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SALTZMAN/OLD MASTERS; NEW WORLD
Masterpieces of drawing from the great schools and traditions of Italy and northern Europe, spanning four centuries from Filippino Lippi, Andrea del Sarto, and Titian to Rembrandt, Van Dyck, and Ingres. 47 plates.
Explains how to make realistic drawings of the arms, legs, feet, hands, and other parts of the human body
The Digital Renaissance teaches you how to translate the methods and skills found in traditional art to the digital medium. By covering fundamental painting principles and the basics of digital software, before moving into tutorials that break down key techniques, professional artist Carlyn Beccia encourages you to use the tools at hand to paint your own works of art. Each chapter showcases one great painter - the selection includes Michelangelo, Van Gogh, Sargent, Gustav Klimt, Matisse, and Picasso - and analyses the techniques that set each one apart. These techniques are then emulated in step-by-step tutorials, allowing today's digital artist to achieve amazing results in Corel Painter and Adobe Photoshop.
These are the kinds of question Rose-Marie and Rainer Hagen ask when faced with world-famous masterpieces. In the language of today they comment on the fashions and attitudes, trends and intrigues, love, vice and lifestyles of past times. Book jacket.
Full-page reproductions of drawings from the early 15th century to the end of the 18th century, all beautifully reproduced: Rembrandt, Michelangelo, Dürer, Fragonard, Urs Graf, Wouwerman, and many others.
The art of portraiture approached its apex during the sixteenth century in Europe with the discovery of oil painting when the old masters developed and refined techniques that remain unsurpassed to this day. The ascendance of nonrepresentational art in the middle of the twentieth century displaced these venerable skills, especially in academic art circles. Fortunately for aspiring artists today who wish to learn the methods that allowed the Old Masters to achieve the luminous color and subtle tonalities so characteristic of their work, this knowledge has been preserved in hundreds of small traditional painting ateliers that persevered in the old ways in this country and throughout the world. Coming out of this dedicated movement, Portrait Painting Atelier is an essential resource for an art community still recovering from a time when solid instruction in art technique was unavailable in our schools. Of particular value here is a demonstration of the Old Masters’ technique of layering paint over a toned-ground surface, a process that builds from the transparent dark areas to the more densely painted lights. This method unifies the entire painting, creating a beautiful glow that illuminates skin tones and softly blends all the color tones. Readers will also find valuable instruction in paint mediums from classic oil-based to alkyd-based, the interactive principles of composition and photograph-based composition, and the anatomy of the human face and the key relationships among its features. Richly illustrated with the work of preeminent masters such as Millet, Géricault, and van Gogh, as well as some of today’s leading portrait artists—and featuring seven detailed step-by-step portrait demonstrations—Portrait Painting Atelier is the first book in many years to so comprehensively cover the concepts and techniques of traditional portraiture.
Berlin's Gemäldegalerie is known for its outstanding collection of European paintings from the thirteenth to eighteenth century. Each chapter in this book is dedicated to one painting from the collection. In the breadth of this idiosyncratic selection, painting, as it discovers itself becomes a medium for the formulation of modern subjectivity. Each painting in focus unfolds its own making and its artistic concerns as they reflect contemporary issues, today. What are the paradoxes within which art is made by women? How does the primordial drive to destroy works of art affect today's art discourse? Where did the modern struggle of painting against the picture begin? Why does the Wild Man from early German Renaissance still haunt us? And why doesn't it matter whether Jan Vermeer used an optical device for his paintings? Twelve Paintings highlights the currentness of the Old Masters.
Imagine stepping inside Vermeer's Girl with a Pearl Earring or Hopper's Nighthawks. That's the effect achieved by modern-day photographers, artists, students, and creatives within the pages of this one-of-a-kind book. Started as an online collaborative project by founder of art blog Booooooom Jeff Hamada, Remake gathers fantastic reinterpretations of 50 fine art masterpieces. Side-by-side presentations of canonical artworks and their contemporary re-dos highlight the striking similarities between the works as well as the entertaining creative choices that make each version unique. A crowdsourced send-up of the art history canon, this quirky collection of before-and-after pairings is filled with surprises of wit and whimsy.
Le revers de la jaquette indique : "With the rise of museums in the 19th century, including the formation in 1824 of the National gallery in London, the art of the past became visible and accessible (in Victorian England) as never before. Inspired by the work of Sandro Botticelli, Jan van Eyck, Diego Velazquez, and others, British artists transformed contemporary art through a creative process that emphasized imitation and emulation. Elizabeth Prettejohn analyzes the ways in which the Old Masters were interpreted by artists, as well as critics, curators, and scholars, and argues that Victorian artists were, paradoxically, at their most original when they imitated the Old Masters most faithfully. Covering Victorian art from the Pre-Raphaelites through to the early modernists, she vividly traces the ways in wich artist such as Dante Gabriel Rossetti, Edward Burne-Jones, and William Orpen engaged with the art of the past to produce some of the greatest art of the late nineteenth and early twentieth centuries."