Cartouches in the style of Louis XIII; stone balustrades; arabesques; roof cornices; Renaissance-era drawing-room cabinets; Elizabethan chimney pieces; plus friezes for textiles and wallpaper, decorative scutcheons, mirror frames, and much more. These versatile royalty-free illustrations are equally suitable for immediate use, adaptation, and inspiration.
From a young age, Gary Cieradkowski had a passion for baseball’s unheralded heroes. Inspired by his father and their shared love of the sport, Cieradkowski began creating “outsider” baseball cards, as a way to tell the little-known stories of baseball’s many unsung heroes—alongside some of baseball’s greatest players before they were famous. The League of Outsider Baseball is a tribute to all of those who’ve played the game, known and unknown.
Shining a light into the dark corners of baseball history—from Mickey Mantle’s minor league days to Negro League greats like Josh Gibson and Leon Day; to people that most never knew played the game, such as Frank Sinatra, who had his own ball club in 1940s Hollywood; bank robber John Dillinger, who was a promising shortstop and took time out between robberies to attend Cubs games; and even a few US presidents—this book is a rich, visual tribute to America’s pastime.
Meticulously researched, beautifully illustrated using a unique, vintage baseball-card-style, and filled with a colorful and rich cast of characters, this book is a prized collector’s item and will be cherished by fans of all ages.
This book explores this Mexican tradition — the artists, their works, the social and political background, and the relationship of the modern painters to European and Mexican historical tradition. Helm, an important collector who knew most of the artists, writes informally yet with deep understanding about the major figures — Orozco, Rivera, and Siqueiros — as well as over 40 others little known outside their native Mexico.
He ably ties together such diverse influences as the Revolution and the regime of Obregón, the Siqueiros Syndicate and its power in getting artists to pool resources and works for a powerful national style, Rivera's strong political beliefs and their effect on his work, Orozco's deep empathy, the development of the young artists, the effects of low wages and bohemian existence on artistic production, links to Indian art, the rediscovery of fresco technique, important patrons, the religious and anti-religious forces in the early works, and much more. In addition, 95 works by 37 artists are reproduced, showing the range and best works of modern Mexican painting.
MacKinley Helm was in a uniquely favorable position to write about these artists, and his book is now considered the best introduction to the art and artists of Mexico during the great artistic movements of the '20s and '30s. Collectors, artists, and others who have felt the lack of solid information about this important Western tradition will find this book gives clear insight into the conflicts, personalities, and important works that have developed into modern Mexican art.
Al Hirschfeld redefined caricature and exemplified Broadway and Hollywood, enchanting generations with his mastery of line. His art appeared in every major publication during nine decades of the twentieth and twenty-first centuries, as well as on numerous book, record, and program covers; film posters and publicity art; and on fifteen U.S. postage stamps.
Now, The Hirschfeld Century brings together for the first time the artist’s extraordinary eighty-two-year career, revealed in more than 360 of his iconic black-and-white and color drawings, illustrations, and photographs—his influences, his techniques, his evolution from his earliest works to his last drawings, and with a biographical text by David Leopold, Hirschfeld authority, who, as archivist to the artist, worked side by side with him and has spent more than twenty years documenting the artist’s extraordinary output.
Here is Hirschfeld at age seventeen, working in the publicity department at Goldwyn Pictures (1920–1921), rising from errand boy to artist; his year at Universal (1921); and, beginning at age eighteen, art director at Selznick Pictures, headed by Louis Selznick (father of David O.) in New York. We see Hirschfeld, at age twenty-one, being influenced by the stylized drawings of Miguel Covarrubias, newly arrived from Mexico (they shared a studio on West Forty-Second Street), whose caricatures appeared in many of the most influential magazines, among them Vanity Fair. We see, as well, how Hirschfeld’s friendship with John Held Jr. (Held’s drawings literally created the look of the Jazz Age) was just as central as Covarrubias to the young artist’s development, how Held’s thin line affected Hirschfeld’s early caricatures.
