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Here, Elkins argues that alchemists and painters have similar relationships to the substances they work with. Both try to transform the substance, while seeking to transform their own experience.
At the turn of the twenty-first century, many felt sceptical or confused about paintings on-going cultural relevance. In this context, Julian Bells What is Painting? provided an accessible and inspired account of artistic thinking and practice, and of the complexities then facing artists and their audiences. Eighteen years on, the situation is partly reversed. Painting has proved too resilient a practice to be marginalized any longer. Yet is there any sense of forward momentum for the art? Interrogating the factors that have changed our ideas of painting over the past two centuries, Bell addresses relations between figuration and abstraction and between narrative and non-narrative painting, as well as the waning of conceptual arts dominance and the proliferation of experiments with the physical limits of painting. He also clarifies general concepts such as expression and representation. Fully revised to provide a fresh look at the situation of painting, this new edition maintains the objective of lucid, historically informative explanation that earned the original edition its status as a text of lasting value. The book provides a general readers introduction to theories of painting that is not only reliable, but also stimulating and amusing to read.
Elkins argues that writing is what art historians produce, and, whether such writing is a transparent vehicle for the transmission of facts or an embattled forum for the rehearsal of institutional relations and constructions of history, it is an expressive medium, with the capacity for emotion and reflection. Therefore, it needs to be taken seriously for its own sake: it is the testament of art history and of individual historians, and it is only weakened and slighted by versions of history that imagine it either as uncontrolled dissemination or as objective discovery and reporting.
One of the twentieth century’s most influential texts on philosophical aesthetics Painting as an Art is acclaimed philosopher Richard Wollheim’s encompassing vision of how to view art. Transcending the traditional boundaries of art history, Wollheim draws on his three great passions—philosophy, psychology, and art—to present an illuminating theory of the very experience of art. He shows how to unlock the meaning of a painting by retrieving—almost reenacting—the creative activity that produced it. In order to fully appreciate a work of art, Wollheim argues, critics must bring a much richer conception of human psychology than they have in the past. This classic book points the way to discovering what is most profound and subtle about paintings by major artists such as Titian, Bellini, and de Kooning.
Dust jacket notes: "Vibrant, fresh, immediate! The direct oil painting technique is an intense reaction to nature, a race with time to capture the color, the light and shadow, the design and the spirit of a subject in a few short hours. And now, Emile Gruppe - master of the direct oil painting technique - shows how you can use the broad strokes and lively colors of this spontaneous approach to infuse your own paintings with vitality, vigor, and on-the-spot freshness. A firm believer in using the best materials for the best results, Gruppe begins with a quick review of his favorite brushes, colors, easels, and painting surfaces. Next, he covers the basics of good design, what to look for and how to orchestrate what you see: masses, lines, values, and relationships. Turning to color, a fundamental element of his painting technique, Gruppe discusses complements, color harmony, color vibration, local color, reflected color, and using color to create atmospheric perspective. He explains how color appears on various kinds of days - foggy, clear, cloudy - and under different lighting conditions - front lighting, backlighting, sidelighting. In subsequent chapters, the author focuses on composing seascapes and landscapes; he explains how to paint rocks, ocean, lighthouses, boats, piers, pilings, roads, trees, streams, snow, mountains, valleys. Then, in full-color step-by-step demonstrations, the author shows how he captures a subject in his unique, exuberant, on-the-spot style.
Line and wash is an exciting combination. This practical book shows you how to exploit the strength of ink with the transparency of watercolour to produce powerful and dynamic paintings. With over 170 illustrations, it covers a wide range of styles and subjects, before exploring mixed media, new surfaces and other ways to take your line and wash work to another level. Includes advice on choosing materials; exercises to hone your drawing and painting skills; gives inspiration for new approaches to line and wash and, finally, step-by-step demonstrations of ideas and projects. This book is a visual treat and an essential guide for all artists who want to try this exciting technique.
Here is everything you need to know about getting into oil painting—and maintaining a safe, solvent-free oil painting practice—in a slim, sophisticated guide. Oil painting is an exciting and adventurous medium, but aspiring artists can feel daunted by complex setups and the thought of using harsh chemicals. All of that changes now. The New Oil Painting walks you step-by-step through oil painting fundamentals—which materials you actually need, how to mix paint, how to set up your painting space—and, most revolutionary of all, how to eliminate harmful solvents from your work and replace them with safe, effective substitutes. This instructional handbook is organized into chapters with helpful diagrams throughout illustrating various techniques and tools. Whether you're a true beginner or have been painting with oils for years, you will find that this book has everything you need to build a new, thriving, toxin-free practice. • UNIQUE APPROACH: Not only does this book help aspiring artists build a repertoire of skills and materials, it also offers all artists, regardless of their experience levels, methods for eliminating solvents and other toxic substances from their oil painting practices. What was once a dangerous pastime is now a guilt-free, health-conscious, and rewarding activity. And using safe, nontoxic materials is better for the environment! • LONG-TERM USE: Good art instruction can deliver over a long period of time, and this handy guide is no exception. Along with being able to use this as an entryway into oil painting, you can also use it for reference or reread sections when you need a brushup. • EXPERT AUTHOR WITH IMPRESSIVE CREDENTIALS: Painter Kimberly Brooks was the founding arts editor at Huffington Post. As a painter, she exhibits her work frequently throughout the United States and was a featured artist with the National Endowment for the Arts. She has led oil painting workshops, and now she shares her vast knowledge of the subject in this accessible and comprehensive handbook. Perfect for: • Artists and art aspirants interested in exploring a new medium • Experienced oil painters looking to eliminate solvents from their practices • Painting students and teachers
Kerry James Marshall is one of America’s greatest living painters. History of Painting presents a groundbreaking body of new work that engages with the history of the medium itself. In History of Painting, the artist has widened his scope to include both figurative and nonfigurative works that deal explicitly with art history, race, and gender, as well as force us to reexamine how artworks are received in the world and in the art market. In the paintings in this book, Marshall’s critique of history and of dominant white narratives is present, even as the subjects of the paintings move between reproductions of auction catalogues, abstract works, and scenes of everyday life. Essays by Teju Cole and Hal Foster help readers navigate the artist’s masterful vision, decoding complexly layered works such as Untitled (Underpainting) (2018) and Marshall’s own artistic philosophy. This catalogue is published on the occasion of Marshall’s eponymous exhibition at David Zwirner, London, in 2018.
7th Edition, 8th printing of the original 1941 publication, many added color plates and addenda by Evelyn Payne Hatcher, the artist/author's daughter. A must for art collectors, artists, teachers and art dealers.