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Book
200 pages : illustrations (chiefly color), portraits ; 28 cm
Offering new insights into the artistic practice of Sir Joshua Reynolds, this catalogue investigates his radical manipulation of pigmants, oils, glazes and varnishes. It traces his experiments with colour, tone and handling, reveals his continual temptation to rework and revise his pictures, and illuminates his highly creative responses to the new exhibition culture of his day.
(source: Nielsen Book Data)
Offering new insights into the artistic practice of Sir Joshua Reynolds, this catalogue investigates his radical manipulation of pigmants, oils, glazes and varnishes. It traces his experiments with colour, tone and handling, reveals his continual temptation to rework and revise his pictures, and illuminates his highly creative responses to the new exhibition culture of his day.
(source: Nielsen Book Data)
Art & Architecture Library
Status of items at Art & Architecture Library
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ND1329 .R4 A4 2015 Unknown
Book
127 pages : color illustrations ; 22 cm
  • Getting Grounded: My Backyard
  • Getting Started: Materials and Techniques
  • Look Around You: Elements of Place
  • World Color: Travel Journeys
  • Wherever You Go: Field Studies
  • Palettes to Painting: Some Places
  • Mixing Color: The Basics.
The world is made up of colour, yet how often do we truly observe and interpret our surroundings? This book will introduce readers to a colour palette technique used by Mimi Robinson, where, through close observation, one can if even for a moment, capture the essence and beauty of place, by documenting your experiences through colour. It's about a way of seeing and sharpening your powers of observation through color and individual sense of place. Colours are specific to bio-regions, watersheds, environments, and dots on a map. Taking the time to look a little closer at what you see every day will connect you to your surroundings, creating personal memories of time and travel. This book and self-guided exercises alongside illustrated examples guides the reader, ranging from experienced artist or novice, to travel enthusiast or journal writers to create their own individual and time-based colour palettes. In this age of fast culture, instant gratification, and 24-hour news media, this process of colour observation allows you to slow down, and become fully absorbed in the present moment. Each palette can become an essay, a meditation, to capture your surroundings. To that end the book is meant to unfold as you go along, rather than giving the technique and technical information up front, the book engages the reader's self discovery. Each step is a smaller view, which expands into larger view to observing the colour around us. This direct hands-on practice encourages you to open your eyes to things you may not have seen before, and further develops your colour senses. Mimi Robinson invites you to take back your colors?rename them for yourself. Get to know them. This journal/workbook includes everything you need to get started.".
(source: Nielsen Book Data)
  • Getting Grounded: My Backyard
  • Getting Started: Materials and Techniques
  • Look Around You: Elements of Place
  • World Color: Travel Journeys
  • Wherever You Go: Field Studies
  • Palettes to Painting: Some Places
  • Mixing Color: The Basics.
The world is made up of colour, yet how often do we truly observe and interpret our surroundings? This book will introduce readers to a colour palette technique used by Mimi Robinson, where, through close observation, one can if even for a moment, capture the essence and beauty of place, by documenting your experiences through colour. It's about a way of seeing and sharpening your powers of observation through color and individual sense of place. Colours are specific to bio-regions, watersheds, environments, and dots on a map. Taking the time to look a little closer at what you see every day will connect you to your surroundings, creating personal memories of time and travel. This book and self-guided exercises alongside illustrated examples guides the reader, ranging from experienced artist or novice, to travel enthusiast or journal writers to create their own individual and time-based colour palettes. In this age of fast culture, instant gratification, and 24-hour news media, this process of colour observation allows you to slow down, and become fully absorbed in the present moment. Each palette can become an essay, a meditation, to capture your surroundings. To that end the book is meant to unfold as you go along, rather than giving the technique and technical information up front, the book engages the reader's self discovery. Each step is a smaller view, which expands into larger view to observing the colour around us. This direct hands-on practice encourages you to open your eyes to things you may not have seen before, and further develops your colour senses. Mimi Robinson invites you to take back your colors?rename them for yourself. Get to know them. This journal/workbook includes everything you need to get started.".
