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An Authoritative, Comprehensive Guide for Contemporary Figurative Artists At a time when renewed interest in figurative art is surging throughout the art world, author Robert Zeller presents The Figurative Artist’s Handbook—the first comprehensive guide to figure drawing and painting to appear in decades. Illustrated with Zeller’s own exquisite drawings and paintings as well as works by nearly 100 historical and contemporary figurative art masters, the handbook is also a treasure trove of the finest figurative art of the past and the present day. Included are Michelangelo, Pieter Brueghel the Elder, Peter Paul Rubens, Jean-Auguste-Dominique Ingres, Gustav Klimt, Edward Hopper, Andrew Loomis, Andrew Wyeth, Lucian Freud, Odd Nerdrum, Eric Fischl, Bo Bartlett, Steven Assael, John Currin, and many others. Original and thoroughly modern in his approach, Zeller brings together three figure-drawing methods long thought to be at odds, synthesizing these seemingly incompatible techniques to achieve a cohesive and complete understanding of the human figure. Although all three methods underlie contemporary fine-arts practice and education, no artist’s handbook has ever combined them before: The Study of Gesture (Disegno): Rooted in the Italian Mannerist style of the 16th and 17th centuries, the gestural method emphasizes life, rhythm, and movement in the human body. The Structural Approach: A mainstay of 20th- and 21st-century art instruction, this method applies an architectural perspective to the body, using a block conception for anatomically sound, solid figures. The Atelier Method: Based on the training provided by 18th- and 19th-century art academies, the atelier approach creates sensual, smooth renderings based on meticulous study of the figure’s surface morphology in light and shadow. Covering all the basics as well as many advanced techniques, The Figurative Artist’s Handbook is aimed at both students and experienced artists. A practical, how-to guide, it provides in-depth step-by-step instruction and—rare among figure-drawing books—features sections on composition, portraiture, and painting. Chapters on creativity and on using a sketchbook help readers hone their artistic vision and evolve ideas from the initial inspiration to the fully developed work. Also included is an extensive section highlighting the great movements in figurative art throughout history—from ancient Egypt and Greece to the present.
"An indispensable tool ... for the student of Surrealism and book illustration ... [and] also for those interested in the complicated intrications between literature and pictorial movements from Romanticism to present-day Postmodernism"--Blurb.
Sawin's rich year-by-year narrative documents the cultural transfer that took place when the greater part of the prewar Surrealist group was transplanted to the Western Hemisphere.
A revised edition of Whitney Chadwick’s seminal work on the women artists who shaped the Surrealist art movement. This pioneering book stands as the most comprehensive treatment of the lives, ideas, and art works of the remarkable group of women who were an essential part of the Surrealist movement. Leonora Carrington, Frida Kahlo, and Dorothea Tanning, among many others, embodied their age as they struggled toward artistic maturity and their own “liberation of the spirit” in the context of the Surrealist revolution. Their stories and achievements are presented here against the background of the turbulent decades of the 1920s, ’30s, and ’40s and the war that forced Surrealism into exile in New York and Mexico. Whitney Chadwick, author of the highly acclaimed Women, Art, and Society, interviewed and corresponded with most of the artists themselves in the course of her research. Women Artists and the Surrealist Movement, now revised with a new foreword by art historian Dawn Ades, contains a wealth of extracts from unpublished writings and numerous illustrations never before reproduced. Since this book was first published, it has acquired the undeniable status of a classic among artists, art historians, critics, and cultural historians. It has inspired and necessitated a revision of the story of the Surrealist movement.
Surrealism Beyond Borders challenges conventional narratives of a revolutionary artistic, literary, and philosophical movement. Tracing Surrealism's influence and legacy from the 1920s to the late 1970s in places as geographically diverse as Colombia, Czechoslovakia, Egypt, Japan, Korea, Mexico, the Philippines, Romania, Syria, Thailand, and Turkey, this publication includes more than 300 works of art in a variety of media by well-known figures—including Dalí, Ernst, Kahlo, Magritte, and Miró—as well as numerous artists who are less widely known. Contributions from more than forty distinguished international scholars explore the network of Surrealist exchange and collaboration, artists' responses to the challenges of social and political unrest, and the experience of displacement and exile in the twentieth century. The multiple narratives addressed in this expansive book move beyond the borders of history, geography, and nationality to provocatively redraw the map of Surrealism.
