There's more to manga than big, shiny eyes and funky hair. In these action-packed pages, graphic novelist Mark Crilley shows you step-by-step how to achieve an authentic manga style—from drawing faces and figures to laying out awesome, high-drama spreads. You'll learn how a few basic lines will help you place facial features in their proper locations and simple tricks for getting body proportions right. Plus, you'll find inspiration for infusing your work with expression, attitude and action.
This is the book fans have been requesting for years, packed with expert tips on everything from hairstyles and clothing to word bubbles and sound effects, delivered in the same friendly, easy-to-follow style that has made Mark Crilley one of the "25 Most Subscribed to Gurus on YouTube." Take this opportunity to turn the characters and stories in your head into professional-quality art on the page!
Packed with everything you need to make your first (or your best-ever) manga stories! 30 step-by-step demonstrations showing how to draw faces and figures for a variety of ages and body types Inspirational galleries featuring 101 eyes, 50 ways to draw hands, 40 hairstyles, 12 common expressions, 30 classic poses and more! Tutorials to create a variety of realistic settings Advanced lessons on backgrounds, inking, sequencing and layout options
The present volume reproduces with excellent clarity all 135 plates that Doré produced for The Inferno, Purgatory, and Paradise. From the depths of hell onto the mountain of purgatory and up to the empyrean realms of paradise, Doré's illustrations depict the passion and grandeur of Dante's masterpiece in such famous scenes as the embarkation of the souls for hell, Paolo and Francesca (four plates), the forest of suicides, Thaïs the harlot, Bertram de Born holding his severed head aloft, Ugolino (four plates), the emergence of Dante and Virgil from hell, the ascent up the mountain, the flight of the eagle, Arachne, the lustful sinners being purged in the seventh circle, the appearance of Beatrice, the planet Mercury, and the first splendors of paradise, Christ on the cross, the stairway of Saturn, the final vision of the Queen of Heaven, and many more.
Each plate is accompanied by appropriate lines from the Henry Wadsworth Longfellow translation of Dante's work.
Starting on a personal note, Hughes takes us to the Rome he first encountered as a hungry twenty-one-year-old fresh from Australia in 1959. From that exhilarating portrait, he takes us back more than two thousand years to the city's foundation, one mired in mythologies and superstitions that would inform Rome's development for centuries.
From the beginning, Rome was a hotbed of power, overweening ambition, desire, political genius, and corruption. Hughes details the turbulent years that saw the formation of empire and the establishment of the sociopolitical system, along the way providing colorful portraits of all the major figures, both political (Julius Caesar, Marcus Aurelius, Nero, Caligula) and cultural (Cicero, Martial, Virgil), to name just a few. For almost a thousand years, Rome would remain the most politically important, richest, and largest city in the Western world.
From the formation of empire, Hughes moves on to the rise of early Christianity, his own antipathy toward religion providing rich and lively context for the brutality of the early Church, and eventually the Crusades. The brutality had the desired effect—the Church consolidated and outlasted the power of empire, and Rome would be the capital of the Papal States until its annexation into the newly united kingdom of Italy in 1870.
As one would expect, Hughes lavishes plenty of critical attention on the Renaissance, providing a full survey of the architecture, painting, and sculpture that blossomed in Rome over the course of the fourteenth through the sixteenth centuries, and shedding new light on old masters in the process. Having established itself as the artistic and spiritual center of the world, Rome in the seventeenth, eighteenth, and nineteenth centuries saw artists (and, eventually, wealthy tourists) from all over Europe converging on the bustling city, even while it was caught up in the nationalistic turmoils of the Italian independence struggle and war against France.
Hughes keeps the momentum going right into the twentieth century, when Rome witnessed the rise and fall of Italian Fascism and Mussolini, and took on yet another identity in the postwar years as the fashionable city of "La Dolce Vita." This is the Rome Hughes himself first encountered, and it's one he contends, perhaps controversially, has been lost in the half century since, as the cult of mass tourism has slowly ruined the dazzling city he loved so much. Equal parts idolizing, blasphemous, outraged, and awestruck, Rome is a portrait of the Eternal City as only Robert Hughes could paint it.
From the Hardcover edition.
"Not only is it a splendid exploration of several aspects of early modernism in their political context; it is an indicator of how the discipline of intellectual history is currently practiced by its most able and ambitious craftsmen. It is also a moving vindication of historical study itself, in the face of modernism's defiant suggestion that history is obsolete."
-- David A. Hollinger, History Book Club Review
"Each of [the seven separate studies] can be read separately....Yet they are so artfully designed and integrated that one who reads them in order is impressed by the book's wholeness and the momentum of its argument."
-- Gordon A. Craig, The New Republic
"A profound work...on one of the most important chapters of modern intellectual history" -- H.R. Trevor-Roper, front page, The New York Times Book Review
"Invaluable to the social and political historian...as well as to those more concerned with the arts" -- John Willett, The New York Review of Books
"A work of original synthesis and scholarship. Engrossing."