(source: Nielsen Book Data)
Art & Architecture Library
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ND2130 .R63 2015 Unknown
Book
336 pages : illustrations (chiefly color) ; 26 cm
In The Work of Art, Anthea Callen explores the paintings, self-portraits, portraits of fellow artists, photographs, prints and studio images of nineteenth-century French landscape painters including the Impressionists. At the same time she considers the emergence of modern artistic identity in the context of creative work. Artists and their paintings under the microscope here include Courbet, Cezanne and Pissarro, as well as their precursors and followers. The book examines their modes of self-representation and painting methods to explore the formation of avant-garde art and modern artistic identity, while paying particular attention to the painters' touches and mark making. She argues that landscape painting in general, and the plein air oil sketch in particular, were key drivers of change in artistic practice in the nineteenth century, which in turn led to the Impressionist revolution. In this beautifully illustrated, highly readable volume, Callen offers fresh insights into the development of avant-garde French painting and the concept of the modern artist, delving deeper into the topic than any before.
(source: Nielsen Book Data)
In The Work of Art, Anthea Callen explores the paintings, self-portraits, portraits of fellow artists, photographs, prints and studio images of nineteenth-century French landscape painters including the Impressionists. At the same time she considers the emergence of modern artistic identity in the context of creative work. Artists and their paintings under the microscope here include Courbet, Cezanne and Pissarro, as well as their precursors and followers. The book examines their modes of self-representation and painting methods to explore the formation of avant-garde art and modern artistic identity, while paying particular attention to the painters' touches and mark making. She argues that landscape painting in general, and the plein air oil sketch in particular, were key drivers of change in artistic practice in the nineteenth century, which in turn led to the Impressionist revolution. In this beautifully illustrated, highly readable volume, Callen offers fresh insights into the development of avant-garde French painting and the concept of the modern artist, delving deeper into the topic than any before.
(source: Nielsen Book Data)
Art & Architecture Library
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ND547.5 .P54 C35 2015 Unknown
Book
399 pages : illustrations (chiefly color) ; 25 cm
  • Supports
  • Drawing media
  • Painting media
  • Where shall I start?
  • Drawing & sketching
  • Painting techniques
  • Colour & composition
  • What shall I paint?
  • The studio
  • Gallery of art.
A comprehensive guide to painting and drawing, includes information on supports, choosing subjects, and setting up your studio or work space.
  • Supports
  • Drawing media
  • Painting media
  • Where shall I start?
  • Drawing & sketching
  • Painting techniques
  • Colour & composition
  • What shall I paint?
  • The studio
  • Gallery of art.
A comprehensive guide to painting and drawing, includes information on supports, choosing subjects, and setting up your studio or work space.
Art & Architecture Library
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ND1500 .J38 2014 Unknown
Book
vii, 131 pages : illustrations (some color) ; 30 cm.
The authors in this illustrated volume explore how art historical and technical examination of 15th-18th century European paintings conducted in tandem not only address key subjects such as meaning, materials, and manufacturing techniques, but also allow fresh perspectives on the prevailing workshop practices of copying, replicating, and emulating paintings.
The authors in this illustrated volume explore how art historical and technical examination of 15th-18th century European paintings conducted in tandem not only address key subjects such as meaning, materials, and manufacturing techniques, but also allow fresh perspectives on the prevailing workshop practices of copying, replicating, and emulating paintings.
Art & Architecture Library
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ND454 .E97 2014 F Unknown
Book
286 p. : ill. (chiefly col.) ; 31 cm.