This book examines post-war surrealist cinema in relation to surrealism’s change in direction towards myth and magic following World War II. Intermedial and interdisciplinary, the book unites cinema studies with art history and the study of Western esotericism, closely engaging with a wide range of primary sources, including surrealist journals, art, exhibitions, and writings. Kristoffer Noheden looks to the Danish surrealist artist Wilhelm Freddie’s forays into the experimental short film, the French poet Benjamin Péret’s contribution to the documentary film L’Invention du monde, the Argentinean-born filmmaker Nelly Kaplan’s feature films, and the Czech animator Jan Svankmajer’s work in short and feature films. The book traces a continuous engagement with myth and magic throughout these films, uncovering a previously unknown strain of occult imagery in surrealist cinema. It broadens the scope of the study of not only surrealist cinema, but of surrealism across the art forms. Surrealism, Cinema, and the Search for a New Myth will appeal to film scholars, art historians, and those interested in the impact of occultism on modern culture, film, and the arts.
Traces the history of the surrealist movement, includes brief profiles of leading surrealist artists and writers, and discusses the aims of the moveme
New Surrealism introduces an overview of the history of Surrealism and then shows how the themes explored by the early Surrealists are still present in contemporary drawing and composition. Alongside a survey of contemporary Surrealism, the book also features a special section devoted to the working methods of fourteen artists from today, taking you into their studios to see how they create their artwork. The Surrealist movement may be over a hundred years old, but it is still relevant to the wide swath of contemporary artists working in seemingly unlimited variations of its original themes. Not all the artists brought together in this book self-identify as Surrealist per se, but each uses some variation on the primary themes of Surrealism in a personal and diverse manner. Many of the modalities of Surrealism still maintain contemporary currency: presenting the familiar as unfamiliar and uncanny, the juxtaposition of seemingly unrelated imagery and the use of absurdity to critique political or social issues, as well as the use of erotic imagery in an irrational, non-linear context. A seemingly ordinary scene can be alternately absurd, exotic, and sensual, allowing a window into the artist’s subconscious. Another distinguishing aspect of the Surrealist movement was its use of dream landscapes, constructing a world of one’s own, from an internal headspace within, populated by a cast of characters and themes unique to that particular artist’s vision. There are many contemporary artists who still work within that convention today. Beginning with Hieronymus Bosch and other visionary artists who were precursors of Surrealism, the book sweeps forward to Paris in 1919 to Andre Breton, the Dadaists, and the early Surrealists. The book surveys the over one hundred years of Surrealist composition, featuring a wide range of diverse artists, from the early and mid-20th century to today. The historical artists featured include Kay Sage, Leonora Carrington, Paul Delvaux, Giorgio de Chirico, Max Ernst, and many others. It also features the work of some of the most renowned contemporary artists including Inka Essenhigh, Ginny Casey, Adrian Ghenie, Anna Weyant, Vincent Desiderio, and many others who are influenced by Surrealism. In the second section, the book offers a look at their work and unique methods. Unique in its combination of critical history, up-close survey of top contemporary practitioners, and detailed art instruction, this book aims to have the same broad appeal to museum-goers, collectors, and art enthusiasts that the author’s first book, The Figurative Artist’s Handbook (Monacelli, 10.8K sold), enjoyed. And given the 2021−22 Surrealist exhibitions at the Metropolitan Museum of Art (Surrealism Beyond Borders) and at MOMA (Sophie Taeuber-Arp), and the recent addition by the New York Foundation for the Arts (NYFA) of a new grant category, “New Surrealism,” the moment is ripe for such a book.
The work of the Chinese artist Jia Aili (*1979 in Liaoning) possesses an unparalleled intensity. Whether reflecting on China's inauguration of the atomic bomb or the first satellites in 1970, the theme of Aili's oil paintings is the dramatic transformation of Chinese society over the past 50 years. The works simultaneously also convey a feeling of wonderment and fascination for the achievements and new possibilities that technological progress offers. It is a feeling Aili has particularly developed in his apocalyptic-seeming desert landscapes, which only allow space for isolated masked figures, usually astronauts. The monograph documents Aili's exhibitions over the past 10 years and shows the young Chinese artist's disparate sources of inspiration with the aid of discussions of individual works.
While Surrealism was becoming out of fashion in Europe in the 1930s, it enjoyed a growing popularity on the other side of the Atlantic. This text traces the history of this movement in the United States from about 1930 to 1950 by examining its manifestations throughout the country.