- Web Design
- General
- Heald, Cynthia
- High Protein Diet
- Fleischman, Paul
- Fox, Paula
- Soroka, Cynthia
- Jacques, Brian
- General AAS
- Korman, Susan
- Mashima, Hiro
- Fiction
- Interior Design
- Money Management for Young People
- Pozzessere, Heather Graham
- Frankos, Steven
- General
- Dereske, Jo
- General
- Matrices
- Health Law
- Rickman, Phil
- Lorde, Audre
- Shepherd, Mark
- Stepfamilies
- Watches
- Home and Garden
- UK Electronics
- UK Books
- Health and Personal Care
- UK Sporting Goods
- Clothing, Shoes and Accessories
- Electronics, Gadgets and Computers
- CDs and Music Downloads
- UK Software and Video Games
- UK Toys and Games
- UK Home and Garden
- UK Video Games
- UK Baby Clothes and Accessories
- Books On
- German Electronics
Books : Arts & Photography : Schools, Periods & Styles : Realism
-
Imagine having the ability to draw any subject with precision, detail and expression. With Claudia's help, you can do it! In How to See, How to Draw, you will discover how to tap into your powers of observation, strengthen your hand-eye connection, and draw the world around you with new skill and accuracy. Just take it one step at a time.
Claudia is an expert teacher, breaking down complex compositions into a series of achievable shapes and values that even beginners will understand. Through dozens of mini demonstrations, fun-to-do exercises and complete step-by-step instruction, you'll learn everything from basic drawing techniques to more challenging methods for rendering wonderfully rich, in-depth compositions.
Her visual instruction details how to:
- Use a variety of drawing tools to suit your style and artistic intent
- Learn to let go of preconceived ideas so you can observe lines, shapes and spatial relationships as they actually are
- Create strong compositions through comparison and proportional control
- Find, fix and avoid common mistakes by using simple grids and guide lines
- Understand and work with perspective to create the illusion of depth
- Reveal form through light and shadow
- Explore the potential of texture to create mood and movement
Claudia's drawings illuminate a range of s
-
An award-winning fantasy artist and the creator of Dinotopia, James Gurney instructs and inspires in Imaginative Realism: How to Paint What Doesn't Exist. Renowned for his uncanny ability to incorporate amazing detail and imagination into stunningly realistic fantasy settings, James Gurney teaches budding artists and fans of fantasy art step-by-step the techniques that won him worldwide critical acclaim. This groundbreaking work examines the practical methods for creating believable pictures of imaginary subjects, such as dinosaurs, ancient Romans, alien creatures, and distant worlds.Beginning with a survey of imaginative paintings from the Renaissance to the golden Age of American illustration, the book then goes on to explain not just techniques like sketching and composition, but also the fundamentals of believable world building including archaeology, architecture, anatomy for creatures and aliens, and fantastic engineering. It concludes with details and valuable advice on careers in fantasy illustration, including video game and film concept art and toy design.
More than an instruction book, this is the ultimate reference for fans of science fiction and fantasy illustration.
"Gurney's Imaginative Realism is a gold mine for artists who want to create images that sing with authority and delight the viewer with rich otherworldly visuals." --Erik Tiemens, con
-
Reality Through the Arts provides a comprehensive introduction that covers both arts history and aesthetic perception in western and non-western cultures by covering all the artistic disciplines: drawing, painting, printmaking, photography, sculpture, architecture, theatre, music, dance, cinema, and literature.Reality Through the Arts is a brief text ideal for the one-semester introduction to humanities course. This is a successful text because of its unique organization, which makes it an excellent alternative to the standard chronological organization found in most other humanities text. The Introduction puts the humanities in perspective by discussing the arts and ways of knowing, art's main concerns, purposes, and functions, as well as artistic style and how to apply critical skills. Part I, “The Media of the Arts,” offers independent chapters on two dimensional art (drawing, painting, printmaking, and photography), sculpture, architecture, music, theatre, cinema, dance and literature. Part II, “The Styles of the Arts,” is a chronological history of the arts of Africa, the Americas, Asia, Europe, and the Middle East, organized by artistic discipline andfocusing on styles rather than encyclopedic detail. The book is written at a level for students with little or no background in the arts.
