Every material has an active presence and every material is susceptible to change. The task of the sculptor is to understand the natural properties of a chosen material, to know in the process of creation how best to work with, or against, its characteristics. In this generously illustrated studio manual, sculptor Oliver Andrews takes a new approach to sculpture, focusing on how the innate assertiveness of materials affects the complex act of making a sculpture.
For writers, painters, or performers in any field, new hope for overcoming creative blocks and finishing the art of their dreams.The blank page, empty canvas, or uncarved stone will often fill artists with dread. But so may the thought of finishing, showing, or even selling their work. It is in this "artistic anxiety" that creative blocks begin. With an understanding that could only be gained through years of experience in counseling artists, writers, and performers, Eric Maisel, Ph.D. discusses each stage of creation-wishing, choosing, starting, working, completing, selling--and the anxieties particular to each. He then shows how these inhibiting tensions can be turned to artistic advantages, how truth and beauty arrive in the work of art precisely because, and only when, anxiety has been understood, embraced, and resolved. Fearless Creating guides the reader, whether an experienced artist or someone just starting out, past the pitfalls that appear in each stage of the process. By following Dr. Maisel's exercises related both to the world at hand and the ongoing struggles of artistic life, readers will emerge from this book with a completed work of art and a new perspective on their potential to be a fearless creator.
A young woman holds her newborn son
And looks at him lovingly.
"I'll love you forever
I'll like you for always
As long as I'm living
My baby you'll be."
So begins the story that has touched the hearts of millions worldwide. Since publication in l986, Love You Forever has sold more than 15 million copies in paperback and the regular hardcover edition (as well as hundreds of thousands of copies in Spanish and French).
Firefly Books is proud to offer this sentimental favorite in a variety of editions and sizes:
We offer a trade paper and laminated hardcover edition in a 8" x 8" size.
In gift editions we carry:
a slipcased edition (8 1/2" x 8 1/4"), with a laminated box and a cloth binding on the book
and a 10" x 10" laminated hardcover with jacket.
And a Big Book Edition, 16" x 16" with a trade paper binding.
This follow-up to the darkly humorous Amphigorey is wittier, more macabre, and more wondrous than ever. Master illustrator and iconic gothic storyteller Edward Gorey gives his fans 20 more nonsensically and mind-bending tales that draw fans and unsuspecting newcomers into a world only he can create. Gorey's pen-and-ink drawings spur the imagination and satisfy fans of art and the good storytelling.Some of the 20 stories in this collection include:
"The Beastly Baby"
"The Pious Infant"
"The Evil Garden"
"The Inanimate Tragedy"
"The Osbick Bird"
"The Deranged Cousins"
"The Abandoned Sock"
"Story for Sara"
Working Space affords a rare opportunity to view painting from the inside out, through the eyes of one of the world's most prominent abstract painters. Frank Stella describes his perception of other artists' work, as well as his own, in this handsomely illustrated volume.
Stella uses the crisis of representational art in sixteenth-century Italy to illuminate the crisis of abstraction in our time. The artists who followed Leonardo, Michelangelo, Raphael, and Titian searched for new directions to advance their work from beneath the shadow of these great painters. Caravaggio pointed the way. So today, Stella believes, the successors to Picasso, Kandinsky, and Pollock must seek a pictorial space as potent as the one Caravaggio developed at the beginning of the seventeenth century. Stella sees Caravaggio as the pivot on whom painting turns, his consummate illusionism prompting the advance of a more flexible, more "real" space that allows painting to move and breathe, to suggest extension and unrestricted motion. Following Caravaggio, Rubens' broad vision of fullness and active volume gave painting a momentum that helped propel it into the nineteenth century, where it came to rest in the genius of G ricault and Manet, themselves the precursors of modern painting.
Unfortunately, both contemporary abstract art and figurative painting have become trapped by ambiguous pictorial space and by a misguided emphasis on materiality (pigment for pigment's sake). Pictorial qualities have given way to illustrational techniques. Abstract art has become verbal, defensive, and critical, caught up in theology masquerading as theory. Stella asserts that painting must understand its past, make use of the lucid realism of seventeenth-century Italy, and absorb a Mediterranean physicality to reinforce the lean spirituality of northern abstraction pioneered by Mondrian and Malevich. Working Space will provoke discussion and argument, not least because Stella offers nontraditional evaluations of the works of giants such as Raphael, Titian, Michelangelo, Picasso, and Pollock, as well as lesser-known figures including Annibale Carracci, Paulus Potter, and Morris Louis. The artist's powers of discernment and the profusion of his ideas and opinions will dazzle and engage professionals, amateurs, and students of art.