  • Leonardo da Vinci's art and science -- Art et science de Léonard de Vinci -- Art et science de Léonard de Vinci -- Leonardo da Vinci's art and science -- Space and light at the origin in modern painting : from Alberti to Leonardo -- Espace et lumière à l'origine de la peinture classique : d'Alberti à Léonard -- Espace et lumière à l'origine de la peinture classique : d'Alberti à Léonard -- Space and light at the origin in modern painting : from Alberti to Leonardo -- Introduction: The CHARISMA Workshop devoted to Leonardo's studio practic'es -- Introduction : le colloque CHARISMA consacré à la pratique d'atelier de Léonard -- The European project CHARISMA -- Le projet européen CHARISMA -- Leonardo's charisma: Leonardo as a subject for scientific study applied to Cultural Heritage -- Le charisme de Léonard de Vinci : Léonard de Vinci, sujet d'étude scientifique appliquée au patrimoine culturel -- Leonardo's Adoration of the Magi at the Uffizi : preliminary technical studies at the OPD -- L'Adoration des Mages de Léonard de Vinci du Musée des Offices : études techniques préliminaires à l'Office des Pierres Dures (Florence, Italie) -- The Madonna with a Carnation. Technological studies of an early painting by Leonardo -- La Madone à l'oeillet. Études techniques sur une oeuvre de jeunesse de Léonard -- Leonardo's portrait of Ginevra de' Benci: a reading of the X-radiographs and infrared reflectographs -- Le portrait de Ginevra de' Benci par Léonard : une lecture des radiographies et des réfiectographies infrarouges -- Vincent Delieuvin, Bruno Mottin, Élisabeth Ravaud The Paris Virgin of the Rocks: a new approach based on scientific analysis -- La Vierge aux Rochers de Paris: nouvelle approche à partir d'analyses scientifiques -- The Madonna of the Yarnwinder : conservation history and the painting's influence -- La Madone au fuseau : histoire de la conservation et rayonnement de l'oeuvre -- Cristina Acidini, Roberto Bellucci, Cecilia Frosinini New hypotheses on the Madonna of the Yarnwinder series -- Nouvelles hypothèses concernant la série des Madone au Fuseau -- La Belle Ferronnière: a non invasive technical examination -- La Belle Ferronnière : étude technique non invasive -- The Salvator Mundi by Leonardo da Vinci resdiscovered. History, technique and condition -- Le Salvator Mundi peint par Léonard de Vinci redécouvert. Histoire, technique et état -- Leonardo's Portrait of a Musician and some reflections on his Milanese Workshop -- Le Portrait d'un Musicien et quelques réflexions sur l'atelier milanais de Léonard -- Leonardo's Last Supper: technique of execution and conservation thirteen years after its restoration -- La Cène de Léonard : technique d'exécutionet conservation treize ans après sa restauration -- The Esterhàzy Madonna in the context of Leonardo daVinci's studio practice -- La Madone Esterhâzy dans le contexte de la pratique d'atelier de Léonard de Vinci -- Some observations on the painting technique of Boltraffio's The Madonna and Child -- Quelques observations sur la technique picturale de La Madone et l'Enfant de Boltraffio -- The copy of the Gioconda -- La copie de La Joconde -- Leonardo's Monna Lisa in the light of its Madrid copy -- La Mona Lisa de Léonard à la lumière de sa copie madrilène
  • On the role of scientific evidence in the study of Leonardo's drawings -- De la fonction d'une approche scientifique dans l'étude des dessins de Léonard -- The visual and technical examination of Leonardo drawings in the British Museum -- L'examen technique de dessins de Léonard conservés au British Museum -- An investigation of"faded" metalpoint drawings by Leonardo daVinci in the Royal Collection -- Recherche sur les dessins à la pointe de métal altérés de Léonard de Vinci et conservés dans les collections royales anglaises.
"Leonardo's work is universally recognized: it arouses enthusiasm, causes astonishment, and provokes lyrical descriptions as well as inflammatory debate. A particular approach in appreciating Leonardo's work is to understand its material aspects more fully (the materials used by the artist, the manner of their preparation, associations between them and .ways of combining different materials) so that artistic intention can be studied in depth, while at the same rime revealing technical mastery and inventiveness. In addition, studying the way in which works age allows them to be better conserved and preserved. These are precisely the aims of the CHARISMA project, which brings together the expertise and experience of major European institutions that specialize in the examination and conservation of cultural heritage. This book is the result of contributions made by art historiens, scientists and conservators during an international meeting held in early 2012 at the National Gallery, London, organized by CHARISMA to coincide with the exhibition Leonardo da Vinci : Painter at the Gourt of Milan' which included the newly-conserved London version of the Virgin of the Rocks. The workshop was devoted to the study of the artistic technique of Leonardo and his workshop. The juxtaposition of different perspectives on the paintings and drawings of one of the most iconic artists of the Italian Renaissance highlights the need to take account of multidisciplinary points of view in order to build a more complete history of the works of art. The various articles illustrate the influence that Leonardo had not only on his students and those with whom he shared his workshops, but also on his contemporaries."--P. [4] of cover.
