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Supplemented by seventy-five photographs, Centaur will engross specialists and general readers interested in biography, cultural history, art, architecture, politics, and Russian/Soviet studies."--BOOK JACKET.
WINNER OF THE NATIONAL BOOK AWARD AND THE PRIX DU MEILLEUR LIVRE ÉTRANGER The Centaur is a modern retelling of the legend of Chiron, the noblest and wisest of the centaurs, who, painfully wounded yet unable to die, gave up his immortality on behalf of Prometheus. In the retelling, Olympus becomes small-town Olinger High School; Chiron is George Caldwell, a science teacher there; and Prometheus is Caldwell’s fifteen-year-old son, Peter. Brilliantly conflating the author’s remembered past with tales from Greek mythology, John Updike translates Chiron’s agonized search for relief into the incidents and accidents of three winter days spent in rural Pennsylvania in 1947. The result, said the judges of the National Book Award, is “a courageous and brilliant account of a conflict in gifts between an inarticulate American father and his highly articulate son.”
Human animals - centaurs, satyrs, sphinxes, sirens and Gorgons - as well as other composite beings like Pan, Triton, Acheloos, and the Minotaur, are extremely common in Greek myth, literature, theater, and the visual arts. Understanding the phenomenon of combining human and animal elements into composite creatures is central to our knowledge of the Greek imagination. This book discusses the oriental antecedents of these fantastic creatures, examining the influence of Egyptian and Near Eastern models on the formation of Greek monsters in the Geometric and Archaic periods. Fully illustrated essays explore the nature and origin of horse men (centuars and satyrs) and the broader range of Greek composite creatures, discussing their evolving forms and changing roles during this seminal period of Greek art.
The new book from the James Beard award-winning cartoonist and designer/producer of Netflix’s Bojack Horseman Lisa Hanawalt's debut graphic novel, My Dirty Dumb Eyes, achieved instant and widespread acclaim: reviews in the New York Times and NPR, Best of Year nods from the Washington Post and USA Today, and praise from comedians like Patton Oswalt and Kristen Schaal. Her designs define the look of the wildly popular Netflix animated series Bojack Horseman. Her culinary-focused comics and illustrated essays in Lucky Peach magazine won her a James Beard Award. Now, Hot Dog Taste Test collects Hanawalt's devastatingly funny comics, gorgeous art, and screwball lists as she tucks into the pomposities of the foodie subculture. Hanawalt dismantles the notion of breakfast; says goodbye to New York through a street food smorgasbord; shadows chef Wylie Dufresne, samples all-you-can-eat buffets in Vegas; and crafts an eerie comic about being a horse lover yet an avid carnivore. Hot Dog Taste Test explodes with color, hilarity, charm, and, occasionally, reproductive organs. Lush full-spread paintings of birds getting their silly feet all over a kitchen, a fully imagined hot dog show (think Best in Show but with hot dogs), and a holiday feast gone awry are the creamy icing on this imaginative rainbow-colored cake. But Hanawalt's wit and heart extend far beyond gags--her insightful musings on popular culture, relationships, and the animal in all of us are as keen and funny as her watercolors are exquisite.
This 120-page artbook bestiary includes the anatomy, behavior, and origins of over 20 amazing fantasy creatures. Each interconnected through a series of recorded histories, myths, and first-hand encounters that stress the value of exploration and curiosity in the face of superstition.
Complete set of the thirteen woodcut illustrations used in the 1924 edition of Song of the Broad-axe by Walt Whitman, published by Centaur Press in Philadelphia. Each woodcut is titled and numbered "16". The titles are (as they appear in the book): No.I, Ship struck in storm, Beauty of woodmen, building, the forger, hell of war, The great city, of the best-bodied mothers, the hammers-men, the headsman, solid forest, the liquor-bar, and No.II.
The magic of Xanth was useless in Mundania—until Dor tried honesty! Dor was having troubles growing up to be the next Magician-King of the magic Land of Xanth. He wanted no part of running the Kingdom. But now the Good King Trent was leaving on a trade mission to non-magical Mundania, home of such weird beasts as horses and bears, so Dor had to take over as King for a week. A week passes. No Trent. Then three weeks. King Trent still hasn't returned. Surely, something terrible had happened; he was apparently held captive in some foul dungeon, unable to escape. Dor was left with the burden of ruling—and with Irene, who was entirely too willing to be his Queen! His only hope was to enter Mundania and free King Trent. But how could it be done without the powers of magic? Nevertheless, he started forth bravely—together with Irene, a golem, a centaur, and a young ogre—heading for the far south of Xanth. The entrance to Mundania, of course, lay to the north.
Roughly fifteen years after Gutenberg printed the first substantial book in Mainz in 1455, Nicolas Jenson of Venice produced what has been universally recognized among the most beautiful typefaces ever created. Based on the humanistic calligraphy of the Renaissance, an even and infinitely various set of lowercase letters that had evolved from the Carolingian minuscules of the ninth century, Jenson's types were a miracle of proportion and evenness of color. In the late nineteenth century, it was imitated by Morris in his Golden Type of 1892 (far too heavy), and in the next by Cobden-Sanderson with his Doves Type, Goudy with his Deepdene, and Hunter Middleton with his Eusebius. But it was really not until Bruce Rogers, following his stint at the Riverside Press in Cambridge, Massachusetts, where he first attempted a version of the type in his Montaigne font, tackled the challenge of creating a roman equal to (and in some ways surpassing) the Jenson original. The proof of his success is that it has been used, and held in high esteem, ever since. The story behind the type, the many permutations through which it went, the myths that accrued and surrounded it (many based on Rogers's somewhat erratic and chimerical memory) are all exposed in this fully documented account of the type's genesis and development. All the variations are included, from the 16-pt. roman originally produced for the exclusive use of the Metropolitan Museum of Art, to its conversion to the Monotype machine under the supervision of Stanley Morison, a typewriter version, a short-lived film version, and its ultimate appearance as a digital face. Included as well is a discussion of the Arrighi italic, developed to accompany the roman by Frederic Warde and Stanley Morison at the Monotype Corporation. The book has been designed and set in a new digital version of Centaur, often and justly called "the noblest roman of them all," created by Jerry Kelly. The authors have unearthed, mined, and refined a trove of typographic material to create the definitive history of what many consider the most beautiful typeface created by an American in the last century and used, to immortal effect, in two of the century's greatest books, T.E. Lawrence's Odyssey of Homer and the Oxford Lectern Bible. Illustrated with many examples in full color, with a dust jacket printed letterpress, issued in an edition of only 1,000 copies, this is a book no certified member of the lunatic fringe of type fanatics can afford to ignore.