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The beauty and spirit of coastal landscapes and waterways captured and celebrated in art Painting the Southern Coast: The Art of West Fraser is a stunning collection of the works of West Fraser, one of the nation's most respected painters of representational art. A mastery of his medium and the scope of work ensure his place in southern art history. A true son of the lowcountry, Fraser has dedicated much of his career to capturing the lush, primordial beauty of the Southeast's coastal regions that have been altered by man and time. The 260 works in this book are representative of the sketches, studies, and finished paintings he has generated over his nearly forty-year career, works that depict coastal locales from Winyah Bay, South Carolina, to St. Augustine, Florida, and include Charleston, Hilton Head, Savannah, and the islands of the lowcountry through the Golden Isles of Georgia. Fraser's goal with each of his paintings is to create a portrait of what he calls "my country." He captures on canvas not only the visual beauty of the landscape, but the spirit and soul of each place. From the sultry streets of Savannah to the winding waterways and unique environs of the region's sea islands, the works included offer a view of the land he loves. Fraser augments his visual tour of the coast with original maps of the region and location coordinates of each painting, enhancing the viewer's knowledge and appreciation of the region as well as Fraser's artistic gift. Painting the Southern Coast: The Art of West Fraser includes essays by Jean Stern, executive director of the Irvine Museum, and Martha R. Severens, Greenville County Museum of Art curator (1992-2010) and authority on southern art. Fraser has also written an autobiographical essay in which he discusses the experiences and influences that have shaped his work and his life as one of America's noted landscape artists.
The British Museum's collection of South Indian paintings consists of around 1000 items ranging from the 17th to the 20th century and representing a wide variety of themes and techniques. Only a very few examples from this major collection have been published before. In this book the collection will be catalogued in full, and 250 of the most important items will be reproduced in colour. The paintings will be described and listed according to the their topics (Hindu mythology; castes, trades and occupations; natural history drawings; painted narratives; India observed) and according to the medium on which they were executed (paper, cloth, leather, mica). Each section will begin with a brief introduction outlining the essential stylistic and iconographic features. Among this material are a number of highly interesting albums such as a set of 91 paintings depicting Hindu mythology, dating from the early decades of the 19th century. More unusual items are the long painted scrolls from Andhra illustrating local mythological narratives, the painted cloths from Tamil Nadu depicting the Ramayana epic, and paintings on paper used by the storytellers of northern Karnataka.
An account of the pictures and people that have played a role in the modern history of South African art. The story opens in the second half of the 19th-century and charts the course of modern South African painting, from the descriptive records of the Africana painters, through the various experimental forms of modernism, to the revisionist perceptions of end-of-the-century South Africa.
Collects the best artwork created before, during and following the Civil War, in the years between 1859 and 1876, along with extensive quotations from men and women alive during the war years and text by literary figures, including Emily Dickinson, Mark Twain and Walt Whitman. 15,000 first printing.
Studio of the South tells the fascinating story of Van Gogh's time in Arles and the Yellow House.
Abundantly illustrated, this essential volume examines depictions of the Underworld in southern Italian vase painting and explores the religious and cultural beliefs behind them. What happens to us when we die? What might the afterlife look like? For the ancient Greeks, the dead lived on, overseen by Hades in the Underworld. We read of famous sinners, such as Sisyphus, forever rolling his rock, and the fierce guard dog Kerberos, who was captured by Herakles. For mere mortals, ritual and religion offered possibilities for ensuring a happy existence in the beyond, and some of the richest evidence for beliefs about death comes from southern Italy, where the local Italic peoples engaged with Greek beliefs. Monumental funerary vases that accompanied the deceased were decorated with consolatory scenes from myth, and around forty preserve elaborate depictions of Hades’s domain. For the first time in over four decades, these compelling vase paintings are brought together in one volume, with detailed commentaries and ample illustrations. The catalogue is accompanied by a series of essays by leading experts in the field, which provides a framework for understanding these intriguing scenes and their contexts. Topics include attitudes toward the afterlife in Greek ritual and myth, inscriptions on leaves of gold that provided guidance for the deceased; funerary practices and religious beliefs in Apulia, and the importance accorded to Orpheus and Dionysos. Drawing from a variety of textual and archaeological sources, this volume is an essential source for anyone interested in religion and belief in the ancient Mediterranean.
Published in conjunction with an exhibition held at the Metropolitan Museum of Art, New York, Sept. 28, 2011-Jan. 8, 2012.
A detailed account of Canadian involvement in South Africa's Anglo-Boer War and the impact it had on the country during the years 1899-1902 and beyond. Includes a few bandw photographs. Canadian card order no. C92-090380-0. Annotation copyrighted by Book News, Inc., Portland, OR
This exhibition sets the art of Edward Hopper in the context of the diverse and controversial movements dominating American art during the first half of the twentieth century.
Scholarly essays on the achievements of female artists working in and inspired by the American South Looking back at her lengthy career just four years before her death, modernist painter Nell Blaine said, "Art is central to my life. Not being able to make or see art would be a major deprivation." The Virginia native's creative path began early, and, during the course of her life, she overcame significant barriers in her quest to make and even see art, including serious vision problems, polio, and paralysis. And then there was her gender. In 1957 Blaine was hailed by Life magazine as someone to watch, profiled alongside four other emerging painters whom the journalist praised "not as notable women artists but as notable artists who happen to be women." In Central to Their Lives, twenty-six noted art historians offer scholarly insight into the achievements of female artists working in and inspired by the American South. Spanning the decades between the late 1890s and early 1960s, this volume examines the complex challenges these artists faced in a traditionally conservative region during a period in which women's social, cultural, and political roles were being redefined and reinterpreted. The presentation—and its companion exhibition—features artists from all of the Southern states, including Dusti Bongé, Anne Goldthwaite, Anna Hyatt Huntington, Ida Kohlmeyer, Loïs Mailou Jones, Alma Thomas, and Helen Turner. These essays examine how the variables of historical gender norms, educational barriers, race, regionalism, sisterhood, suffrage, and modernism mitigated and motivated these women who were seeking expression on canvas or in clay. Whether working from studio space, in spare rooms at home, or on the world stage, these artists made remarkable contributions to the art world while fostering future generations of artists through instruction, incorporating new aesthetics into the fine arts, and challenging the status quo. Sylvia Yount, the Lawrence A. Fleischman Curator in Charge of the American Wing at the Metropolitan Museum of Art, provides a foreword to the volume. Contributors: Sara C. Arnold Daniel Belasco Lynne Blackman Carolyn J. Brown Erin R. Corrales-Diaz John A. Cuthbert Juilee Decker Nancy M. Doll Jane W. Faquin Elizabeth C. Hamilton Elizabeth S. Hawley Maia Jalenak Karen Towers Klacsmann Sandy McCain Dwight McInvaill Courtney A. McNeil Christopher C. Oliver Julie Pierotti Deborah C. Pollack Robin R. Salmon Mary Louise Soldo Schultz Martha R. Severens Evie Torrono Stephen C. Wicks Kristen Miller Zohn