  • Leonardo da Vinci's art and science -- Art et science de Léonard de Vinci -- Art et science de Léonard de Vinci -- Leonardo da Vinci's art and science -- Space and light at the origin in modern painting : from Alberti to Leonardo -- Espace et lumière à l'origine de la peinture classique : d'Alberti à Léonard -- Espace et lumière à l'origine de la peinture classique : d'Alberti à Léonard -- Space and light at the origin in modern painting : from Alberti to Leonardo -- Introduction: The CHARISMA Workshop devoted to Leonardo's studio practic'es -- Introduction : le colloque CHARISMA consacré à la pratique d'atelier de Léonard -- The European project CHARISMA -- Le projet européen CHARISMA -- Leonardo's charisma: Leonardo as a subject for scientific study applied to Cultural Heritage -- Le charisme de Léonard de Vinci : Léonard de Vinci, sujet d'étude scientifique appliquée au patrimoine culturel -- Leonardo's Adoration of the Magi at the Uffizi : preliminary technical studies at the OPD -- L'Adoration des Mages de Léonard de Vinci du Musée des Offices : études techniques préliminaires à l'Office des Pierres Dures (Florence, Italie) -- The Madonna with a Carnation. Technological studies of an early painting by Leonardo -- La Madone à l'oeillet. Études techniques sur une oeuvre de jeunesse de Léonard -- Leonardo's portrait of Ginevra de' Benci: a reading of the X-radiographs and infrared reflectographs -- Le portrait de Ginevra de' Benci par Léonard : une lecture des radiographies et des réfiectographies infrarouges -- Vincent Delieuvin, Bruno Mottin, Élisabeth Ravaud The Paris Virgin of the Rocks: a new approach based on scientific analysis -- La Vierge aux Rochers de Paris: nouvelle approche à partir d'analyses scientifiques -- The Madonna of the Yarnwinder : conservation history and the painting's influence -- La Madone au fuseau : histoire de la conservation et rayonnement de l'oeuvre -- Cristina Acidini, Roberto Bellucci, Cecilia Frosinini New hypotheses on the Madonna of the Yarnwinder series -- Nouvelles hypothèses concernant la série des Madone au Fuseau -- La Belle Ferronnière: a non invasive technical examination -- La Belle Ferronnière : étude technique non invasive -- The Salvator Mundi by Leonardo da Vinci resdiscovered. History, technique and condition -- Le Salvator Mundi peint par Léonard de Vinci redécouvert. Histoire, technique et état -- Leonardo's Portrait of a Musician and some reflections on his Milanese Workshop -- Le Portrait d'un Musicien et quelques réflexions sur l'atelier milanais de Léonard -- Leonardo's Last Supper: technique of execution and conservation thirteen years after its restoration -- La Cène de Léonard : technique d'exécutionet conservation treize ans après sa restauration -- The Esterhàzy Madonna in the context of Leonardo daVinci's studio practice -- La Madone Esterhâzy dans le contexte de la pratique d'atelier de Léonard de Vinci -- Some observations on the painting technique of Boltraffio's The Madonna and Child -- Quelques observations sur la technique picturale de La Madone et l'Enfant de Boltraffio -- The copy of the Gioconda -- La copie de La Joconde -- Leonardo's Monna Lisa in the light of its Madrid copy -- La Mona Lisa de Léonard à la lumière de sa copie madrilène
  • On the role of scientific evidence in the study of Leonardo's drawings -- De la fonction d'une approche scientifique dans l'étude des dessins de Léonard -- The visual and technical examination of Leonardo drawings in the British Museum -- L'examen technique de dessins de Léonard conservés au British Museum -- An investigation of"faded" metalpoint drawings by Leonardo daVinci in the Royal Collection -- Recherche sur les dessins à la pointe de métal altérés de Léonard de Vinci et conservés dans les collections royales anglaises.
"Leonardo's work is universally recognized: it arouses enthusiasm, causes astonishment, and provokes lyrical descriptions as well as inflammatory debate. A particular approach in appreciating Leonardo's work is to understand its material aspects more fully (the materials used by the artist, the manner of their preparation, associations between them and .ways of combining different materials) so that artistic intention can be studied in depth, while at the same rime revealing technical mastery and inventiveness. In addition, studying the way in which works age allows them to be better conserved and preserved. These are precisely the aims of the CHARISMA project, which brings together the expertise and experience of major European institutions that specialize in the examination and conservation of cultural heritage. This book is the result of contributions made by art historiens, scientists and conservators during an international meeting held in early 2012 at the National Gallery, London, organized by CHARISMA to coincide with the exhibition Leonardo da Vinci : Painter at the Gourt of Milan' which included the newly-conserved London version of the Virgin of the Rocks. The workshop was devoted to the study of the artistic technique of Leonardo and his workshop. The juxtaposition of different perspectives on the paintings and drawings of one of the most iconic artists of the Italian Renaissance highlights the need to take account of multidisciplinary points of view in order to build a more complete history of the works of art. The various articles illustrate the influence that Leonardo had not only on his students and those with whom he shared his workshops, but also on his contemporaries."--P. [4] of cover.