In this eminently fascinating work, author Philip Ball makes sense of the visual and emotional power of Chartres and brilliantly explores how its construction—and the creation of other Gothic cathedrals—represented a profound and dramatic shift in the way medieval thinkers perceived their relationship with their world. Beautifully illustrated and written, filled with astonishing insight, Universe of Stone embeds the magnificent cathedral in the culture of the twelfth century—its schools of philosophy and science, its trades and technologies, its politics and religious debates—enabling us to view this ancient architectural marvel with fresh eyes.
In Van Gogh’s Ear, Bernadette Murphy reveals, for the first time, the true story of this long-misunderstood incident, sweeping away decades of myth and giving us a glimpse of a troubled but brilliant artist at his breaking point. Murphy’s detective work takes her from Europe to the United States and back, from the holdings of major museums to the moldering contents of forgotten archives. She braids together her own thrilling journey of discovery with a narrative of Van Gogh’s life in Arles, the sleepy Provençal town where he created his finest work, and vividly reconstructs the world in which he moved—the madams and prostitutes, café patrons and police inspectors, shepherds and bohemian artists. We encounter Van Gogh’s brother and benefactor Theo, his guest and fellow painter Paul Gauguin, and many local subjects of Van Gogh’s paintings, some of whom Murphy identifies for the first time. Strikingly, Murphy uncovers previously unknown information about “Rachel”—and uses it to propose a bold new hypothesis about what was occurring in Van Gogh’s heart and mind as he made a mysterious delivery to her doorstep.
As it reopens one of art history’s most famous cold cases, Van Gogh’s Ear becomes a fascinating work of detection. It is also a study of a painter creating his most iconic and revolutionary work, pushing himself ever closer to greatness even as he edged toward madness—and one fateful sweep of the blade that would resonate through the ages.
Klimt's talent and brilliance as a draughtsman, however, was widely recognized only after Klimt's death. During his lifetime, he hardly sold a drawing nor did he exhibit them.
Ward's guide in this journey is a contemporary artist whose own life was transformed by the painting, a simple man named Angelo who shows him where it still hangs in a small church in Naples and whose story helps him see its many layers. As Ward unfolds the structure of the painting, he explains each of the seven mercies and its influence on Caravaggio’s troubled existence. Caravaggio encountered the whole range of Naples’s vertical social layers, from the lowest ranks of poverty to lofty gilded aristocratic circles, and Ward reveals the old city behind today's metropolis. Fusing elements of history, biography, memoir, travelogue, and journalism, his narrative maps the movement from estrangement to grace, as we witness Caravaggio’s bruised life gradually redeemed by art.
Skyhorse Publishing, along with our Arcade, Good Books, Sports Publishing, and Yucca imprints, is proud to publish a broad range of biographies, autobiographies, and memoirs. Our list includes biographies on well-known historical figures like Benjamin Franklin, Nelson Mandela, and Alexander Graham Bell, as well as villains from history, such as Heinrich Himmler, John Wayne Gacy, and O. J. Simpson. We have also published survivor stories of World War II, memoirs about overcoming adversity, first-hand tales of adventure, and much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to books on subjects that are sometimes overlooked and to authors whose work might not otherwise find a home.
The artist was Caravaggio, a master of the Italian Baroque. He was a genius, a revolutionary painter, and a man beset by personal demons. Four hundred years ago, he drank and brawled in the taverns and streets of Rome, moving from one rooming house to another, constantly in and out of jail, all the while painting works of transcendent emotional and visual power. He rose from obscurity to fame and wealth, but success didn’t alter his violent temperament. His rage finally led him to commit murder, forcing him to flee Rome a hunted man. He died young, alone, and under strange circumstances.
Caravaggio scholars estimate that between sixty and eighty of his works are in existence today. Many others–no one knows the precise number–have been lost to time. Somewhere, surely, a masterpiece lies forgotten in a storeroom, or in a small parish church, or hanging above a fireplace, mistaken for a mere copy.
Prizewinning author Jonathan Harr embarks on an spellbinding journey to discover the long-lost painting known as The Taking of Christ–its mysterious fate and the circumstances of its disappearance have captivated Caravaggio devotees for years. After Francesca Cappelletti stumbles across a clue in that dusty archive, she tracks the painting across a continent and hundreds of years of history. But it is not until she meets Sergio Benedetti, an art restorer working in Ireland, that she finally manages to assemble all the pieces of the puzzle.
Told with consummate skill by the writer of the bestselling, award-winning A Civil Action, The Lost Painting is a remarkable synthesis of history and detective story. The fascinating details of Caravaggio’s strange, turbulent career and the astonishing beauty of his work come to life in these pages. Harr’s account is not unlike a Caravaggio painting: vivid, deftly wrought, and enthralling.
