A new short story collection by Austin English, an innovative cartoonist and growing star in NY's Chelsea gallery scene.
"Austin English's drawing is gelatinous, daubed, stroked, smeared, erased, redrawn, sculpted, twisted, cringes, flattens out as it squashes inward, maybe reminds one of a landscape and populace for Stravinsky folk songs, or a dream program for tragic Polish puppet plays, crowded, self-replicating and worth checking out." -- Gary Panter
Gulag Casual smashes faux-grotesque drawing into crude panels, narratives tease literary tropes all the while pushing the lexicon of comics further into the 21st century." -- Esther Pearl Watson
"Beautiful minimalist portraits." - The Comics Journal
"Genius." - Giant Robot Magazine
Gulag Casual, by acclaimed illustrator and cartoonist Austin English, presents some of the most mature and sustained work yet from a constantly challenging and essential artist. This new suite of short stories collects material from 2010-2015, showcasing the kind of imaginative imagery which firmly establishes English as one of the most innovative cartoonists in practice today.
Austin English lives and works in New York as an artist, cartoonist, and publisher. His illustration work has appeared in the New York Times and has been exhibited in galleries all over the world, including Montreal, Stockholm, Croatia, and New York.
The book features retro style pen and ink illustrations by Joan Escandell (illustrator of Captain Thunder, He-Man, and Disney's Cinderella and The Lion King), who molded the image many youngsters in Europe have of literary figures like Robin Hood. The book gives free access to a library of downloadable high-resolution animal images.
Phantoms, skulls, skeletons and other macabre figures populate the paintings, drawings and prints of James Ensor. His works are bizarre, ironic, occasionally belligerent and provocative, but always buoyed by a keen sense of humor, and his nightmarish motifs reveal the absurd and grotesque about everyday life. Ensor's interests were wide-ranging; he was as enthusiastic about Rembrandt's prints as he was about the Belgian Carnival festival and Japanese masks. In turn, early twentieth-century artists such as Alfred Kubin, Paul Klee and the German Expressionists Emil Nolde and Ernst Ludwig Kirchner were inspired by his creative power and radical rejection of traditional European ideals of beauty. This volume presents nearly 60 paintings and an equal number of drawings, which are published here for the first time.James Ensor (1860-1949) was born in Brussels where he studied at the Acad mie Royale des Beaux-Arts. He first exhibited his work in 1881, and received his first solo exhibition four years later. Despite initial attacks in the press, Ensor quickly found favor in his native Belgium. By 1920 he was the subject of major exhibitions; in 1929 he was named a baron by King Albert; and in 1933 he was awarded the L gion d'honneur. Ensor rarely left Belgium, and endeared himself to the people of Ostend, where he spent most of his life, as a familiar figure about town.
What did Maya Angelou do to keep the words flowing? What is a NASA engineer's lucky charm? How does Thom Yorke prep for a concert? This book bottles the singular recipes for success of leading creatives, politicians, scientists, and athletes who made their own luck. Revealing an array of unique practices from quirky superstitions to preperformance rituals, this visual compendium celebrates in text and charming illustrated portraits the real personalities, creative processes, and curious habits of these influential people. Presented with a handsome silk-screened cloth spine, this treasure trove of inspiration is a smart and special choice for anyone who could use a little good fortune.
Armin Landeck, an American realist whose graphic career spanned more than half of the twentieth century, was trained as an architect but devoted his life to etching, creating his first print in 1927.
A brief period of study under Stanley William Hayter at Atelier 17 in New York City introduced Landeck to copper engraving, establishing his subsequent fascination with the burin and all it can do. For the rest of the l940s Landeck often used both drypoint and engraving on the same plate, but after 1950 he produced only copper engravings with the exception of three wood engravings in 1958.
This revised edition of a book first published in 1977 has been completely rewritten and expanded to include prints not known when the first edition was publishedplus the prints made by the artist from 1977 till his death in 1984. The first edition contained 127 prints and states; 164 prints and states are now pictured and described.
An important addition to this book outlines Landeck s participation in many national print exhibitions such as those at the Library of Congress and the Society of American Etchers. Reflecting the growing appreciation of Landeck s work, the list of public institutions that have Landeck prints in their permanent collections has grown from the first edition s thirty-one to this edition s ninety-six. A new section entitled "Notes on the Prints" gives in-depth information on many Landeck prints. An extensive bibliography is another feature of this second edition."
A biography of the artist who illustrated "The Wind in the Willows," "Peter Pan," and other classic works describes his personal and professional life, and illuminates his talents as a portrait and landscape painter
During the fifteenth century drawing developed from a subsidiary role in the production of finished paintings to an art form in its own right. In this beautiful book, Francis Ames-Lewis examines the works of the major draughtsmen of the century--Pisanello, Jacopo Bellini, Pollaiuolo, Ghirlandaio, Carpaccio, and Leonardo--in order to discuss the new types of drawing that evolved.
"Ames-Lewis's insight into his chosen subject-matters is impressive; so is his simple and lucid presentation. His enthusiasm and real feeling for these early draughtsmen are very infectious and will no doubt commend this book as a kind of primer for students."--Keith Andrews, Times Literary Supplement
"An important statement of theory about the drawing's emergence as a finished and autonomous work of art; it also offers succinct and enlightening description of the purposes, technique and limitations of drawings in silverpoint, pen and ink, chalk and brush, and as such it will assist and educate every collector concerned with this field."--Godfrey Baker, The Connoisseur
"This pioneering book . . . makes a persuasive case for the study of drawing as vital to a fuller understanding of Early Renaissance art."--Eve King, Art Book Review