Art & Architecture Library
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Stacks
N6923 .L33 L452 2014 F Unknown
Book
367 pages : illustrations (some color) ; 30 cm
Art & Architecture Library
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ND1505 .L48 2014 F Unknown
Book
300 pages : illustrations (chiefly color) ; 21 cm
The Riddle of the Image explores the materials and methods that lie behind the production of historic paintings. Spike Bucklow, who works as a research scientist and restorer of paintings, analyses some of the most well-known and important medieval works of art, as well as less familiar artworks, to throw new light on art production techniques that have been lost for centuries. By examining the science of the materials, as well as the techniques of medieval artists, he adds new aspects to our understanding and appreciation of these paintings, and of medieval art in general. The case studies include one of the most popular paintings in the National Gallery, London, and the altarpiece in front of which English monarchs were crowned for centuries. Many of the technical details presented here are published for the first time and some others have only been featured in exhibition catalogues and specialist academic papers. The author is internationally recognized for his work in the scientific examination of paintings and he also draws upon the work of other internationally recognized specialists. While intensive research into artists' materials and methods has been undertaken for several decades, this book is the first intended for a general audience that examines the subject in depth.
(source: Nielsen Book Data)
The Riddle of the Image explores the materials and methods that lie behind the production of historic paintings. Spike Bucklow, who works as a research scientist and restorer of paintings, analyses some of the most well-known and important medieval works of art, as well as less familiar artworks, to throw new light on art production techniques that have been lost for centuries. By examining the science of the materials, as well as the techniques of medieval artists, he adds new aspects to our understanding and appreciation of these paintings, and of medieval art in general. The case studies include one of the most popular paintings in the National Gallery, London, and the altarpiece in front of which English monarchs were crowned for centuries. Many of the technical details presented here are published for the first time and some others have only been featured in exhibition catalogues and specialist academic papers. The author is internationally recognized for his work in the scientific examination of paintings and he also draws upon the work of other internationally recognized specialists. While intensive research into artists' materials and methods has been undertaken for several decades, this book is the first intended for a general audience that examines the subject in depth.
(source: Nielsen Book Data)
Art & Architecture Library
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ND140 .B83 2014 Unknown
Book
xiii, 298 p. : col ill. ; 24 cm.
  • William Page: an American titian (and America's Reynolds)
  • Eclectic materials and methods, 1860-1910
  • George Inness: glazing, alteration, and intuition
  • James McNeill Whistler's unique techniques
  • John Singer Sargent: painting with "slow haste"
  • Modernism and the revival of the craft of painting, 1910-45.
This is an insightful survey on the materials and techniques of American artistis, from 1860 to 1945. This second volume in the American Painter's on Technique series is the first overview of an important but largely unknown aspect of American art from 1860 to 1945. The study is based primarily on firsthand descriptions of the materials and techniques that artists used to make paintings. The book is into two parts: 1860 to 1910 and 1910 to 1945. Between 1860 and 1910, the predominant theme is the increased number of Americans who traveled to Europe for instruction, resulting in an explosion of transplanted techniques. The period 1910 to 1945, was marked by a fundamental change in the attitudes of painters toward their materials. An epilogue summarizes the lessons American painters' experiences over 250 years can hold for contemporary artists interested in the long-term preservation of their paintings.
(source: Nielsen Book Data)
  • William Page: an American titian (and America's Reynolds)
  • Eclectic materials and methods, 1860-1910
  • George Inness: glazing, alteration, and intuition
  • James McNeill Whistler's unique techniques
  • John Singer Sargent: painting with "slow haste"
  • Modernism and the revival of the craft of painting, 1910-45.
This is an insightful survey on the materials and techniques of American artistis, from 1860 to 1945. This second volume in the American Painter's on Technique series is the first overview of an important but largely unknown aspect of American art from 1860 to 1945. The study is based primarily on firsthand descriptions of the materials and techniques that artists used to make paintings. The book is into two parts: 1860 to 1910 and 1910 to 1945. Between 1860 and 1910, the predominant theme is the increased number of Americans who traveled to Europe for instruction, resulting in an explosion of transplanted techniques. The period 1910 to 1945, was marked by a fundamental change in the attitudes of painters toward their materials. An epilogue summarizes the lessons American painters' experiences over 250 years can hold for contemporary artists interested in the long-term preservation of their paintings.
