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The first full-color book to examine Jewish American painters and their works.
This timely follow-up to Conway's highly successful Marine Art of Geoff Hunt (2004) presents the considerable artistic output of Britain's leading marine painter since 2003. This new volume is heavily illustrated with images ranging from large paintings to sketchbook drawings with text written by the artist himself. The new book reflects Hunt's developing career during a time in which he served a five-year term as President of the Royal Society of Marine Artists, worked on large-scale paintings such as the definitive Mary Rose,and also completed numerous outdoor sketches and paintings. The book is divided into six sections: 1. The Sea Painter's World, an introduction to the artist's studio work at Merton Place, London and his plein air work on the River Thames; 2. Home Waters; 3. The Mediterranean; 4. In the Wake of Nelson; 5. North America and 6. The West Indies and Beyond. This concept sets Geoff's work in a broadly geographical context, showcasing the artist's freer plein air style alongside the exhaustively researched maritime history paintings to which he owes his standing as Britain's leading marine artist.
The author examines issues such as the rightness of web-based applications, the programming language renaissance, spam filtering, the Open Source Movement, Internet startups and more. He also tells important stories about the kinds of people behind technical innovations, revealing their character and their craft.
This title looks at 50 major artists and discusses other artists whom they have influenced or been influenced by.
In the nineteenth century, the Académie des Beaux Arts, and institution of central importance to the artistic life of France for over two hundred years, yielded much of its power to the present system of art distribution, which is dependent upon critics, dealers, and small exhibitions. In Canvases and Careers, Harrison and Cynthia White examine in scrupulous and fascinating detail how and why this shift occurred. Assimilating a wide range of historical and sociological data, the authors argue convincingly that the Academy, by neglecting to address the social and economic conditions of its time, undermined its own ability to maintain authority and control. Originally published in 1965, this ground-breaking work is a classic piece of empirical research in the sociology of art. In this edition, Harrison C. White's new Foreword compares the marketing approaches of two contemporary painters, while Cynthia A. White's new Afterword reviews recent scholarship in the field.
This anonymous manuscript play has long been the subject of scholarly dispute regarding its relationship with Shakespeare's Richard II. This edition, which thoroughly re-examines the text, situates the play within its historical and political context, relating it to the genre of chronicle drama to which it belongs. The manuscript is of particular interest in that it appears to have been used in the playhouse over a considerable period of time and contains what seems to be evidence of the theatre practice of the time. The play is also of special interest for its skilful and original handling of source material which may well have influenced Shakespeare's Richard II. The extensive appendices drawn from Holinshed, Grafton and Stow provide the reader with the opportunity to investigate the manner in which the dramatist has shaped the material. The editors argue for the play's stage-worthiness and dramatic complexity, suggesting that its range both of dramatic tone and social inclusiveness indicate the work of a dramatist of considerable skill and subtlety, equal or superior to the Shakespeare of the Henry VI plays.
In 1948 Andrew Wyeth produced what would become one of the most iconic paintings in American art: a desolate landscape featuring a woman lying in a field, that he called "Christina's World." The woman in the painting, Christina Olson, lived in Cushing, Maine, where Wyeth and his wife kept a summer house. She suffered from polio, and was paralyzed from the waist down; Wyeth was moved to portray her when he saw her one day crawling through the field towards her house. "Christina's World" was to become one of the most well-loved and most scorned works of the twentieth century, igniting heated arguments about parochialism, sentimentality, kitsch and elitism that have continued to dog the art world and Wyeth's own reputation, even after the artist's death in 2009. An essay by MoMA curator Laura Hoptman revisits the genesis of the painting, discussing Wyeth's curious focus, over the course of his career, on a deliberately delimited range of subjects and exploring the mystery that continues to surround the enigmatic painting.
Unlike many other art books only give recipes for mixing colors or describe step-by-step painting techniques, *Color and Light* answers the questions that realist painters continually ask, such as: "What happens with sky colors at sunset?", "How do colors change with distance?", and "What makes a form look three-dimensional?" Author James Gurney draws on his experience as a plain-air painter and science illustrator to share a wealth of information about the realist painter's most fundamental tools: color and light. He bridges the gap between abstract theory and practical knowledge for traditional and digital artists of all levels of experience.