Here is the Hirschfeld century, from his early doodles on the backs of theater programs in 1926 that led to his work for the drama editors of the New York Herald Tribune (an association that lasted twenty years) to his receiving a telegram from The New York Times, in 1928, asking for a two-column drawing of Sir Harry Lauder, a Scottish vaudeville singing sensation making one of his (many) farewell tours, an assignment that began a collaboration with the Times that lasted seventy-five years, to Hirschfeld’s theater caricatures, by age twenty-five, a drawing appearing every week in one of four different New York newspapers.
Here, through Hirschfeld’s pen, are Ethel Merman, Benny Goodman, Judy Garland, Mickey Rooney, Katharine Hepburn, the Marx Brothers, Barbra Streisand, Elia Kazan, Mick Jagger, Ella Fitzgerald, Laurence Olivier, Martha Graham, et al. . . . Among the productions featured: Fiddler on the Roof, West Side Story, Rent, Guys and Dolls, The Wizard of Oz (Hirschfeld drew five posters for the original release), Gone with the Wind, The Sopranos, and more.
Here as well are his brilliant portraits of writers, politicians, and the like, among them Ernest Hemingway (a pal from 1920s Paris), Tom Wolfe, Charles de Gaulle, Nelson Mandela, Joseph Stalin, Winston Churchill, and every president from Franklin D. Roosevelt to Bill Clinton.
Sumptuous and ambitious, a book that gives us, through images and text, a Hirschfeld portrait of an artist and his age.
From the Hardcover edition.
Ranging in tone from questing to contentious, the pieces encompass a broad spectrum of forceful artistic opinion and theory — from Albert Gleizes and Jean Metzinger's 1912 presentation of Cubist theory to Henry Moore's three brief essays, three decades later, on sculpture and primitive art. Among other contributions are the reminiscences of Kandinsky; Le Corbusier and Ozenfant on Purism; Klee on modern art; Mondrian on plastic art; and Beckmann describing his painting. Essays by Kurt Schwitters, Max Ernst, El Lissitzky, and Fernand Léger, added to this second edition, have expanded the anthology considerably and extended its range to include Dada, Surrealism, and the "machine esthetic."
Described by the Canadian Forum as "an excellent collection of carefully selected essays by some of the most significant spokesmen among Modern artists," these challenging essays not only will provide much food for thought for art historians and theorists but also will be a smorgasbord of continuing inspiration for all artists and art students — whether or not they are devotees of "modern" art.
The graffiti scene in China is small and the best work is confined to semi-sanctioned areas, often set in rusting industrial areas. For the small size of the scene, a huge amount of incredible art packs these tiny plots of land.
The photos in this book were taken between Spring of 2013 and Spring of 2014.
All of the photos in Beijing were taken in and around 798 Art Zone in the Chaoyang District of the city. This spot of refurbished military factories has been transformed into an arts district that contains many art galleries, studios, shops and schools.
The photos in the Shanghai set were taken in the 50 Moganshan Lu area near Suzhou Creek. This area used to be home to many factories and warehouses that have since been converted to art galleries, studios and cafes. The graffiti wall pictured has since been demolished to make way for a business district.
The papers present diverse new research and practice in the field, and open up debate about the role, design and process of exhibition interpretation in museums, art galleries and historic sites. The authors represent both academics and practitioners, and are affiliated with high quality institutions of broad geographical scope. The result is a strong, consistent representation of current thinking across the theory, methodology and practice of interpretation design for learning in museums.
Attractive patterns range from decorations for churches, drawing rooms, nurseries, and everything in between, including halls, galleries, and corners. The elaborate borders, friezes, and festoons include exquisite images of children, animals, birds, rosettes, and heraldic designs. These finely detailed, royalty-free patterns are an invaluable resource, perfect for adding a distinctive note to fabrics, stained glass, wallpaper, and a host of other art and craft projects. Browsers and devotees of the Art Nouveau style will also appreciate this treasury of striking stencil designs.
“A Catalog of Inspirational Books,” will not only lead you to books of inspiration but you will be able to read reviews that have been posted on amazon, as a means of knowing firsthand, what other people are saying about Diane’s work.