(source: Nielsen Book Data)
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
ND1471 .M393 2013 Unknown
Book
464 pages : illustrations (chiefly color) ; 32 cm
This groundbreaking publication, a companion to Van Gogh at Work (see opposite), shows how the artist experimented with an enormous range of materials and techniques in his paintings and drawings. The result of an extensive research project carried out by the Van Gogh Museum, Shell, and the Netherlands Institute for Cultural Heritage, this book discusses the artist's decisions to work with certain supports, priming layers, pigments, and inks, all of which had a profound effect on his final works. Also included are vast amounts of new information concerning van Gogh's resources, working conditions, and methods as well as potential influences on his work. Presented in detail is an overview of art that Van Gogh saw in exhibitions, handbooks he was able to acquire, and the materials and tools available at the time. The combination of art historical, scientific, and technical knowledge provides a better sense of how Van Gogh's artwork originally looked, encouraging reconsideration of future conservation efforts.
(source: Nielsen Book Data)
This groundbreaking publication, a companion to Van Gogh at Work (see opposite), shows how the artist experimented with an enormous range of materials and techniques in his paintings and drawings. The result of an extensive research project carried out by the Van Gogh Museum, Shell, and the Netherlands Institute for Cultural Heritage, this book discusses the artist's decisions to work with certain supports, priming layers, pigments, and inks, all of which had a profound effect on his final works. Also included are vast amounts of new information concerning van Gogh's resources, working conditions, and methods as well as potential influences on his work. Presented in detail is an overview of art that Van Gogh saw in exhibitions, handbooks he was able to acquire, and the materials and tools available at the time. The combination of art historical, scientific, and technical knowledge provides a better sense of how Van Gogh's artwork originally looked, encouraging reconsideration of future conservation efforts.
(source: Nielsen Book Data)
Art & Architecture Library
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Stacks
ND653 .G7 V358 2013 F Unknown
Book
3 v. : ill. (chiefly col.) ; 30 cm.
This book aims at explaining the phenomenon from a technical point of view, while also taking into account the historical and economic background. In addition to the wealth of new findings on the son's copies, crucial discoveries were made regarding Bruegel the Elder's painting technique, leading to a new perception of his working practice.
This book aims at explaining the phenomenon from a technical point of view, while also taking into account the historical and economic background. In addition to the wealth of new findings on the son's copies, crucial discoveries were made regarding Bruegel the Elder's painting technique, leading to a new perception of his working practice.
Art & Architecture Library
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See circulation desk for access
ND673 .B7 C87 2012 F V.1 Unknown
ND673 .B7 C87 2012 F V.2 Unknown
ND673 .B7 C87 2012 F V.3 Unknown
Book
xiv, 391 p. : ill. ; 23 cm.
For students of Chinese art and culture this anthology has proven invaluable since its initial publication in 1985. It collects important Chinese writings about painting, from the earliest examples through the fourteenth century, allowing readers to see how the art of this rich era was seen and understood in the artists' own times. Some of the texts in this treasury fall into the broad category of aesthetic theory; some describe specific techniques; some discuss the work of individual artists. Presented in accurate and readable translations, and prefaced with artistic and historical background information to the formative periods of Chinese theory and criticism. A glossary of terms and an appendix containing brief biographies of 270 artists and critics add to the usefulness of this volume.
(source: Nielsen Book Data)
For students of Chinese art and culture this anthology has proven invaluable since its initial publication in 1985. It collects important Chinese writings about painting, from the earliest examples through the fourteenth century, allowing readers to see how the art of this rich era was seen and understood in the artists' own times. Some of the texts in this treasury fall into the broad category of aesthetic theory; some describe specific techniques; some discuss the work of individual artists. Presented in accurate and readable translations, and prefaced with artistic and historical background information to the formative periods of Chinese theory and criticism. A glossary of terms and an appendix containing brief biographies of 270 artists and critics add to the usefulness of this volume.
(source: Nielsen Book Data)
Art & Architecture Library
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Stacks
ND1043 .B882 2012 Unknown
Book
143 p. : ill. (some col.) ; 29 cm.
* An exciting approach to botanical illustration featuring exotic and extraordinary plant specimens. * Striking plants, flowers, fruits and vegetables provide new challenges in colour, texture and form. * Stunning finished paintings accompany simple instructions and step-by-step projects for a beautiful book that both guides and inspires. Strange and unusual specimens have never been more accessible - as more and more exotic fruit and vegetables appear regularly in our shopping baskets and our florists fill with flowers from every corner of the globe, this practical and beautiful guide to capturing strange and striking plants on paper has never been more timely. There is something for beginners and more experienced botanical illustrators alike, whether you wish to paint more familiar bananas, pineapples and other exotic fruits that are now widely available, or more complex orchids and even carnivorous plants. Acclaimed artists Rosie Martin and Meriel Thurstan (authors of the bestselling Contemporary Botanical Illustration and Botanical Illustration Course) run the popular botanical painting course at the Eden Project and are thus uniquely placed for this exciting take on the genre. The unusual colours and complex textures of exotic plants present a new challenge to the botanical artist, but this book guides you through each stage of the painting process with plenty of exercises and step-by-step projects. Fantastically illustrated with worksheets, colour swatches, sketches and stunning finished paintings this practical and inspirational guide is a must-have for botanical artists of all levels.
