This volume of late 16th and early 17th century love emblems--including mythological, allegorical, and even erotic prints--was amassed around 1620 by an unknown lover. These 143 folios are reproduced in their original size (25.3 x 18.5 cm), and are joined by an Introduction and accompanying descriptions by the author.
The art of Japanese woodblock printing, known as ukiyo-e (pictures of the floating world), reflects the rich history and way of life in Japan hundreds of years ago. Ukiyo-e: The Art of the Japanese Print takes a thematic approach to this iconic Japanese art form, considering prints by subject matter: geisha and courtesans, kabuki actors, sumo wrestlers, erotica, nature, historical subjects and even images of foreigners in Japan.An artist himself, author Frederick Harris--a well-known American collector who lived in Japan for 50 years--pays special attention to the methods and materials employed in Japanese printmaking. The book traces the evolution of ukiyo-e from its origins in metropolitan Edo (Tokyo) art culture as black and white illustrations, to delicate two-color prints and multicolored designs. Advice to admirers on how to collect, care for, view and buy Japanese ukiyo-e woodblock prints rounds out this book of charming, carefully selected prints.
Recognized as one of the most interesting and vibrant artists of the Edo period, Utagawa Kuniyoshi (1797-1861) is a major exponent of ukiyo-e. His fame is tied to the series of polychrome xylographs that illustrate the 108 heroes from the novel Suikoden (Brigands), a late-18th-century bestseller in China and Japan that described a band of brigands who defend those oppressed by injustice and government corruption. The book conjures imagery of violent, powerful warriors with muscular tattooed bodies--imagery that today inspires manga, anime, tattoo artists and illustrators across the world. Kuniyoshi embraced the genre of warrior prints, but he was also interested in portraits of female beauties, kabuki actors, landscapes, children and ghosts, another greatly admired genre in Japan. Nonetheless, his name is above all associated with Arcimboldo-like composite figures, figures within figures and parodies of stories and battles. His images are fantastical, baroque, rich in color and detail, with imposing characters and dynamic actions. This book surveys the work of a versatile and intriguing figure whose impressive technique birthed a school that continued for generations.
The continual demand among graphic artists for floral and botanical illustrations, combined with the perennial popularity of the Victorian style, have inspired this practical royalty-free collection. Artist Carol Belanger Grafton has selected 344 handsome and botanically accurate wood engravings from two notable botanical classics: Paxton's Flower Garden by John Lindley and Sir Joseph Paxton, 1850-53; and The Natural History of Plants: Their Forms, Growth, Reproduction, and Distribution by Anton Kerner von Marilaun and F. W. Oliver, 1902.Illustrations include exquisitely detailed renderings of flowers and other plant features of exotic specimens from around the world: passionflower, baobab, spider lily, hop, quaking grass, mourning cypress, American mangrove, wayfaring tree, Christmas rose, Indian rhododendron, false indigo, winged pea, Persian walnut. cat's-claw mimosa, Bhutan cypress, and many more.The engravings encompass a broad spectrum of plant forms: trees, shrubs, aquatic and climbing plants, evergreens, vines, brushes, herbs, various perennials, and others. Orchids are especially well represented; over 10 percent of the illustrations in this volume depict orchids. Each illustration is accompanied by an identifying caption that provides the scientific name and a brief description of the plant, its native region, and if it is a flower, the coloration of the blossoms.The clarity and accuracy of these engravings is striking; they are well-suited to reproduction for almost any graphic purpose. Moreover, all illlustrations are royalty-free; no prior permission or fee is required for their use. Invaluable to graphic artists in need of a comprehensive archive of unusual floral illustrations, this versatile reference will delight botanists, naturalists, flower lovers, and any admirer of exotic plants that are depicted with the meticulous clarity and detail of fine engravings.
