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When renowned Mississippi artist Walter Anderson read Don Quixote or the Iliad, he heightened the intensity of his engagement with each by creating line drawings of the characters on typing paper. Each morning his wife, Agnes Grinstead Anderson, collected the many sheets the painter casually discarded in a night's reading and drawing. Along with thousands of paintings, sculptures, block prints, and writings, Walter Anderson (1903-1965) created over 9,500 pen-and-ink illustrations of scenes from Don Quixote, Paradise Lost, Pope's Iliad, and Bulfinch's Legends of Charlemagne. He also drew inspiration from such sources as Paradise Regained, Temora from The Poems of Ossian, The Rime of the Ancient Mariner, Alice in Wonderland, and Darwin's The Voyage of the Beagle. In Illustrations of Epic and Voyage, Redding S. Sugg, Jr., has brought together 120 of Anderson's pen-and-ink drawings based on the artist's reading of literature. Sugg has divided the illustrations into three categories: "Figures and Attitudes," composed of single figures; "Scenes," featuring interactions among characters; and "Sequences," consisting of series of scenes from books. Illustrations of Epic and Voyage includes a contextual introduction by Sugg, as well as captions describing each illustration. Walter Anderson was an astonishingly prolific artist renowned for his matchless style and fierce independence. Redding S. Sugg, Jr., is the editor of books on Walter Anderson and author of Motherteacher: The Feminization of American Education among others.
A selection from the 9,500 pen-&-ink illustrations made by Walter Inglis Anderson (1903-65), a Louisiana and Mississippi artist whose block prints, pottery, and watercolors are widely known. These 120 illustrations are inspired by the literature of epic and voyage. For Anderson the act of creation was everything. A recluse who suffered from mental illness, he seldom exhibited his work and took few pains to preserve it. He made them at night, while reading the literature, and each morning his wife collected the drawings. In spite of his solid credentials and the superior quality of his work, Anderson1s art has remained relatively unknown.
This illustrated volume celebrates the centennial of one of the South's greatest artists.
A retelling of Homer's The Odyssey.
A further relevation of the especial talents of the Ocean Springs, Mississippi, artist, Walter Inglis Anderson. The Horn Island Logs of Walter Inglis Anderson (Memphis, 1973), A Painter’s Psalm (Memphis, 1978) and the award-winning film, The Islander (1978) examined Anderson as a poet, writer, potter, naturalist, watercolorist, and muralist. Here Redding Sugg introduces us to Anderson as an illustrator of classic literature. Walter Anderson’s legacy includes at least 9,500 graphic ren­derings of characters and scenes from classic literature. From this prodigious output Sugg has selected 120 pen-and-ink illus­trations for this book. In his Introduction Sugg provides a bio­graphical sketch plus an analytical evaluation of this fascinating artist’s work. The book is divided into three categories: “Figures and Atti­tudes,” composed of single figures such as Polydamas, Priam, Ros-cranna, Orlando, Angelica, and Don Quixote; “Scenes,” featuring interactions between characters; and “Sequences,” consisting of series from Pope’s Iliad, Don Quixote, Paradise Lost, and Bullfinch’s Legends of Charlemagne. Each series creates the illusion of movement, as in an animated cartoon. Other illustrations are from Paradise Regained, Temora from The Poems of Ossian, The Rime of the Ancient Mariner, Faust, and Darwin’s The Voyage of the Beagle. Anderson drew at night, often working into the morning. Drawings accumulated, littered the table, fell to the floor. There he was content to abandon them, but his wife collected them each morning. Mrs. Anderson describes a typical scene: “Sometimes in the very early morning, when he was just stopping, I would catch him quietly feeding, with a teaspoon, coffee to a couple of very large oaktree cockroaches who seemed to be his pets, and he would laugh, gently but pointedly, when I objected… He said they were his ‘familiars.’ The illustrations seemed, certainly, to take the place of any interest in more usual things such as sex. Often, we would hear him singing Beethoven’s Seventh Symphony or the Emperor Concerto; he often worked to his own or someone else’s music.” Walter Inglis Anderson (1903–1965) studied at Parsons In­stitute, New York; was graduated from the Pennsylvania Acad­emy of the Fine Arts, Philadelphia; and studied in France on a Cresson Award. A retrospective traveling exhibition, “The World of Walter Anderson” which included ceramics, drawings, oils, prints, sculpture, and watercolors was mounted in 1967 by Brooks Memorial Art Gallery, Memphis.