(source: Nielsen Book Data)
* An exciting approach to botanical illustration featuring exotic and extraordinary plant specimens. * Striking plants, flowers, fruits and vegetables provide new challenges in colour, texture and form. * Stunning finished paintings accompany simple instructions and step-by-step projects for a beautiful book that both guides and inspires. Strange and unusual specimens have never been more accessible - as more and more exotic fruit and vegetables appear regularly in our shopping baskets and our florists fill with flowers from every corner of the globe, this practical and beautiful guide to capturing strange and striking plants on paper has never been more timely. There is something for beginners and more experienced botanical illustrators alike, whether you wish to paint more familiar bananas, pineapples and other exotic fruits that are now widely available, or more complex orchids and even carnivorous plants. Acclaimed artists Rosie Martin and Meriel Thurstan (authors of the bestselling Contemporary Botanical Illustration and Botanical Illustration Course) run the popular botanical painting course at the Eden Project and are thus uniquely placed for this exciting take on the genre. The unusual colours and complex textures of exotic plants present a new challenge to the botanical artist, but this book guides you through each stage of the painting process with plenty of exercises and step-by-step projects. Fantastically illustrated with worksheets, colour swatches, sketches and stunning finished paintings this practical and inspirational guide is a must-have for botanical artists of all levels.
(source: Nielsen Book Data)
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
QK98.2 .M39 2012 Unknown
Book
168 p. : ill. (chiefly col.) ; 24 cm.
  • Die Anfänge der Erforschung der Temperamalerei im 19. Jahrhundert : Irrtümer und bleibende Erkenntnisse / Eva Reinkowski-Häfner
  • "color humanus" : das Inkarnat in den Quellenschriften des Mittelalters / Esther Wipfler
  • Der Rosenheimer Altaraufsatz : zu den kunsthistorischen Fragen um das älteste oberbayerische Retabel / Matthias Weniger
  • Die Inkarnate des Rosenheimer Altaraufsatzes / Carola Sauter und Kerstin Luber
  • Inkarnate des 12. und 13. Jahrhunderts in der Toskana und in Dalmatien / Cristina Thieme
  • Die Rekonstruktion eines Inkarnats um 1290 nach den Angaben in Cennino Cenninis "Libro dell'arte" / Elisa Magdalena Hartmann
  • L'officina di Giotto : il restauro della Croce di Ognissanti / Marco Ciatti
  • Die Aussagen Cennino Cenninis über die Anlage des Inkarnats : Synopse der Auszüge des "Libro dell'arte" mit ihren Übersetzungen ins Deutsche und Englische / Cristina Thieme und Esther Wipfler
  • Abstracts
  • Abbildungsnachweis.
  • Die Anfänge der Erforschung der Temperamalerei im 19. Jahrhundert : Irrtümer und bleibende Erkenntnisse / Eva Reinkowski-Häfner
  • "color humanus" : das Inkarnat in den Quellenschriften des Mittelalters / Esther Wipfler
  • Der Rosenheimer Altaraufsatz : zu den kunsthistorischen Fragen um das älteste oberbayerische Retabel / Matthias Weniger
  • Die Inkarnate des Rosenheimer Altaraufsatzes / Carola Sauter und Kerstin Luber
  • Inkarnate des 12. und 13. Jahrhunderts in der Toskana und in Dalmatien / Cristina Thieme
  • Die Rekonstruktion eines Inkarnats um 1290 nach den Angaben in Cennino Cenninis "Libro dell'arte" / Elisa Magdalena Hartmann
  • L'officina di Giotto : il restauro della Croce di Ognissanti / Marco Ciatti
  • Die Aussagen Cennino Cenninis über die Anlage des Inkarnats : Synopse der Auszüge des "Libro dell'arte" mit ihren Übersetzungen ins Deutsche und Englische / Cristina Thieme und Esther Wipfler
  • Abstracts
  • Abbildungsnachweis.
