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Former detective Alexander Dick receives a grisly and taunting invitation from the serial murderer the media calls Rembrandt. Five years earlier, Alec had investigated a series of Rembrandt murders in Kansas City with devastating results to his career and family. Now, Rembrandt has tracked him down in Dallas and taken up his macabre art in the night-life haunts of the city. Through the course of the investigation, Alec is provided with unique allies: Jennifer Wilson, a psychic sometimes engaged by the police in missing persons cases, and Michael Bennett, the singer and lyricist for a local heavy metal band, Brothers Grim. As Rembrandt begins claiming victims--young women stripped nude and painted with their own blood--Alec, Jennifer, and Michael must work together to try to catch Rembrandt before he kills again, a venture that hurtles them towards an inevitable encounter and a stunning conclusion.
Bringing together 17 works from private and public collections across the globe, this will be the first museum exhibition of Saville?s work ever to be held in Scotland, and only her third in the UK. The selection spans 26 years, from iconic early paintings such as Propped (1992) and Trace (1993-4), to recent charcoal and pastel drawings, demonstrating how Saville?s approach to depicting the human body has shifted over the course of her career. Other highlights will include a series of large-scale head paintings, such as Rosetta II (2005-6), made while the artist was based in Italy, and the premier of a major new work, Aleppo (2017-18), which is at the Scottish National Gallery alongside historic works from the collection.00Exhibition: Scottish National Gallery of Art, Edinburgh, UK (24.03.-16.09.2018).
After having observed the operations of reconstructive surgery and aesthetic surgery, acclaimed figurative painter Jenny Saville was eager to express the violence and anesthetized pain of this experience in her own work. She and fashion photographer Glenn Luchford thus began an artistic collaboration that captures the full range of color, tonality, and topography of live flesh, in large photographic tableaux that portray Saville's own body. Distortions confront and coerce the viewer into an examination of his or her own body and the grotesqueries and beauties inherent within; the images likewise recall biological specimens preserved, disembodied, and disfigured. The collusion of the art and fashion worlds has produced many hybrids in recent years, yet none perhaps none as intensely striking as this series.
Former detective Alexander Dick receives a grisly and taunting invitation from the serial murderer the media calls Rembrandt. Five years earlier, Alec had investigated a series of Rembrandt murders in Kansas City with devastating results to his career and family. Now, Rembrandt has tracked him down in Dallas and taken up his macabre art in the night-life haunts of the city. Through the course of the investigation, Alec is provided with unique allies: Jennifer Wilson, a psychic sometimes engaged by the police in missing persons cases, and Michael Bennett, the singer and lyricist for a local heavy metal band, Brothers Grim. As Rembrandt begins claiming victims--young women stripped nude and painted with their own blood--Alec, Jennifer, and Michael must work together to try to catch Rembrandt before he kills again, a venture that hurtles them towards an inevitable encounter and a stunning conclusion.
The Anatomical Tattoo is an introduction to the growing phenomenon of anatomical imagery as tattoos and highlights the best examples in the world today. Working with over 80 tattoo artists from across the globe, this book showcases this fascinating new trend by documenting more than 150 anatomical tattoos. From historical anatomical engravings, to contemporary interpretations of medical illustration, the breadth of anatomical content and subject matter makes the collection of tattoos in this book as unique as the tattoos themselves.
Fleshing out surfaces is the first English-language book on skin and flesh tones in art. It considers flesh and skin in art theory, image making and medical discourse in seventeenth to nineteenth-century France. Describing a gradual shift between the early modern and the modern period, it argues that what artists made when imitating human nakedness was not always the same. Initially understood in terms of the body's substance, of flesh tones and body colour, it became increasingly a matter of skin, skin colour and surfaces. Each chapter is dedicated to a different notion of skin and its colour, from flesh tones via a membrane imbued with nervous energy to hermetic borderline. Looking in particular at works by Fragonard, David, Girodet, Benoist and Ingres, the focus is on portraits, as facial skin is a special arena for testing painterly skills and a site where the body and the image become equally expressive.