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This volume encompasses the different facets of Jim Warren's work, from sensual representations of love and nature to celebrations of mother earth. It includes a selection of images used as album artwork to more contemporary commercial posters and cards.
Matthew Kressel's "Now We Paint Worlds" is a space operatic Tor.com Original short story. Orna, a representative of a universe-wide trade union, undergoes a drastic change in perspective while investigating the disappearance of three planets and their inhabitants on a newly terraformed world. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
"America's nerviest journalist" (Newsweek) trains his satirical eye on Modern Art in this "masterpiece" (The Washington Post) Wolfe's style has never been more dazzling, his wit never more keen. He addresses the scope of Modern Art, from its founding days as Abstract Expressionism through its transformations to Pop, Op, Minimal, and Conceptual. The Painted Word is Tom Wolfe "at his most clever, amusing, and irreverent" (San Francisco Chronicle).
Indigo is a boy with a dream. He wants to be a famous artist when he grows up, but he's never had a real family or a home. He spends his nights in a shelter and his days working odd jobs to buy new art supplies. Jade is his best friend who has helped feed him and keep him safe. When she is arrested for shoplifting, Indigo sets off on a journey where he finds new people, and the courage to pursue his dreams. Follow Indigo on a journey that teaches him the meaning of friendship, family... and shows him that dreams really do come true.
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.
Bring a Fantasy World of Enchanting Beings to Life! Angels, faeries and mermaids have engaged the imaginations and enchanted the brushes of artists for centuries. Now you can evoke the spirit of these mythical creatures and create fantastic works of ethereal art in watercolor. Step by inspired step, Stephanie Pui-Mun Law shows you how to paint the otherworlds' most marvelous creatures and exquisite settings. Twenty step-by-step projects show you how to create fantastic scenes that are elegantly styled, brilliantly colored, and alive with a sense of wonder. Fabulous Realms! Create strange and lovely backgrounds, such as the meandering oak branches of faery folk, the celestial surrounding of angels, and the seascapes where mermaids dwell. Delightful Details! From angel wings to mermaid tails, from flowing robes to faery gowns, learn to paint an imaginative variety of features, clothing and other details that ensure one-of-a-kind results. Mystical Effects! Discover special watercolor techniques for adding magic and mystery to your paintings. You'll begin by learning about essential materials, including brushes, paints, paper, then will move on to important techniques such as planning and sketching; figure proportions; specific characteristics of angels, faeries and mermaids (including clothing); developing backgrounds; and finishing techniques that add an air of magic.
The dynamic duo of Hugo and Miles travels to Paris in this fun adventure thatlets young readers see the world from a different angle. Full color.
A full-colour, narrative and illustrated critical art history of the works of iconic Nova Scotia artist Maud Lewis. "Rather than thinking of Maud Lewis as an artist who was untrained, unskilled, and worked in total isolation, we ought to reframe her as an artist who, through her observation of landscape and culture, created composite images of what inspired her." Upon seeing the title of this work, you could be forgiven for asking, "Another book about Maud Lewis? Is there anything left to say, or is this just one more voice laying claim to her story and legacy?" After all, Lewis's work has been marketed and co-opted as part of the larger folk identity in Nova Scotia for decades. But something has been missing from that discourse all these years. In Painted Worlds, curator and art historian Dr. Laurie Dalton explores what always seems to be lacking in the storytelling and mythmaking surrounding Maud Lewis: she situates Lewis's work within a wider context of art history. Discussions of technique, intent, and colour theory permeate these pages. Instead of reducing Lewis to her cute black cats and whimsical rural scenes, Dalton takes us on a deep dive of the artist?s oeuvre, through the lens of critical art history inquiry. That is, Dalton does not simply regard the paintings as ethnographic objects of rural Nova Scotia, but as serious works of art to be carefully examined. Includes dozens of full-colour images.
A comprehensive, visual reference, enhanced by two thousand photographs and illustrations, provides information on all major fields of knowledge and includes timelines, sidebars, cross-reference, and other useful features.
Familiar narratives about the nature of English modernism, &"tradition,&" and &"periodization,&" together with the &"literary&" character of English art from the mid-nineteenth to the early twentieth centuries, are abandoned in this innovative and important book. In their stead, David Peters Corbett proposes a new way of looking at this painting from the Pre-Raphaelites to the Vorticists. Arguing that art history has been too reluctant to confront the fundamental question of how and what the consistency and application of paint signifies, Corbett investigates the work of English artists&—among them Rossetti, Burne-Jones, Leighton, Watts, Whistler, Sickert, and the modernists of 1914 &—through a historical examination of the meanings of the visual in English culture. By revealing that for many artists and thinkers the visual promised to deliver a more profound understanding of the world than language, the book offers a new reading of the art of the period between 1848 and the First World War.