The first-ever illustrated account of the explorer and cartographer’s epic eighteenth-century Pacific voyages, complete with excerpts from his journals. This is history’s greatest adventure story. In 1766, the Royal Society chose prodigal mapmaker and navigator James Cook to lead a South Pacific voyage. His orders were to chart the path of Venus across the sun. That task completed, his ship, the HMS Endeavour, continued to comb the southern hemisphere for the imagined continent Terra Australis. The voyage lasted from 1768 to 1771, and upon Cook’s return to London, his journaled accounts of the expedition made him a celebrity. After that came two more voyages for Cook and his crew—followed by Cook’s murder by natives in Hawaii. The Voyages of Captain James Cook reveals Cook’s fascinating story through journal excerpts, illustrations, photography, and supplementary writings. During Cook’s career, he logged more than 200,000 miles—nearly the distance to the moon. And along the way, scientists and artists traveling with him documented exotic flora and fauna, untouched landscapes, indigenous peoples, and much more. In addition to the South Pacific, Cook’s voyages took him to South America, Antarctica, New Zealand, the Pacific Coast from California to Alaska, the Arctic Circle, Siberia, the East Indies, and the Indian Ocean. When he set out in 1768, more than one-third of the globe was unmapped. By the time Cook died in 1779, he had created charts so accurate that some were used into the 1990s. The Voyages of Captain James Cook is a handsome illustrated edition of Cook’s selected writings spanning his Pacific voyages, ending in 1779 with the delivery of his salted scalp and hands to his surviving crewmembers. It’s an enthralling read for anyone who appreciates history, science, art, and classic adventure.
An illustrated account of life on board the Endeavour and its epic journey into the unknown between 1768 and 1771. Captain James Cook's voyage resulted in the mapping of New Zealand and the east coast of Australia. According to the British government (who wished to deceive the world of its true purpose) it was merely a scientific expedition to observe the transit of the planet Venus across the Sun, a measurement that could help establish the scale of the universe itself. The real purpose was to find Terra Australis. Peter Aughton's narrative brings to life the main characters.
The epic poems the Iliad and the Odyssey, attributed to Homer, are among the oldest surviving works of literature derived from oral performance. Deeply embedded in these works is the notion that they were intended to be heard: there is something musical about Homer's use of language and a vivid quality to his images that transcends the written page to create a theatrical experience for the listener. Indeed, it is precisely the theatrical quality of the poems that would inspire later interpreters to cast the Odyssey and the Iliad in a host of other media-novels, plays, poems, paintings, and even that most elaborate of all art forms, opera, exemplified by no less a work than Monteverdi's Il ritorno di Ulisse in patria. In Performing Homer: The Voyage of Ulysses from Epic to Opera, scholars in classics, drama, Italian literature, art history, and musicology explore the journey of Homer's Odyssey from ancient to modern times. The book traces the reception of the Odyssey though the Italian humanist sources—from Dante, Petrarch, and Ariosto—to the treatment of the tale not only by Monteverdi but also such composers as Elizabeth Jacquet de la Guerre, Gluck, and Alessandro Scarlatti, and the dramatic and poetic traditions thereafter by such modern writers as Derek Walcott and Margaret Atwood.
A lively account of one of the greatest naval battles in history retraces the fateful journey of the Tsar's armada from the Suez Canal to the Korea Straight, where it was destroyed by the Japanese Navy in 1905. Reprint.