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A whimsical story and coloring book for children and adults that follows the Beach Bunnies as they go on a seaside vacation.
Look around and select a subject that you can see painted. That will paint itself. Do the obvious thing before you do the superhuman thing. It may have been accidental, but you knew enough to let this alone. The good painter is always making use of accidents. Never try to repeat a success. Swing a bigger brush — you don’t know what fun you are missing. For 31 years, Charles Hawthorne spoke in this manner to students of his famous Cape Cod School of Art. The essence of that instruction has been collected from students’ notes and captured in this book, retaining the personal feeling and the sense of on-the-spot inspiration of the original classroom. Even though Hawthorne is addressing himself to specific problems in specific paintings, his comments are so revealing that they will be found applicable a hundred times to your own work. The book is divided into sections on the outdoor model, still life, landscape, the indoor model, and watercolor. Each section begins with a concise essay and continues with comments on basic elements: general character, color, form, seeing, posture, etc. It is in the matter of color that students will especially feel themselves in the presence of a master guide and critic. Hawthorne’s ability to see color and, more important, to make the student see color, is a lesson that will aid student painters and anyone else interested in any phase of art. Although it does not pretend to be a comprehensive or closely ordered course, this book does have much to offer. It also represents the artistic insight of one of the finest painter-teachers of the twentieth century. "An excellent introduction for laymen and students alike." — Time "To read these notes and comments … is in itself an education. One cannot help but gain great help." — School Arts
This book features 45 Cape Cod artists working in abstraction, displaying more than 400 images of their work. Based on her interviews with the artists, the author writes about their aspirations and approaches. The art, which include paintings, photographs, sculpture, and prints, show a range of approaches to abstraction, from those that include an interpreted element of the real world to others that are completely non-objective. Learn about the artists' lives, their inspirations, how they proceeded on the path to abstraction, and the ideas behind their works. Abstraction's place in art history is explored, as well as its relationships to other movements. The narrative gives insight into the creative talents of the artists and provides an understanding of abstract art in relationship to the world art scene.
"Cunningham's short book is a haunting, beautiful piece of work. . . . A magnificent work of art." -The Washington Post "Easily read on a plane-and-ferry journey from here to the sandy, tide-washed tip of Cape Cod, Massachusetts, Land's End is that most perfect of companions: slender, eloquent, enriching, and fun. . . . A casually lovely ode to Provincetown." -The Minneapolis Star Tribune "Cunningham rambles through Provincetown, gracefully exploring the unusual geography, contrasting seasons, long history, and rich stew of gay and straight, Yankee and Portuguese, old-timer and 'washashore' that flavors Cape Cod's outermost town. . . . Chock-full of luminous descriptions . . . . He's hip to its studied theatricality, ever-encroaching gentrification and physical fragility, and he can joke about its foibles and mourn its losses with equal aplomb." -Chicago Tribune "A homage to the 'city of sand'. . . Filled with finely crafted sentences and poetic images that capture with equal clarity the mundanities of the A&P and Provincetown's magical shadows and light . . . Highly evocative and honest. It takes you there." -The Boston Globe
In the summer of 1937, Walter Gropius, founder of the Bauhaus, rented a house on Planting Island, near the base of Cape Cod. Thus began a chapter in the history of modern architecture that has never been told _until now. The area was a hotbed of intellectual currents from New York, Boston, Cambridge and the country's top schools of architecture and design. Avant-garde homes began to appear in the woods and on the dunes; by the 1970s, there were about 100 modern houses of interest here.
Master Impressionism with an art-instruction classic. Impressionism has inspired generations of American artists. And no one has done more for the cause of American Impressionism than Charles Hawthorne, the founder of the Cape Cod School of Art. In Painting the Impressionist Landscape, author and artist Lois Griffel explores Hawthorne’s theories about color and light in depth. Griffel, the longtime director of the school Hawthorne founded, teaches his philosophy like no other painter can, with inspiring step-by-step painting lessons and illuminating text. A true classic of art instruction, Painting the Impressionist Landscape has sold more than 30,000 copies in hardcover in the fifteen years since it was first published. Now a new generation of painters can bring impressionism into their work with this convenient and affordable paperback edition.
Perfect for fans of Amulet, Sidekicks, and Zita the Spacegirl, this graphic novel series debut introduces Stretch and Brella, a pair of ordinary brothers whose extraordinary yard sale discovery turns them into superheroes Tuck and Hudson are just two average suburban brothers—until their mother buys them a scarf and an umbrella at a yard sale. Quickly, the brothers realize that these ordinary-looking objects are full of magic, and that, with the help of their squirrel sidekick, they can use that magic to fight evil. As the boys move from fighting their neighborhood nemesis to facing bigger foes, they become Stretch and Brella, the unstoppable brother superhero duo. Soon, Stretch and Brella find themselves in another realm, where they take on enormous dragons and an evil knight in an incredible graphic novel adventure.
This first full-length account of the Darby School of Art overturns Philadelphia’s long-held unwarranted reputation and demonstrates that Philadelphia was a hub of avant-garde painting in the early twentieth century. This first full-length account of the Darby School of Art overturns Philadelphia’s long-held unwarranted reputation as artistically stodgy—unwilling and unable to embrace Impressionism, post-Impressionist, and abstract art—and demonstrates that Philadelphia was more avant-garde in the early twentieth century than previously thought. This is the story of an almost completely forgotten summer art school that flourished first in Darby, PA, and then in Fort Washington, PA, between 1898 and 1918. The Darby School of Art was founded and operated by Thomas Anshutz and Hugh Breckenridge, two artists who taught during the academic year at the Pennsylvania Academy of the Fine Arts. Anshutz and Breckenridge brought a lot of new ideas about painting back to Philadelphia after their European sojourns, and introduced those ideas to a public that was initially not very responsive to Impressionism, Post-Impressionism, and semi-abstract art. But an appreciation for modern styles of painting began to slowly grow among Philadelphia artists and collectors, and Anshutz and Breckenridge were in the forefront of this development. They also sympathized with what some have called the "New Woman" movement, which backed women who wanted to pursue careers outside of the home. In this new history, expert Mark Sullivan argues that the Philadelphia area was a genuine hub of avant-garde painting in the early twentieth century, even though it has earned the reputation of lagging far behind New York City in its openness to new styles of painting. It also discusses how the Darby School should be recognized as an institution that got behind the idea of women as professional artists at a time when that concept was quite radical.
Kathryn Kleekamp uses her paintings and historic photographs to accompany her text, which evokes the ambiance and nature of Cape Cod and the islands of Nantucket and Martha's Vineyard.