Selecting the finest specimens by Durer, Beardsley, Kent, and others, the former editor of "American Artist" offers 761 miniature works of art representing 500 years of the bookplate from the first known example ca. 1450 to a wide range of fascinating 20th-century designs. Most comprehensive collection available. Introduction.
When the young artist Everard Jean Hinrichs was looking for a new name, he chose "Sloane" as a tribute to his mentor John Sloane and "Eric" as homage to his greatest inspiration, America. This original collection of Eric Sloane's oil paintings spotlights his evocative depictions of the nation's landscape and material culture. Shimmering with immense historical and nostalgic appeal, it features nearly a hundred of the artist's finest paintings of locations ranging from New England to the American Southwest. A perfect introduction to Sloane's art, this fine anthology will also appeal to the painter's many longtime fans. Michael Wigley, whose Santa Fe gallery is a primary venue for Sloane's artwork, selected these images from an extensive legacy. Wigley also provides an informative commentary on the artist's techniques, and Mimi Sloane offers a warm reminiscence of her husband's life and lively career.
More than 800 treasures of 19th- and early 20th-century art are reproduced in this book, which is in the same style as the successful Paintings in the Louvre. The author, an art historian, has selected and arranged the paintings, showing the breadth of the museum's collection.
The Art Museum offers the museum experience without the boundaries of space and time. The unique structure of the book has been created by specialists in all fields of art, from institutions worldwide, who have collected together important and innovative works as they might be displayed in the ideal museum for the art lover.
As any great museum the book is divided into galleries, presenting the extraordinary variety of artistic output, from ancient Greece, to Australasia and Oceania, Byzantine art to that of the Pre-Columbian Americas, the Renaissance to twentieth-century art, with an emphasis on later western art. Rooms examine important aspects and movements within the gallery. Corridors between the rooms allow the reader to focus on seminal works of each period and culture, with the huge reproduction format allowing for detailed examination.
The rooms present the finest examples of human creativity, each piece labelled with key data (including dates, medium and dimensions) alongside a brief description, and the group of works explained by a curator. Painting, sculpture, metalwork, textiles and ceramics comprise the wide variety offered to the reader, as individual works are all contextualised with expert contributors detailing the works' significance to the evolution of art history. With cross-references throughout, a comprehensive glossary and detailed location maps, The Art Museum is both fantastic to browse through and an indispensable guide to art throughout the ages.
This publication accompanies a major exhibition organized by the Wadsworth Atheneum in Hartford, Connecticut, and the National Gallery of Australia. It features some fifty American and fifty Australian landscape paintings produced during the period when landscape became the focus for artists in both countries.In both traditions landscapes trace the ever-changing complexities of bringing what is known to the experience of the unknown, exploring the profound relationship that we have with the land on which we live. Many of America's finest landscape painters are represented, including Frederic Church, Thomas Cole, Albert Bierstadt, Winslow Homer, and William Merritt Chase. Australian artists include Joseph Lyatt, Augustus Earle, John Glover, Eugene von Guerard, Louis Buvelot, and Arthur Streeton, among others.
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 catalogue from the first Spanish exhibition of the Chinese artist, Ai Weiwei (China, 1957). It demonstrates the ironic humour of the artist which he unites in the same object with traditional Chinese culture (an ingredient which carries enormous weight in the artistic production of China).