"Larry Silver, a professor of art history at the University of Pennsylvania, elucidates "The Garden of Earthly Delights" and the nightmarish circus it presents, as well as a host of Bosch's other magnificent works. He draws upon new research into his subject's cultural milieu, belief system and artistic intentions. His explications of the paintings and their influence on other artists, most notably Pieter Bruegel the Elder, contain many fresh insights. . . . Bosch has 310 illustrations, most in full and high quality color, a vast bibliography and index. It's a big book and will well reward the many hours needed to digest it." -- Bloomsbury Review
The phantasmagoric imagery of Hieronymus Bosch (d. 1516) has been the source of widespread interest ever since the painter's lifetime, and is still so enigmatic that scholars have theorized that it contains hidden astrological, alchemical, or even heretical meanings. Yet none of these theories has ever seemed to provide an adequate understanding of Bosch's work. Moreover, the considerable professional success that the artist enjoyed in his native Hertogenbosch, not to mention his membership in a traditional religious organization, suggests that he pursued not a sinister secret agenda but simply his personal artistic vision.
This intriguing new monograph by noted art historian Larry Silver interprets that artistic vision with admirable lucidity: it explains how Bosch's understanding of human sin, morality, and punishment, which was conceived in an era of powerful apocalyptic expectation, shaped his dramatic visualizations of hell and of the temptations of even the most steadfast saints. Silver's account of Bosch's artistic development is one of the first to benefit from recent technical investigations of the paintings, as well as from the reexamination of the artist's drawings in relation to his paintings.
Hieronymus Bosch is also unique in how securely it places its subject's work in the broader history of painting in the Low Countries: Silver identifies sources of Bosch's iconography in a wide range of fifteenth-century panel paintings, manuscript illuminations, and prints, and describes how, despite their own religiousness, Bosch's pictures helped inspire the secular landscape and genre scenes of later Netherlandish painters. Augmented by 310 illustrations, most in color, including many dramatic close-ups of Bosch's intricately imagined nightmare scenes, this is the definitive book on a perennially fascinating artist.
Ida Applebroog (b. 1929) has received international acclaim for the complexly psychological sensibility of her large, multi-paneled paintings. The deceptive, childlike quality of her work masks sometimes startlingly violent themes. This book, which serves as catalog to a major upcoming exhibit at the Corcoran Gallery in Washington, D.C., showcases the work of the painter's productive past eleven years, and is among the most substantial collections of her art.
The authors, Frank Thomas and Ollie Johnston, worked with Walt Disney himself as well as other leading figures in a half-century of Disney films. They personally animated leading characters in most of the famous films and have decades of close association with the others who helped perfect this extremely difficult and time-consuming art form. Not to be mistaken for just a "how-to-do-it," this voluminously illustrated volume (like the classic Disney films themselves) is intended for everyone to enjoy.
Besides relating the painstaking trial-and-error development of Disney's character animation technology, this book irresistibly charms us with almost an overabundance of the original historic drawings used in creating some of the best-loved characters in American culture: Mickey Mouse and Donald Duck, Snow White and Bambi (among many, many others) as well as early sketches used in developing memorable sequences from classic features such as Fantasia and Pinocchio.
With the full cooperation of Walt Disney Productions and free access to the studio's priceless archives, the authors took unparalleled advantage of their intimate long-term experience with animated films to choose the precise drawings to illustrate their points from among hundreds of thousands of pieces of artwork carefully stored away.
The book answers everybody's question about how the amazingly lifelike effects of Disney character animation were achieved, including charming stories of the ways that many favorite animated figures got their unique personalities. From the perspective of two men who had an important role in shaping the art of animation, and within the context of the history of animation and the growth of the Disney studio, this is the definitive volume on the work and achievement of one of America's best-known and most widely loved cultural institutions. Nostalgia and film buffs, students of popular culture, and that very broad audience who warmly responds to the Disney "illusion of life" will find this book compelling reading (and looking ).
Searching for that perfect gift for the animation fan in your life? Explore more behind-the-scenes stories from Disney Editions:
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- The Walt Disney Studios: A Lot to Remember
- From All of Us to All of You: The Disney Christmas Card
- Ink & Paint: The Women of Walt Disney's Animation
- Oswald the Lucky Rabbit: The Search for the Lost Disney Cartoons, Revised Special Edition
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"Limited 284/3500. 4to, 576pgs. Full bound in burgundy silk with matching slipcase. Book is signed by Frank Thomas and Ollie Johnston on front fold-out, replete with bright full color illustrations throughout. Slipcase is in fine condition with color illustrated paper label from Pinocchio on side panel. Corner is bumped at tail edge of front board, else book is very fine. [AUT]Johnston, Ollie
In time to coincide with a gallery show in San Francisco, this is Dave Eggers's first collection of drawings. Most of these works are of unusual mammals, most often accompanied by slogans with ancient, heroic, or just plain odd overtones. This full-color package will be a combination of 26 large-sized prints and an accompanying booklet.This book echoes questions posed by Eggers in McSweeney's Issue 27: What is the line between a doodle, a cartoon, a gag, and a work of fine art? Does it seem, sometimes, that the artist is defacing his or her own work by adding text? Is loose draftsmanship appealing, in that it's intimate and disarming? Is absurdity more appealing when it comes across as humble?