In addition to all the book information, you will learn a little about Diane’s life and how God brought her from her own pit of despair, to a place where she found the strength through God, to exchange the weaknesses in her life; so that she could reach out, with the wisdom that God had shared with her, through her own pain and heartache, as a means of helping others who live in despair. Come and join Diane and discover some words of hope that have been truly inspired by God…words that can allow you to connect deeply with God, rather than your circumstance.
Viewed through a microscope, some gemstones and crystal specimens
reveal amazing photogenic inclusions and surface features that could
well be mistaken for abstract art.
With the use of various
lighting techniques and careful composition, gemmologist and
photographer Anthony de Goutière has photomicrographed many of these
unusual and artistic scenes. The author hopes to inspire other
gemmologists to search for and photograph the elusive beauty of gemstone
The Rubin’s location in the Chihuahuan desert on the U.S./Mexican border is meaningful and intriguing to many artists, and, consequently, Curating at the Edge describes the multiple artistic perspectives conveyed in the place-based exhibitions Bonansinga oversaw. Exciting mid-career artists featured in this collection of case studies include Margarita Cabrera, Liz Cohen, Marcos Ramírez ERRE, and many others. Recalling her experiences in vivid, first-person scenes, Bonansinga reveals the processes a contemporary art curator undertakes and the challenges she faces by describing a few of the more than sixty exhibitions that she organized during her tenure at the Rubin. She also explores the artists’ working methods and the relationship between their work and their personal and professional histories (some are Mexican citizens, some are U.S. citizens of Mexican descent, and some have ancestral ties to Europe). Timely and illuminating, Curating at the Edge sheds light on the work of the interlocutors who connect artists and their audiences.
Luminous, dynamic and expressive, watercolor is an intriguing medium for artist and viewer alike. Splash 9: Watercolor Secrets invites you to push your own creative potential to new heights as you explore the work of more than 100 of today's best watercolor artists.
Page after page showcases a diverse array of styles and subjects, from quiet still lifes to animated streetscapes to mood-filled portraits. Each featured artist punctuates this collection with his or her own distinctive mastery of the medium. In every work, you'll see how color, composition and personal inspiration blend with years of practice, commitment and experimentation to create resonant works of stunning beauty.
Created specifically for artists and art lovers, Splash 9 invites you to discover watercolor on a deeper level, providing detailed commentary from the artists themselves on every piece. You'll learn about their influences, their challenges and, most importantly, their specialized painting techniques.
Delight in the secrets of this inspiring collection!
Taking Punk to the Masses focuses on 100 key objects from EMP’s permanent collection that illustrate the evolution of punk rock from underground subculture to the mainstream embrace (and subsequent underground rejection) of Grunge. These objects are put into context by the stories of those who lived it, culling from EMP’s vast archive of oral histories with such Northwest icons as Mudhoney’s Mark Arm, cartoonist Peter Bagge, design legend Art Chantry, Beat Happening’s Calvin Johnson, Sub Pop founders Bruce Pavitt and Jonathan Poneman, the Screaming Trees’ Mark Lanegan, Nirvana’s krist Novoselic, photographer Charles Petersen, Soundgarden’s kim Thayil, and dozens of others. From the Northwest’s earliest punk bands like The Wipers, to proto-grunge bands of the 1980s like Green River, Melvins and Malfunkshun, through the heady 1990s when bands such as Nirvana, Soundgarden, Pearl Jam, Alice in Chains and Mudhoney rose to the national stage and popularized alternative music, Taking Punk to the Masses is the first definitive history of one of America’s most vibrant music scenes, as told by the participants who helped make it so, and through the artifacts that survive.
Making the transition from school to the working world
Searching for funding through grants and fellowships
Developing relationships with art dealers
Handling criticism and rejection
How to stay safe in the studio
Finding a variety of ways to get paid in the new economy
New to this edition are expanded sections that look at utilizing exhibition venues from sidewalk fairs to regional biennials to national parks, selling in other countries, talking with collectors about your art and yourself, avoiding the perils of defamation, transporting and travelling with art, using “greener” materials, and the experience of becoming an artist later in life and of artists’ children. The Business of Being an Artist is an invaluable resource for art students, aspiring artists, and professional artists who want to learn all there is to know about successfully navigating the world of art.
Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.
These days artists like Damien Hirst and Tracey Emin are major celebrities. But Gregor Muir knew them at the start; his unique memoir chronicles the birth of Young British Art. Muir, YBA’s ‘embedded journalist’, happened to be in Shoreditch and Hoxton before Jay Jopling arrived with his White Cube Gallery, when this was still a semi-derelict landscape of grotty pubs and squats. There he witnessed, amid a whirl of drunkenness, scrapes and riotous hedonism, the coming-together of a remarkable array of young artists – Hirst, the Chapman brothers, Rachel Whiteread, Sam Taylor-Wood, Angus Fairhurst - who went on to produce a fresh, irreverent, often notorious form of art - Hirst’s shark, Sarah Lucas’s two fried eggs and a kebab. By the time of the seminal Sensation show at the Royal Academy YBA had changed the art world for ever./div
In The Intrepid Art Collector, Lisa Hunter shows you how to start a fine art collection without spending a fortune. This accessible, jargon-free resource contains up-to-date information on the most popular original art—everything from photography and posters to African art and animation—including where to find it and how to buy it at a fair price. Easy-to-use checklists help you evaluate original art and steer clear of clever fakes. In addition, Hunter has interviewed top dealers, curators, arts lawyers, and appraisers to bring you the best advice on:
• Advantages to buying real art instead of reproductions
• Determining if a piece of art is fairly priced
• Predicting if an artist’s work will go up in value
• Techniques for negotiating a price with a dealer
• Developing your artistic taste, so you’ll know if you’ll still love your purchase ten years down the road
• How to preserve art in your home
• Resources, websites, and magazines that will help you learn more about the market and where to find different types of art
From the Trade Paperback edition.
An introduction by architectural critic Lewis Mumford is followed by commentaries by such notables as Frank Lloyd Wright on design principles; theatrical and industrial designer Norman Bel Geddes on outfitting business interiors; and Edward Steichen on commercial photography.
A fascinating glimpse of an exciting and innovative period in the history of American design, this book will appeal to a wide audience ― from interior decorators and graphic artists to students of art and lovers of the Art Deco style.
A career in illustration represented an ideal opportunity for women in post-Victorian society. Every well-bred girl was schooled in the arts of sketching and drawing, and by working at home, a woman's modesty could remain uncompromised. Successful competition in a world dominated by male artists, however, called for determination as well as talent. This compilation celebrates the accomplishments of twenty-two female illustrators, including Elenore Abbott, Mabel Lucie Attwell, Elizabeth Shippen Green, Ruth Mary Hallock, Jessie Marion King, Dorothy Lathrop, Ida Rentoul Outhwaite, Margaret Winifred Tarrant, and others.
What separates a masterpiece from a piece of junk? Thanks to the BBC's Antiques Roadshow and its American spin-off, everyone is searching garage sales and hunting online for hidden gems, wondering whether their attics contain trash or treasures. In The Art Detective, Philip Mould, one of the world's foremost authorities on British portraiture and an irreverent and delightful expert for the Roadshow, serves up his secrets and his best stories, blending the technical details of art detection and restoration with juicy tales peopled by a range of eccentric collectors, scholars, forgers, and opportunists.
Peppered with practical advice, each chapter focuses on one particular painting and the mystery that surrounds it. Mould is our trusty detective, tracking down clues, uncovering human foibles and following hunches until the truth is revealed. Mould is known for his ability to crack the toughest puzzles and whether he's writing about a fake Norman Rockwell, a hidden Rembrandt, or a lost Gainsborough, he brings both the art and the adventure to life. The Art Detective is memoir, mystery, art history, and brilliant yarn all rolled into one.
Star Product Designers offers an insider's look at the best product designers working today. With the goal of eliminating the need for instruction manuals, every designer in this book endeavors to create products that are user-friendly, efficient, and beautiful.
