What is the fascination of paint by numbers? Is it the intoxicating and compulsive act of filling in small pools of color? Or the easy thrill of creating your own impressionist masterpiece? Or a fond nostalgic yearning for a craze that cut across national boundaries and age groups? Invented in 1951 by Dan Robbins-based on an idea used by Leonardo da Vinci to teach painting-the paint-by-number craze reached its zenith in the 1950s but continues even today as paints and kits are avidly collected, exhibited in galleries, and traded on eBay. In Paint By Number, author Larry Bird takes us on an unbelievable journey where art meets kitsch and popular and high cultures collide in a collage of home economics, leisure time fun, and art education, Bird revisits the hobby from the vantage point of the artists and entrepreneurs who created the popular paint kits, the critics who reviled them, and the consumers who enthusiastically filled them in and hung them in their homes. Paint By Number includes over 200 examples of paint-by-number ephemera and two pull-out paintings ready to be filled-in
Assembled in the form of a thick block, this book reproduces approximately 600 word drawings, paintings and works on paper by the Los Angeles-based American artist Edward Ruscha (b. 1937). The result is a sort of novel without an obvious plot, a series of words with no narrative. monochromatic, abstract background in the late 1950s and has continued to explore the language-based imagery that has become a hallmark of his work. Pulling elements from the visual language of advertising and commercial art, he has made hundreds of word prints, drawings, and paintings that exhibit an interplay between bold letters and shaded backgrounds. Some of the works consist of only one word - great, mud, trust; others of short combinations or phrases - Indeed I do, She sure knew her devotionals and They called her Styrene.
Puzzles in Paper examines the past, present, and future of watermark study, ranging through the disciplines of art history and conservation, bibliography, musicology, and philately. This book is a collection of scholarly essays that were presented at the Roanoke International Conference on Watermarks. The authors and attendees represent a remarkable assemblage of scientific and humanistic expertise: chemists, engineers, experts in digital photography, book dealers and collectors, librarians, literary scholars, cartographers and historians. Over 100 watermark illustrations. Co-published with The British Library.
--The Times (London) Be clearly aware of the stars and infinity on high. Then life seems almost enchanted after all. Few artists' letters are as self-revelatory as Vincent Van Gogh's, and the selection included here, spanning the whole of his artistic career, sheds light on every facet of the life and work of this complex and tortured man. Engaging candidly and movingly with his religious struggles, his ill-fated search for love, his intense relationship with his brother Theo and his attacks of mental illness, the letters contradict the popular image of Van Gogh as an anti-social madman and a martyr to art, showing instead that he was capable of great emotional and spiritual depths. Above all, they stand as an intense personal narrative of artistic development and a unique account of the process of creation.
The letters are linked by explanatory biographical passages, revealing Van Gogh's inner journey as well as the outer facts of his life. This edition includes the drawings that originally illustrated the letters. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace. --Geoff Dyer Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation. --Peter Fuller, Arts Review
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.
Lawrence Gowing's classic study has long been treasured for the painterly sensibilities he brought to this greatly loved body of work. Finally the text is available again, with a new foreword and fresh reproductions of Vermeer's paintings.