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Covers the entire history of wood engraving, including every major artist of the genre Accompanies the Scene through Wood: A Century of Wood Engraving exhibition at the Ashmolean Museum, from 28 March to 12 July 2020 The Ashmolean Museum houses one of the most extensive collections of wood engravings in the world. The collection effectively began with the gift in 1964, by Arthur Mitchell, of over 3,000 prints, including a large group of wood engravings. During the 1980s and 1990s, it expanded remarkably with acquisitions of large groups of prints, often as gifts from the artists, resulting in a succession of monographic exhibitions on some of the most important wood engravers. They included John Farleigh (1986), John Buckland Wright (1990), Clare Leighton (1992), Monica Poole (1993) and Anne Desmet (1998). A key point in this period of expansion was the acquisition of a comprehensive body of work by Gertrude Hermes and Blair Hughes-Stanton in 1995 from the artists' family, which resulted in a memorable exhibition organized by Katharine Eustace. More recently, the Ashmolean has formed a close partnership with the Society of Wood Engravers (SWE) and has been keeping the collection up to date by acquiring work by members, both at the Society's annual exhibition and privately. This exhibition catalog covers the entire history of wood engraving, including every major artist of the genre.
From the bestselling author of Kafka on the Shore: A magnificent coming-of-age story steeped in nostalgia, “a masterly novel” (The New York Times Book Review) blending the music, the mood, and the ethos that were the sixties with a young man’s hopeless and heroic first love. Now with a new introduction by the author. Toru, a serious young college student in Tokyo, is devoted to Naoko, a beautiful and introspective young woman, but their mutual passion is marked by the tragic death of their best friend years before. As Naoko retreats further into her own world, Toru finds himself drawn to a fiercely independent and sexually liberated young woman. Stunning and elegiac, Norwegian Wood first propelled Haruki Murakami into the forefront of the literary scene.
"Pilu of the Woods is a heartwarming tale full of natural wonder, with wise and lovely messages about coping with grief, facing your feelings, and learning to forgive yourself." - K. O'Neill, Eisner Award-winning author of The Tea Dragon Society For fans of Hilda and the Troll comes PILU OF THE WOODS, a heartwarming and bittersweet story of friendship, loss, exploring complex emotions and finding your way home from debut creator Mai K. Nguyen. Willow loves the woods near her house. They’re calm and quiet, so different from her own turbulent emotions, which she keeps locked away. When her emotions get the better of her one day, she decides to run away into the woods. There, she meets Pilu, a lost tree spirit who can’t find her way back home—which turns out to be the magnolia grove Willow’s mom used to take her to. Willow offers to help Pilu, and the two quickly become friends. But the journey is long, and Pilu isn’t sure she’s ready to return home yet—which infuriates Willow, who’s determined to make up for her own mistakes by getting Pilu back safely. As a storm rages and Willow’s emotions bubble to the surface, they suddenly take on a physical form, putting both girls in danger… and forcing Willow to confront her inner feelings once and for all. BONUS CONTENT: This edition includes blank journal pages in the back to encourage readers to keep their own notes about nature and their feelings.
New from bestselling author Stephanie Perkins, and the perfect companion to her New York Times bestseller There's Someone Inside Your House, available now on Netflix! “The scares here are authentic, and the details meticulous, driven by a smart, distinct narrative voice. Hand this to fans of the film Midsommar who will delight in the eerie world building, the disintegration and rebuilding of interpersonal relationships, and the unseen forces of evil that threaten to break two friends apart.” –Booklist Bears aren’t the only predators in these woods. Best friends Neena and Josie spent high school as outsiders, but at least they had each other. Now, with college and a two-thousand-mile separation looming on the horizon, they have one last chance to be together—a three-day hike deep into the woods of the Pisgah National Forest. Simmering tensions lead to a detour off the trail and straight into a waking nightmare … and then into something far worse. Something that will test them in horrifying ways. Stephanie Perkins, the bestselling author of There’s Someone Inside Your House, returns with a heart-stopping, gut-wrenching novel about friendship, survival, and navigating unmarked paths even as evil watches from the shadows.
He claimed to be “the plainest kind of fellow you can find. There isn’t a single thing I’ve done, or experienced,” said Grant Wood, “that’s been even the least bit exciting.” Wood was one of America’s most famous regionalist painters; to love his work was the equivalent of loving America itself. In his time, he was an “almost mythical figure,” recognized most supremely for his hard-boiled farm scene, American Gothic, a painting that has come to reflect the essence of America’s traditional values—a simple, decent, homespun tribute to our lost agrarian age. In this major new biography of America’s most acclaimed, and misunderstood, regionalist painter, Grant Wood is revealed to have been anything but plain, or simple . . . R. Tripp Evans reveals the true complexity of the man and the image Wood so carefully constructed of himself. Grant Wood called himself a farmer-painter but farming held little interest for him. He appeared to be a self-taught painter with his scenes of farmlands, farm workers, and folklore but he was classically trained, a sophisticated artist who had studied the Old Masters and Flemish art as well as impressionism. He lived a bohemian life and painted in Paris and Munich in the 1920s, fleeing what H. L. Mencken referred to as “the booboisie” of small-town America. We see Wood as an artist haunted and inspired by the images of childhood; by the complex relationship with his father (stern, pious, the “manliest of men”); with his sister and his beloved mother (Wood shared his studio and sleeping quarters with his mother until her death at seventy-seven; he was forty-four). We see Wood’s homosexuality and how his studied masculinity was a ruse that shaped his work. Here is Wood’s life and work explored more deeply and insightfully than ever before. Drawing on letters, the artist’s unfinished autobiography, his sister’s writings, and many never-before-seen documents, Evans’s book is a dimensional portrait of a deeply complicated artist who became a “National Symbol.” It is as well a portrait of the American art scene at a time when America’s Calvinistic spirit and provincialism saw Europe as decadent and artists were divided between red-blooded patriotic men and “hothouse aesthetes.” Thomas Hart Benton said of Grant Wood: “When this new America looks back for landmarks to help gauge its forward footsteps, it will find a monument standing up in the midst of the wreckage . . . This monument will be made out of Grant Wood’s works.”