Perfect for both the amateur designer as well as the most accomplished—and anyone else in between—this comprehensive compendium reveals the design process, from concept to finished product, of some of the most innovative products on the market today. Featuring a wealth of concept sketches, profiles of the leading designers and design firms, and gorgeous, full-color photographs of the products themselves, this book is a must-have for anyone interested in understanding product design and the creative design process.
A figure as colorful as the Baron naturally appeals to the artistic imagination, and he has been depicted in numerous works of art. His definitive visual image, however, belongs to Gustave Doré. Famed for his engravings of scenes from the Bible, the Divine Comedy, Don Quixote, and other literary classics, Doré created theatrical illustrations of the Baron's escapades that perfectly re-create the stories' picaresque humor.
This fascinating book chronicles--in word and images--the history, development, and character of suburban America with an illuminating account of one of its signature places: Westchester, New York.
Designed as a companion to a major exhibition at The Hudson River Museum, the book brings together original essays by leading historians and other experts, and a rich selection of photographs, paintings, maps, ephemera, and other images that track more than century of growth, development, and change.
The essays explore key themes that run through Westchester's legacy: the new transportation grids that make all suburbs possible, the suburban house as a new focal point for family life, the creation of a new domesticity, consumerism and community, architecture and nature. Also covered is the representation of suburban life in film, literature, art, photography, and the media.
From Washington Irving's Sunnyside home built in 1830 to the virtual New Rochelle home of The Dick Van Dyke Show's Rob and Laura Petrie, Westchester has been the iconic American suburb--loved and hated, desired and abandoned. Like the exhibition whose name it shares, this book is not just a testimony to a time gone by--but a vivid and provocative encounter with the porches, patios, and parkways that define the American dream.
This superb collection presents over 100 finely reproduced woodcuts from the work of nearly 30 major artists in the movement who worked in the woodcut medium. Among them are Ernst Barlach, Max Beckmann, Lyonel Feininger, Ernst Ludwig Kirchner, Käthe Kollwitz, Franz Marc, Emil Nolde, Max Pechstein, and many others. Most of the woodcuts reproduced here date from the first three decades of the twentieth century. They are powerful works, ranging in mood from Felix Müller's pensive portrait of Carl Sternheim (1925) to Franz Marc's electric Riding School (1913) and Ernst Barlach's profoundly moving Christ on the Mount of Olives (1920).
Readers interested in the art of the woodcut as well as students and enthusiasts of twentieth-century art will find this volume ideal for browsing and study. Individual captions for each selection, notes on each artist, and an informative introduction to the art of the woodcut and the German Expressionist movement add to the book's value as a reference work.
In the 1950s and 1960s, philanthropy became a focus of scholarship. Foundations, interested in the subject, made grants to study it; but also, many social scientists became increasingly dubious about the ability of the state to sustain certain sources of creativity and social reform. Engines of Culture argues that art museums are an instructive example of the accommodation of public and private interests. In his new introduction, Fox places Engines of Culture in its personal and intellectual contexts, assesses the book's strengths and weaknesses and its influence on subsequent scholarship, and comments on the present state of knowledge about museums and power in American communities.
In the 1950s, research on the arts avoided political analysis. Although there is now substantial literature about the history, sociology, and economics of the arts and arts institutions, academics in this field still conventionally dismiss politics. Engines of Culture is one of the few historical studies of the political economy of art museums. It will be of interest to political scientists, policymakers, scholars of philanthropy, artists, and historians.
Equally compelling are Karnes's experiences in some of the most significant cultural settings of her generation: from the worker-owned cooperative housing of her childhood, to Brooklyn College under modernist Serge Chermayeff, to North Carolina's avant-garde Black Mountain College, to the Gate Hill Cooperative in Stony Point, New York, which Karnes helped establish as an experiment in integrating art, life, family, and community.
This book, designed to accompany an exhibit of Karnes's works organized by Peter Held, curator of ceramics for the Arizona State University Art Museum's Ceramic Research Center, offers a comprehensive look at the life and work of Karnes. Edited by highly regarded studio potter Mark Shapiro, it combines essays by leading critics and scholars with color reproductions of more than sixty of her works, providing new perspectives for understanding the achievements of this extraordinary artist.
