For many people, Native American architecture calls to mind the wigwam, tipi, iglu, and pueblo. Yet the richly diverse building traditions of Native Americans encompass much more, including specific structures for sleeping, working, worshipping, meditating, playing, dancing, lounging, giving birth, decision-making, cleansing, storing and preparing food, caring for animals, and honoring the dead. In effect, the architecture covers all facets of Indian life.The collaboration between an architect and an anthropologist, Native American Architecture presents the first book-length, fully illustrated exploration of North American Indian architecture to appear in over a century. Peter Nabokov and Robert Easton together examine the building traditions of the major tribes in nine regional areas of the continent from the huge plank-house villages of the Northwest Coast to the moundbuilder towns and temples of the Southeast, to the Navajo hogans and adobe pueblos of the Southwest. Going beyond a traditional survey of buildings, the book offers a broad, clear view into the Native American world, revealing a new perspective on the interaction between their buildings and culture. Looking at Native American architecture as more than buildings, villages, and camps, Nabokov and Easton also focus on their use of space, their environment, their social mores, and their religious beliefs. Each chapter concludes with an account of traditional Indian building practices undergoing a revival or in danger today. The volume also includes a wealth of historical photographs and drawings (including sixteen pages of color illustrations), architectural renderings, and specially prepared interpretive diagrams which decode the sacred cosmology of the principal house types.
Scientist, painter, mechanical engineer, sculptor, thinker, city planner, storyteller, musician, architect -- Leonardo da Vinci, builder of the first flying machine, was one of the great universal geniuses of Western civilization. His voluminous notebooks, the great storehouse of his theories and discoveries, are presented here in 1566 extracts that reveal the full range of Leonardo's versatile interest: all the important writings on painting, sculpture, architecture, anatomy, astronomy, geography, topography, and other fields are included, in both Italian and English, with 186 plates of manuscript pages and many other drawings reproduced in facsimile size.
The first volume, which contains all of Leonardo's writings on aspects of painting, includes discussions of such basic scientific areas as the structure of the eye and vision, perspective, the science of light and shade, the perspective of disappearance, theory of color, perspective of color, proportions and movements of the human figure, botany for painters, and the elements of landscape painting. A section on the practice of painting includes moral precepts for painters and writings on composition, materials, and the philosophy of art. The second volume contains writings on sculpture, architecture (plans for towns, streets, and canals, churches, palaces, castles, and villas, theoretical writings on arches, domes, fissures, etc.), zoology, physiology (including his amazingly accurate theories of blood circulation), medicine, astronomy, geography (including has famous writings and drawings on the movement of water), topography (observations in Italy, France, and other areas), naval warfare, swimming, theory of flying machines, mining, music, and other topics.
A selection of philosophical maxims, morals, polemics, fables, jests, studies in the lives and habits of animals, tales, and prophecies display Leonardo's abilities as a writer and scholar. The second volume also contains some letters, personal records, inventories, and accounts, and concludes with Leonardo's will. The drawings include sketches and studies for some of Leonardo's greatest works of art -- The Last Supper, the lost Battle of Anghiari, The Virgin of the Rocks, and the destroyed Sforza monument.
This book blesses the physical house and the protection it offers, wishing for its inhabitants ""a full portion of life's beauty."" It then grows more specific, hoping for kindness, companionship, peace, orderliness and the happiness that overflows into celebration. Poltarnees, drawing upon his library of antique images, has added pictures which best give each thought its most vivid reality. This book makes an excellent gift for any house.
Together with Rembrandt: The Master and his Workshop (Paintings), this book serves as the catalogue for a major exhibition of Rembrandt's paintings, drawings, and etchings opening at the Altes Museum in Berlin and the Rijksmuseum in Amsterdam in 1991. Paintings and etchings from this exhibition will later be on display at the National Gallery in London; the drawings will be shown at the British Museum."
Written in accessible, nontechnical language, this book's twenty-three essays provide invaluable conservation guidelines for a variety of materials and media. Focusing also on proper storage techniques and environmental control, contributors offer information on emergency planning, disaster management, and identifying damages that may require professional treatment.
With this provocative and infinitely moving collection of essays, a preeminent critic of our time responds to the profound questions posed by the visual world. For when Booker Prize-winning author John Berger writes about Cubism, he writes not only of Braque, L ger, Picasso, and Gris, but of that incredible moment early in this century when the world converged around a marvelous sense of promise. When he looks at the Modigliani, he sees a man's infinite love revealed in the elongated lines of the painted figure.Ranging from the Renaissance to the conflagration of Hiroshima; from the Bosphorus to Manhattan; from the woodcarvers of a French village to Goya, D rer, and Van Gogh; and from private experiences of love and of loss, to the major political upheavals of our time, The Sense of Sight encourages us to see with the same breadth, courage, and moral engagement that its author does.
Sometimes seeing is more difficult for the student of art than believing. Taylor, in a book that has sold more than 300,000 copies since its original publication in 1957, has helped two generations of art students learn to look.This handy guide to the visual arts is designed to provide a comprehensive view of art, moving from the analytic study of specific works to a consideration of broad principles and technical matters. Forty-four carefully selected illustrations afford an excellent sampling of the wide range of experience awaiting the explorer. The second edition of Learning to Look includes a new chapter on twentieth-century art. Taylor's thoughtful discussion of pure forms and our responses to them gives the reader a few useful starting points for looking at art that does not reproduce nature and for understanding the distance between contemporary figurative art and reality.