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Capture the Charm and Tranquility of the Country Nothing pleases the eye and stirs the senses quite like landscape paintings. Now you can experience the joy and satisfaction of painting your own charming country scenes with this complete step-by-step guide. Inside you'll find 10 start-to-finish painting demonstrations that empower you to paint a range of realistic pastoral scenes, from dancing waterfalls and mountain pines to fragrant fields and rolling farmland.Instruction includes: • Five step-by-step demonstrations in acrylic and five step-by-step demonstrations in oil with a conversion chart for using either medium successfully for any project • Beginner-friendly introductory chapters that cover the basics of capturing light, value, color and texture • In-depth guidance for learning how to create dynamic compositions using your own photos and references • Subjects spanning a variety of seasons and country vistas Every delicate detail is clearly illustrated with hand-in photographs, so you can achieve complete success with each composition. Whether you're a seasoned painter, or you just want to try your hand at a new subject or medium, Painting Peaceful Country Landscapes is the perfect guide for you. Great painting awaits. Pick up a brush and start today!
Paint the charm of country scenes These tranquil scenes let you create your very own painter's retreat with a luminous sunset, a quiet cottage, a refreshing coastline and peaceful streams meandering past mills. It's easy and fun when you paint along with Dorothy Dent. With 10 step-by-step projects, suitable for both beginners and more accomplished painters, Dorothy shares her easy-to-follow techniques for painting realistic landscapes. Learn how to paint: • Rich autumn foliage • The vivid greens of spring • Colorful reflections found in still water • Glowing light from a window on a starry night • Snow-capped mountains created with a palette knife You'll also learn valuable principles such as consistent highlights and shadows, how to contrast lights and darks and how to use textures, colors and values. Dorothy shows you exactly how to hold the brush and position the bristles against the canvas so you can make confident brushstrokes. Each painting also features a special Seeing with the Artist's Eye section that teaches you the artistic principles that take a painting from average to extraordinary.
Paint with passion, purpose and pleasure What do you want your landscape painting to say about this place, this moment? How do you use the visual vocabulary - line, shape, value, color, edges - to say it? With this book, your conversation with nature will direct your brush. With an exhilarating, synergistic combination of indoor and outdoor painting, Kevin Macpherson shows you how to create personal, poetic landscapes that capture the feeling of being there. Learn how to: • Use a limited palette in a way that is more liberating than limiting • Experience nature to the fullest and capture its vibrancy back in the studio through photos, sketches and outdoor studies • Cope with the fleeting qualities of atmosphere and light by establishing a value plan early and sticking with it • Incorporate impressionistic touches of broken color to give your landscape a depth and vibrancy that enhances its realism • Approach painting as a layering and corrective process that encourages non-formulaic solutions Stimulating warm-up exercises in the studio prepare you for your adventures outside, while eight step-by-step demonstrations show you how to put these methods into action. Throughout, Macpherson's own light-filled landscapes illustrate the power of these techniques. Full of fresh air and fresh art, Landscape Painting Inside and Out will guide and encourage beginners while challenging more accomplished artists to bring greater vitality and a more natural, less formulaic finish to their paintings.
Includes, beginning Sept. 15, 1954 (and on the 15th of each month, Sept.-May) a special section: School library journal, ISSN 0000-0035, (called Junior libraries, 1954-May 1961). Also issued separately.
Focusing on an era that both inherited and irretrievably altered the form and the content of earlier art production, The Art-Journal and Fine Art Publishing in Victorian England, 1850-1880 argues that fine art practices and the audiences and markets for them were influenced by the media culture of art publishing and journalism in substantial and formative ways, perhaps more than at any other time in the history of English art. The study centers on forms of Victorian picture-making and the art knowledge systems defining them, and draws on the histories of art, literature, journalism, and publishing. The historical example employed in the book is that of the more than 800 steel-plate prints after paintings published in the London-based Art-Journal between 1850 and 1880. The cultural phenomenon of the Art Journal print is shown to be a key connector in mid-Victorian art appreciation by drawing out specific tropes of likeness. This study also examines the important links between paint and print; the aesthetic values and domestic aspirations of the Victorian middle class; and the inextricable intertwining of fine art and 'trade' publishing.
Boundary making, a crucial element in human cultural creativity, links these essays exploring Chinese art and society. Traversing time and cultural category, individual expression and social construct, the authors demonstrate how a 'boundary' may exist simultaneously as barrier, threshold and interface. The essays range from the creation of the first political and bureaucratic boundaries in early China, to the dismantling of discursive boundaries in the post-Mao era. Spanning diverse subjects, moving between ancient funerary art and the tension between self and image in modern Peking Opera, they deftly explore the psychodynamics of Chinese society. All the authors in this book are established Sinologists. Boundaries in China will be stimulating reading for anyone interested to see how the seemingly tangential or peripheral can turn out to be of central concern in non-Western (and perhaps also Western) art and culture.
Art in Zion deals with the link between art and national ideology and specifically between the artistic activity that emerged in Jewish Palestine in the first decades of the twentieth century and the Zionist movement. In order to examine the development of national art in Jewish Palestine, the book focuses on direct and indirect expressions of Zionist ideology in the artistic activity in the yishuv (the Jewish community in Palestine). In particular, the book explores two major phases in the early development of Jewish art in Palestine: the activity of the Bezalel School of Art and Crafts, and the emergence during the 1920s of a group of artists known as the Modernists.