Mary Ann Meyers examines Barnes's background and career and the development and evolution of his enthusiasm for collecting pictures and sculpture. She shows how Barnes's commitment to breaking down invidious distinctions and his use of the uniquely arranged works in his collection as textbooks for his school, created a milieu where masterpieces of European and American late-nineteenth and early-twentieth century painting, along with rare and beautiful African art objects, became a backdrop for endless feuding. A gallery requiring renovation, a trust prohibiting the loan or sale of a single picture, and the efforts of Lincoln University, known as the "black Princeton," to balance conflicting needs and obligations all conspired to create a legacy of legal entanglement and disputes that remain in contention.
This volume is neither an idealized account of a quixotic do-gooder nor is it a critique of a crank. While fully documenting Barnes's notorious eccentricities along with the clashing interests of the main personalities associated with his Foundation, Meyers eschews moral posturing in favor of a rich mosaic of peoples and institutions that illustrate many of the larger themes of American culture in general and African-American culture in particular.
Dreaming Red includes illustrations of all the works created at ArtPace since its inception, an essay by art historian Eleanor Heartney, short essays on selected artists by the guest curators, including Cuauhtémoc Medina, Lynne Cooke, Chrissie Iles and Judith Russi Kirshner, and a lengthy essay on the personal history of the foundation and its founder.
These masks, collected in 1871 by a young French scholar of indigenous cultures, are presented for the first time in their complete cultural context, celebrating the rich history of the Alutiiq people and their artistic traditions. In addition to the stunning photographs, Giinaquq—Like a Face includes an informative text in three languages—English, Alutiiq, and French—in order to provide a cross-cultural understanding of the masks’ traditional meaning and use.
This captivating and revealing book will be an essential resource for anyone interested in indigenous art and culture.
Carrier illuminates the public role of art museums by describing the ways they influence how art is seen: through their architecture, their collections, the narratives they offer museum visitors. He insists that an understanding of the art museum must take into account the roles of collectors, curators, and museum architects. Toward that end, he offers a series of case studies, showing how particular museums and their collections evolved. Among those who figure prominently are Baron Dominique Vivant Denon, the first director of the Louvre; Bernard Berenson, whose connoisseurship helped Isabella Stewart Gardner found her museum in Boston; Ernest Fenollosa, who assembled much of the Asian art collection now in the Museum of Fine Arts, Boston; Albert Barnes, the distinguished collector of modernist painting; and Richard Meier, architect of the J. Paul Getty Center in Los Angeles. Carrier’s learned consideration of what the art museum is and has been provides the basis for understanding the radical transformation of its public role now under way.
In this rich and fascinating book, James Hamilton investigates the vibrant exchange between culture and business in nineteenth-century Britain, which became a center for world commerce following the industrial revolution. He explores how art was made and paid for, the turns of fashion, and the new demands of a growing middle-class, prominent among whom were the artists themselves.
While leading figures such as Turner, Constable, Landseer, Coleridge, Wordsworth, and Dickens are players here, so too are the patrons, financiers, collectors and industrialists; publishers, entrepreneurs, and journalists; artists' suppliers, engravers, dealers and curators; hostesses, shopkeepers and brothel keepers; quacks, charlatans, and auctioneers.
Hamilton brings them all vividly to life in this kaleidoscopic portrait of the business of culture in nineteenth-century Britain, and provides thrilling and original insights into the working lives of some of the era's most celebrated artists.
Carl David’s advice to the layman is invaluable, covering such topics as the characteristics of a gallery and its proprietor that will assure forthright dealings; what deals to avoid; the criteria to be followed by the beginner about to make his first purchase; and precautions to take in the conservation of paintings, from simple cleaning to restoration techniques.
For the art collector, indispensible information is provided, including details of shipping and insuring works of art, how to gauge the competence of an appraiser, the many elements that influence art prices, the tax benefits and liabilities of art investment, and much more.
This book is a practical and wide-reaching guide that collectors and investors may turn to with confidence. In this updated edition, the author includes new and up-to-date chapters and information.
From the Hardcover edition.