-
Perceptual drawing, in which one renders the physical world as it appears to an observer, is the focus of this new text for the introductory drawing course. With an emphasis on progressive skill development, Drawing from Observation offers a balanced mix of hands-on technique and perceptual theory while making a compelling argument for the long-term value of studying perception-based drawing.
-
-
Setting Realism in its social and historical context, the author discusses the crucial paradox posed by Realist works of art - notably in the revolutionary paintings of Courbet, the works of Manet, Degas and Monet, of the Pre-Raphaelites and other English, American, German and Italian Realists.
-
-
Essential reading for anyone interested in contemporary art in the twenty-first century.
Realism has played an important role in art history ever since the discovery of perspective. Here, John Russell Taylor delineates the artist’s endeavor to re-create the smallest detail, from centuries before the invention of photography to the present day.
This book has been published to complement a series of shows called “Exactitude” at London’s Plus One Gallery of contemporary artists working in a figurative, hyperrealist style. The diversity of such works, whether still lifes, extreme close-ups, large-scale cityscapes, landscapes, or commercial packaging, is revealed. The artists, including Pedro Campos, Clive Head, Ben Johnson, David Ligare, Cynthia Poole, John Salt, Cesar Santander, Ben Schonzeit, and Tjalf Sparnaay, come from all over the world but are united here by their meticulous approach to their work whether they are depicting people, American diners, book spines, or car engines. 545 color, 5 b&w illustrations
-
Dust jacket notes: "Romantic artists of the early nineteenth century handed over as a legacy to modern times the notion that their art was in permanent opposition to traditional authority. Later, the great Realist painters continued the idea of the avant-garde artist as Romantic hero, and successive generations have reevaluated what it meant - or still means - to be modern. In this spirited and persuasive book, Charles Rosen and Henri Zerner offer a redefinition of both avant-garde and official art, and show how the relationship between the two, always dynamic and troubling, is so built into nineteenth-century thought and art that it cannot be exorcised or even bypassed. In essays on Caspar David Friedrich, Thomas Couture, Thomas Bewick, and many other artists, the authors suggest the ways in which the conventional mythology of nineteenth-century art should be reexamined and rethought. A second unifying theme that runs through the eight essays that make up Romanticism and Realism is that the distinction frequently made between high art and the rest of art - low, popular, commercial, or applied - obscures some of the most exciting and powerful developments in the creation of visual imagery and, in the nineteenth century especially, even makes what happened in the 'high arts' all but unintelligible. Rosen and Zerner's consideration of Romantic and Realist art includes caricature, photograp
-
From a major international exhibition, this stunning book captures three generations of art by the Wyeth family. This comprehensive collection is now in a paperback identical to the original clothbound edition. 130 color, 54 black-and-white illustrations.
-
Using a combination of drawing and painting, Sue Ellen Ross attracts artists to her classes to help watercolour artists draw better and pen and ink devotees enter the world of painting safely. This guide explains her unique techniques and styles.'
-
This comprehensive survey the history of realist painting and argues that realism has had a continuous yet restlessly changing place in American and European painting throughout the 20th century. Artists discussed include Eakins, Bellows and Homer, Vuillard, Bonnard, Schiele, Morandi, Hopper and Giacometti, through to Balthus, Lucian Freud, and David Hockney. The author provides the historical, artistic and critical contexts in which painting has taken a realist turn, from the Ashcan School to Soviet Social realism, from painting of the Existentialist era to the time of Photorealism, to recent developments. He argues that the western tradition of pictorial realism has in fact been renewed and modified through the diverse influences of modernism, political conflict and new visual technologies.
-
-
Creating a piece of artwork that might be mistaken for a photograph is the goal of many aspiring artists. With this 32-page guide, even beginners can learn methods for painting with amazing realism and accuracy. Accomplished artist Daniel Tennant explains the basics of using gouache and airbrushing and provides in-depth information on essential techniques such as gradating, using stencils, and creating a metallic effect. He also offers instruction on common elements of traditional still lifes, guiding readers from applying the initial layer of color through adding texture to detailing with shadows and highlights. The book also features several inspiring projects, each broken down into numerous, digestible steps so artists can easily follow along.
-
In the first decades of the 20th century, George Bellows and other painters of the Ashcan School, a loosely connected group of gritty, urban realists, created images of the city from street level. Following older artist Robert Henri's insistence that artists should make "pictures from life," the Ashcanners renounced the polished academic style taught in art schools of the time. Instead they practiced a more urgent manner working with bold, highly saturated color, seeking to catch the ebb and flow of life in urban America. Some of them, particularly Bellows, also produced vivid landscapes and portraits.
