own unique-and often experimental-processes. The exploration of black media in drawing is inextricably bound up with the exploration of black in prints, and this volume presents an integrated study that rises above specialization in one over the other. This richly illustrated catalogue brings together such diverse artists as Francisco de Goya, Maxime Lalanne, Gustave Courbet, Odilon Redon, and Georges Seurat and explores their inventive works on paper. Sidelining labels like "conservative" or "avant-garde," the essays in this book employ all the tools that art history and modern conservation have given us, inviting the reader to look more broadly at the artists' methods and materials. This volume accompanies an exhibition of the same name on view at the J. Paul Getty Museum from February 9 to May 15, 2016.

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The court of Holy Roman Emperor Rudolf II produced nothing more amazing than the "Mira calligraphiae monumenta", a brilliant demonstration of two arts-calligraphy and miniature painting. The project began when Rudolf's predecessor, Ferdinand I, commissioned master calligrapher Georg Bocskay to create a model book of calligraphy. A preeminent scribe, Bocskay assembled a vast selection of contemporary and historic scripts. Years later, at Rudolf's behest, miniaturist Joris Hoefnagel filled the spaces on each manuscript page with insects, fruits, flowers, and other botanical images. The combination of word and illustration is rare and, on its tiny scale, constitutes one of the marvels of the Central European Renaissance. Nature Illuminated reproduces forty-one pages from the original codex. Those who love and collect beautiful books will be endlessly fascinated by Hoefnagel's imagery and invention. The accompanying commentary identifies and explains the details of Hoefnagel's exquisitely crafted illuminations.

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Most people only consider the Mississippi River when they cross it or when it inconveniently abandons its banks. But every year, millions of tons of cargo are transported by towboats on the river. In this volume, Captain Lee Hendrix provides unique insight on people who work and live on and near the Mississippi River.

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Now back in print, "the ultimate book-lover's gift book" (Los Angeles Times) In 1561-62 the master calligrapher Georg Bocskay (died 1575), imperial secretary to the Holy Roman Emperor Ferdinand I, created Mira calligraphiae monumenta (Model Book of Calligraphy) as a demonstration of his own preeminence among scribes. Some thirty years later, Ferdinand's grandson, the Emperor Rudolf II, commissioned Europe's last great manuscript illuminator, Joris Hoefnagel (1542-1600), to embellish the work. The resulting book is at once a treasury of extraordinary beauty and a landmark in the cultural debate between word and image. Bocskay assembled a vast selection of contemporary and historical scripts for a work that summarized all that had been learned about writing to date-a testament to the universal power of the written word. Hoefnagel, desiring to prove the superiority of his art over Bocskay's words, employed every resource of illusionism, color, and form to devise all manner of brilliant grotesques, from flowers, fruit, insects, and animals to monsters and masks.

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Between 1561 and 1562 Georg Bocskay, secretary to Emperor Ferdinand I, assembled a large selection of contemporary and historical writings in the Mira Calligraphiae Monumenta, in an attempt to demonstrate his technical skill as a court scrivener. Around thirty years later, Ferdinand’s grandson, Emperor Rudolf II commissioned Joris Hoefnagel, one of the last great European manuscript illuminators, to provide exclusive illuminations for the pages. Currently in the collection of the J. Paul Getty Museum, this unique book—the only one worldwide—was fi rst published in facsimile form in 1993, with extensive commentary by Lee Hendrix and Thea Vignau-Wilberg. Now, at last, there is a newly produced facsimile edition in German. Besides biographies of these two exceptional artists, as well as an analytical observation of the role the manuscript played in the careers of both, Hoefnagel’s illuminations are examined more closely. An indispensable volume for anyone interested in design, typography, manuscript illumination, and exquisite craftsmanship. “The ultimate book-lover’s gift book,” raves The Los Angeles Times.

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