For many book collectors, the Victorian period has always held a special fascination. These books were frequently illustrated by artists of immense talent, cased in exquisite bindings, and printed directly from wood blocks engraved by master craftsmen. One of this century's greatest collection of such books, formed by Robin de Beaumont, was recently donated to the British Museum.
Victorian Illustrated Books is one of the few volumes devoted exclusively to this fascinating period. Containing a checklist of all 366 books and one hundred illustrations, drawings, and preliminary sketches, it presents a fully illustrated commentary on a collection of books that is outstanding for both its condition and the range of materials it holds. Here are children's books, secular and religious texts, novels, and gift books. The list of artists whose work is represented reads like a "Who's Who" of Victorian art: Edward Burne-Jones, Frederic Leighton, Dante Gabriel Rossetti, John Everett Millais, and Arthur Boyd Houghton, as well as some of the finer later artists, such as Whistler, Sandys, and Shields. In addition, eight splendid bindings have been reproduced in full color. As the book demonstrates, the de Beaumont is arguably the most distinguished collection of such books ever assembled. And in this comprehensive and beautifully designed catalogue, collectors and institutions will finally have a reference work that is equal to the indisputable quality of the materials it so authoritatively discusses.
Maggie Nelson provides the first extended consideration of the roles played by women in and around the New York School of poets, from the 1950s to the present, and offers unprecedented analyses of the work of Barbara Guest, Bernadette Mayer, Alice Notley, Eileen Myles, and abstract painter Joan Mitchell as well as a reconsideration of the work of many male New York School writers and artists from a feminist perspective.
If there is, indeed, nothing lovelier than a tree, Connecticut-based artist Bryan Nash Gill shows us why. Creating large-scale relief prints from the cross sections of trees, the artist reveals the sublime power locked inside their arboreal rings. Gill creates patterns not only of great beauty but also year-by-year records of the life and times of fallen or damaged logs. He rescues the wood from the property surrounding his studio and neighboring land, extracts and prepares blocks of various species (including ash, maple, oak, spruce, and willow), then makes prints by carefully following and pressing the contours of rings and ridges until the intricate designs transfer from tree to paper. The results are colored, nuanced shapes--mesmerizing impressions of the structural integrity hidden inside each tree. These exquisitely detailed prints are collected and published here for the first time, with an introduction by esteemed nature writer Verlyn Klinkenborg and an interview with the artist describing his labor-intensive printmaking process. Also featured are Gill's series of printed lumber and offcuts, such as burls, branches, knots, and scrubs. Woodcut will appeal to anybody who appreciates the grandeur and mystery of trees, as well as those who work with wood and marvel at the rich history embedded in its growth.
Yokai are a class of supernatural monsters in Japanese folklore. Yokai have attracted the artists and have been a common theme in art works until these days because of their unique forms and their mysterious behaviours. This book is a visual collection of art works of Yokai in Japan since the Edo period (1603 - 1868). The works are not only paintings but also wood block prints, ceramics, kimonos, children's playthings such as board games, and more. All items that are featured in the book come from personal collections by Koichi Yumoto, who has the largest Yokai art collection in Japan.
Yokai are a class of supernatural monsters in Japanese folklore. In the Edo period (1603-1868), many artists, such as Hokusai Katsushika or Kuniyoshi Utagawa, created works featuring yokai that were inspired by folklore or their own imaginations.Yokai Wonderland contains many art works of Japanese yokai from the Edo period to today and includes not only paintings but also woodblock prints, scrolls, ceramics, kimonos, wooden sculptures, magazines, toys for children, such as board games, and more.
This is the second series from the Yokai Museum and showcases a new collection of works, including never-before-seen works. All of the works featured in this book are from the personal collection of Koichi Yumoto, who will be opening the Yokai Museum in Hiroshima in 2018. Yumoto's own commentary on the works and the history of yokai are also included.
This book will certainly appeal to Japanese art lovers, fans of yokai and also to those who are new to these fascinating supernatural creatures. It is also a valuable reference and source of inspiration for designers and illustrators.