This book introduces the artists of the Ashcan School and the key characteristics and themes of their work. Detailed commentaries are provided for twelve significant paintings by George Bellows, William Glackens, Robert Henri, George Luks, and John Sloan, ranging from depictions of the metropolitan throng to Bellows's vivid seascapes. In their visual contemplation of early-20th-century America, these artists offer deep insights into the nature of ordinary life not only in their time but also in our own.
-
"A true poem," Walt Whitman proclaimed in 1852, "is the daily newspaper"--and American culture was never the same again. Like a blast of cold air in a stuffy drawing room, Whitman's campaign to give artistic representation to gritty reality shocked the genteel artistic elite of the 1850s; but the brassy poet's efforts helped generate a revolution in American life and thought. Four decades later, Willa Cather could declare that the "public demands realism, and they will have it."
In Facing Facts, David Shi provides the most comprehensive history to date of the rise of realism in American culture. He vividly captures the character and sweep of this all-encompassing movement--ranging from Winslow Homer to the rise of the Ash Can school, from Whitman to Henry James to Theodore Dreiser. He begins with a look at the idealist atmosphere of the antebellum years, when otherworldly themes were considered the only fit subject for art (Hawthorne wrote that "the grosser life is a dream, and the spiritual life is a reality"). Whitman's assault on these standards coincided with sweeping changes in American society: the bloody Civil War, the aggressive advance of a modern scientific spirit, the popularity of photography, the expansion of cities, capitalism, and the middle class--all worked to shake the foundations of genteel idealism and sentimental romanticism. Both artists and the public
-
Is it real? Lifelike invites a close examination of art since the late 1960s based on commonplace objects and situations that are startlingly realistic, often playful and sometimes surreal--works that investigate the quieter side of the quotidian. While artists such as Vija Celmins, Rudolf Stingel and Paul Sietsema employ illusionistic painting and drawing, others' use of materials is surprising--Thomas Demand's video of what appears to be a rainstorm is made from animated candy wrappers; Susan Collis' sculpture of construction debris is fashioned from exotic hardwoods, mother of pearl and silver. What binds these artists together is their rejection of the easy route technology might offer in favor of labor-intensive fabrication. Featuring painting, sculpture, photography, drawing, video and installations by more than 40 artists, Lifelike is the first publication to address the recent history of artists using these strategies across media.
-
This is a unique, how-to art instruction book, taught by masterful artist Dan Carrel. Using Dan’s original method of painting, readers with little or no painting experience will easily learn to create realistic renderings of any subject. Through a simple process of layering and learning how to create light and shadow with paint, a complex and sophisticated image emerges. What begins as chaotic color is transformed into an orderly, realistic finished piece of art. Dan Carrel has been teaching workshops for over 30 years with amazing results. No matter what your artistic inclination, and even if you have never picked up a paintbrush, you’ll find yourself painting beyond your wildest expectations. Anchored in a positive philosophy of creative discovery, this workshop teaches Dan’s no-fail techniques through accessible, step-by-step visual instruction and inspiration.
-
-
Perspective determines how we, as viewers, perceive painting. We can convince ourselves that a painting of a bowl of fruit or a man in a room appears to be real by the way these objects are rendered. Likewise, the trick of perspective can prevent us from being absorbed in a scene. Connecting contemporary critical theory with close readings of seventeenth-century Dutch visual culture, The Rhetoric of Perspective puts forth the claim that painting is a form of thinking and that perspective functions as the language of the image.(20060601)
Aided by a stunning full-color gallery, Hanneke Grootenboer proposes a new theory of perspective based on the phenomenological aspects of non-narrative still-life, trompe l'oeil, and anamorphic imagery. Drawing on playful and mesmerizing baroque images, Grootenboer characterizes what she calls their "sophisticated deceit," asserting that painting is more about visual representation than about its supposed objects.
Offering an original theory of perspective's impact on pictorial representation, the act of looking, and the understanding of truth in painting, Grootenboer shows how these paintings both question the status of representation and explore the limits and credibility of perception.“An elegant and honourable synthesis.”—Keith Miller, Times Literary Supplement