". . . Jonathan Harr has gone to the trouble of writing what will probably be a bestseller . . . rich and wonderful. . .in truth, the book reads better than a thriller because, unlike a lot of best-selling nonfiction authors who write in a more or less novelistic vein (Harr's previous book, A Civil Action, was made into a John Travolta movie), Harr doesn't plump up hi tale. He almost never foreshadows, doesn't implausibly reconstruct entire conversations and rarely throws in litanies of clearly conjectured or imagined details just for color's sake. . .if you're a sucker for Rome, and for dusk. . .[you'll] enjoy Harr's more clearly reported details about life in the city, as when--one of my favorite moments in the whole book--Francesca and another young colleague try to calm their nerves before a crucial meeting with a forbidding professor by eating gelato. And who wouldn't in Italy? The pleasures of travelogue here are incidental but not inconsiderable." --The New York Times Book Review
"Jonathan Harr has taken the story of the lost painting, and woven from it a deeply moving narrative about history, art and taste--and about the greed, envy, covetousness and professional jealousy of people who fall prey to obsession. It is as perfect a work of narrative nonfiction as you could ever hope to read." --The Economist
From the Hardcover edition.
The Artist's Workbooks series are practical guides for artists for artists interested in getting to grips with a particular subject.
Now available in a compact, accessible format, this beautifully illustrated book is the most comprehensive account ever published in English of one of the most fascinating and influential nineteenth-century painters.
“This is a model of interpretative art history, taking in a good deal of German Romantic philosophy, but founded always on the immediate experience of the picture. . . . It is rare to find a scholar so obviously in sympathy with his subject.”—Independent
ABOUT THE BOOK
It is impossible to separate Frida Kahlo's work from her life. This most autobiographical of artists created a virtual timeline in her paintings that spanned her entire career as an artist. From the time she began painting while recovering from a brutal accident that left her disabled, to her final struggles, shortly before her death, with a body that was literally wired together, Frida Kahlo chronicled her life on canvas. Above the gruesome aspects of her injuries, above the pain and the surgeries, rose a white hot flame of passion and creativity. When Frida Kahlo suffered, she suffered intensely; when she celebrated, her world became a celebration.
Because of the intensity of these highs and lows, the visceral effect of Frida Kahlo's work hits you with a virtual punch to the stomach. Before you realize it, you're drawn into her world, captivated by those solemn, staring portraits which, in turn, are scrutinizing you as well.
The Lives' colorful and detailed portraits of the most representative figures of Italian painting and sculpture trace the flowering of the Renaissance across three centuries. This single-volume edition of selections from Vasari's immense work features eight of the book's most noteworthy artists: Giotto, Masaccio, Fra Filippo Lippi, Botticelli, Leonardo, Raphael, Michelangelo, and Titian. It also includes an introduction, notes, and glossary; as well as woodcut portraits of each artist by Vasari himself. Students, teachers, and art enthusiasts will find this convenient edition an indispensable resource.
There is a sense of movement in Toulouse-Lautrec’s drawings of dancers and horses. His dancers appear from a few twirls and swirls. He does not draw the dancer, but the motions. His lithographs and sketches of Loie Fuller consist of little more than abstract shapes, in which we can barely detect a head and a pair of legs. When he was commissioned to make a series of lithographs with a horse racing theme, The Jockey (1899), Toulouse-Lautrec does not start from an anatomically correct horse, but tries to capture the strength and speed of the horses in motion. By choosing this particular viewing angle he puts the viewer as it were on one of the trailing horses.
After a life of enormous productivity (more than 1,000 paintings, 5,000 drawings, and 350 prints and posters), debauchery, and alcoholism, Toulouse-Lautrec suffered a mental and physical collapse and died at the age of 37.
This book collects all 241 plates — long out of print — that Doré executed for the Bible. In these plates, reproduced from outstanding early editions, the artist not only captures the dramatic intensity of the Scriptures, but sustains it longer than any other single artist was able to do. In addition, Doré reimagined all the scenes, so that what he produced was not a mere reworking of what centuries of other artists had already done, but a new and fresh visual interpretation of the Bible.
Each plate is accompanied by the verses from the Authorized (King James) Version of the Bible that the scene depicts, and an Introduction by Millicent Rose covers Doré's life and art in general. This is a sumptuous book that everyone, from those interested in Scripture to lovers of great art, will be proud to possess.
Rackham's career coincided with the era known as the Golden Age of Illustration, an age that witnessed the rise of increasingly sophisticated color printing techniques. His interpretation of A Midsummer Night's Dream, which first appeared in 1908, received the full benefit of the improved technology, and this faithful reprint offers a quality of printing and sharpness of reproduction that rivals the limited and first editions. The complete text of the play appears here, along with 40 full-color and numerous black-and-white illustrations — a splendid tribute by a master of fantasy art to an immortal play.
A renowned authority on the works and personality of Leonardo, author Edward McCurdy translated many of the artist's writings. "In the thousands of pages of his manuscript he has left the mirror of his thought," McCurdy observes, "and there his mind may be seen at work, moving among the phenomena of nature and the inherited knowledge of antiquity, trying all things, expounding all things, proving all things." McCurdy begins by tracing the artist's travels, from his native Florence to Milan, Venice, Rome, and France. Part Two examines the manuscripts and their philosophical revelations, and the third section assesses the paintings and sculpture. First published in 1928, this book remains one of the best introductions to Leonardo and his extraordinary versatility.