The painted books of ancient Mexico constitute a particularly important chapter of world literature. The work of the tlacuilo, or scribes, goes back thousands of years before the Spanish Conquest; their exquisite manuscripts were written and drawn on native paper or skin and, later, on European paper. The vast majority of these codices were destroyed during the invasion; a precious few have survived. About twenty of the finest of these are in British collections and Professor Brotherston has undertaken a close study of them, comparing them with Mexican books in America and elsewhere.
Besides being beautiful works of art in their own right, the codices offer invaluable insights into the history, religion and legends of the ancient civilisations of Mesoamerica: the Olmec, Maya, Chichimec and Mexica (Aztec). The books meticulously record wars, conquests, dynastic disputes and the biographies of great rulers like the Mixtec king Eight Deer. Complex ritual calendars give a framework for the religious observances of these peoples and offer testimony to their obsession with dates and record-keeping; maps record the spread of the Mexica, Chichimec and Mixtec across Mesoamerica. After the Conquest most of the 'pagan' books were burned, but the book-making tradition continued and retained many of the old forms and conventions. Post-Conquest legal documents, for example, give stark evidence of the rapacity and brutality of the invaders.
Reveals the special qualities that have enabled artisans of the Catskill region to develop and sustain a remarkable craft tradition, and details all the processes involved in making handwoven cloths, ceramics, and other items
Loring Coleman's voice as a storyteller is full of his humor and sense of wonder as he tells us about his life and then gives us the tales behind the beauty and mystery of over 50 of his paintings, most of which are reflections of a disappearing life in New England. He begins by describing the moment when his eyesight failed, and he learned that after seven decades as an artist, he might never paint again. His creation of this book became his response. With spirited memories of the intriguing characters who affected his life, Loring describes his upbringing in the tough Chicago of the 1930s, his discovery of idyllic rivers in Concord, Massachusetts, and his adventures as a motorcyclist and young student of great art teachers. He tells of marrying his wife Katinka the day before Pearl Harbor, entering the military, and quickly finding himself commanding the U.S. Army's largest World War II art department. He then traces his energetic years as a teacher, traveling art historian, and lover of Bavaria and Austria. In the context of his rich personal life, Loring shows us his paintings, as he reveals the many amusing, exasperating, and provocative experiences surrounding the artistic choices he made as he became one of New England's most revered artists.
A comprehensive new assessment of the South Seas works of American painter, muralist, and stained-glass artist John La Farge, published on the 100th anniversary of his death
In 1890, John La Farge (1835-1910) and his close friend, historian Henry Adams, embarked on a journey to the islands of the South Pacific, where the artist experienced a period of great creative output.This book showcases many of the most important oils, watercolors, and sketches to come out of La Farge's two-year voyage to the islands of the Pacific and Indian Oceans and is the first to place the artist's South Seas work in the broader context of exotic travel by artists and writers of the 19th century.
The essays in John La Farge's Second Paradise explore the artist's reemergence as a plein air landscape painter, his use of the sketchbook, and his late decorative work, which was reinvigorated by the experience of light and color he discovered in the South Seas. Further discussions examine the prevailing notions of tropical paradise perpetuated since Captain Cook's "discovery" of Polynesia in the late 18th century, and offer the first extended comparison of the careers and art of La Farge and Paul Gauguin, who arrived in Tahiti only days after La Farge left in 1891. Featuring many previously unpublished works, this beautiful book is a major contribution to the study of La Farge's life and art.
The American Century is the subject of a year-long exhibition at the Whitney Museum -- the most comprehensive display of twentieth-century American art ever assembled, incorporating a wide range of masterpieces from all sections of the country, by both familiar and lesser-known artists. This volume, covering the first half of the century, is a history of American art as well as a permanent record of the Whitney show. Here fine arts achievements are seen as part of the larger culture that helped shape them -- the art forms of film, dance, music, literature, photography, decorative arts, architecture, fashion, and industrial design. All are described and set in the context of political and social currents of the era in Barbara Haskell's rich and informative text. Essays by noted experts in many fields illuminate developments in different areas of artistic endeavor while over 750 full-color and duotone illustrations give visual testimony to America's dominant role in the arts.
Accompanying a nationally touring exhibition, this critical history of American art of the 1920s provides a fresh perspective on the strikingly original modernist imagery of the Jazz Age. Youth and Beauty is the first wide-ranging look at American art during the period following the Great War and before the onset of the Great Depression. This richly illustrated volume captures a glimpse into American life during a decade when urbanization, industrialization, and mechanization were revolutionizing the United States.
With more than 200 illustrations, the book brings together an array of artists and mediums, featuring iconic and surprising works by Edward Hopper, Georgia O'Keeffe, Stuart Davis, Marsden Hartley, Aaron Douglas, Alfred Stieglitz, Isamu Noguchi, Charles Sheeler, Man Ray, Walker Evans, and others.
The book is arranged by theme: figurative art, landscape, still life and poetry, regional artists, and photography. Teresa A. Carbone addresses figurative types, including portraits, heroic bodies, and erotic forms. Sarah M. Lowe explores photography of the period. Bonnie Costello considers still life in the context of the seminal lyric poetry of the 1920s, and Randall Griffey discusses the Stieglitz School and the Regionalists. Published in association with the Brooklyn Museum
Tells the story of the New Deal arts projects between 1933 and 1943, based on a 1997 exhibit at the National Archives and Records Administration. Themes include the projects' use of American history, celebration of the common man and woman, support for the New Deal, political activism, and the spons
In Revisionist Art, Bob Dylan offers silkscreened covers of popular magazines from the last half century that somehow escaped history's notice. As Luc Sante says in his introduction to this collection, they seem to emanate, "from a world just slightly removed from ours--a world a bit more honest about its corruption, its chronic horniness, its sweat, its body odor." Art critic B. Clavery provides a history of Revisionist Art, from cave drawings, to Gutenberg, to Duchamp, Picasso, and Warhol. The book also features vivid commentaries on the work, (re)acquainting the reader with such colorful historical figures as the Depression-era politician Cameron Chambers, whose mustache became an icon in the gay underworld, and Gemma Burton, a San Francisco trial attorney who used all of her assets in the courtroom. According to these works, history is not quite what we think it is.Praise for Revisionist Art "Revisionist Art may be the strangest move Dylan has made in a long while, but it's also his most brilliantly uproarious foray into full-blown comedy." --Rolling Stone, four-star review