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
ND141 .K857 2012 Unknown
Book
144 p. : ill. (chiefly col.) ; 25 cm.
  • Acknowledgments Introduction: Why do we need to know about our materials? 1. Earth Pigments 2. Primary Colours 3. Binding Media and Additives 4. Supports for Painting 5. Papers 6. Materials for Drawing 7. Pastels 8. Framing and Storage of Artworks 9. Photographing Work for Archives and Publication 10. Working Out-of-doors 11. Designing a Studio Appendix: Testing Results and Recommended Manufacturers Glossary Suppliers Further Reading.
  • (source: Nielsen Book Data)
Packed with need-to-know information, this handbook should be every painter's companion in the studio. With students and painters with limited time in mind, chapters focus on essentials: colours required for a basic palette; preparing a support; which are the most vibrant and permanent pigments etc., while describing how materials and techniques have developed over the centuries and how to apply them for the best results. The emphasis on practical advice will appeal to artists who like to explore and experiment, are economically minded, or simply find satisfaction in doing it all themselves. The author includes recipes for making glazes, acrylic ground, gesso and pastel sticks; information on photographing and archiving work yourself; a guide to setting up a studio; and the results of the author's own extensive testing of materials from paints to papers. The Painter's Studio Handbook is an ideal quick reference work for artists working in all media wanting to get started with a minimum of fuss with their painting or drawing.
(source: Nielsen Book Data)
  • Acknowledgments Introduction: Why do we need to know about our materials? 1. Earth Pigments 2. Primary Colours 3. Binding Media and Additives 4. Supports for Painting 5. Papers 6. Materials for Drawing 7. Pastels 8. Framing and Storage of Artworks 9. Photographing Work for Archives and Publication 10. Working Out-of-doors 11. Designing a Studio Appendix: Testing Results and Recommended Manufacturers Glossary Suppliers Further Reading.
  • (source: Nielsen Book Data)
Packed with need-to-know information, this handbook should be every painter's companion in the studio. With students and painters with limited time in mind, chapters focus on essentials: colours required for a basic palette; preparing a support; which are the most vibrant and permanent pigments etc., while describing how materials and techniques have developed over the centuries and how to apply them for the best results. The emphasis on practical advice will appeal to artists who like to explore and experiment, are economically minded, or simply find satisfaction in doing it all themselves. The author includes recipes for making glazes, acrylic ground, gesso and pastel sticks; information on photographing and archiving work yourself; a guide to setting up a studio; and the results of the author's own extensive testing of materials from paints to papers. The Painter's Studio Handbook is an ideal quick reference work for artists working in all media wanting to get started with a minimum of fuss with their painting or drawing.
(source: Nielsen Book Data)
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
ND1471 .F56 2012 Unknown
Book
xxiii, 414 p. : ill. (chiefly col.) ; 28 cm.
  • Chapter 1 The Professional Scenic Artist Chapter 2 The Scenic Artist's Studio and Work Space Chapter 3 The Scenic Artist and the Scenic Studio Personnel Chapter 4 The Relationship Between the Scenic Artist and the Scenic Designer Chapter 5 The Painting Tools of Scenic Artistry Chapter 6 Color and Paint Chapter 7 Preparing Soft Goods for Painting Chapter 8 Preparing Hard Scenery for Painting Chapter 9 Scenery Cartooning and Layout Chapter 10 Two-Dimensional Scenic Painting Techniques Chapter 11 Trompe L'Oeil Painting Technique Chapter 12 Signs and Lettering Chapter 13 A Pathway of Student Projects Chapter 14 Three-Dimensional Textures Chapter 15 Surface Transformation: Faux Finishes, Aging Techniques, and Surface Finishing.
  • (source: Nielsen Book Data)
Now in its Third Edition, Scenic Art for the Theatre: History, Tools and Techniques continues to be the most trusted source for both student and professional scenic artists. With new information on scenic design using Photoshop, Paint Shop Pro and other digital imaging softwares this test expands to offer the developing artist more step-by-step instuction and more practical techniques for work in the field. It goes beyond detailing job functions and discussing techniques to serve as a trouble-shooting guide for the scenic artist, providing practical advice for everyday solutions.
(source: Nielsen Book Data)
  • Chapter 1 The Professional Scenic Artist Chapter 2 The Scenic Artist's Studio and Work Space Chapter 3 The Scenic Artist and the Scenic Studio Personnel Chapter 4 The Relationship Between the Scenic Artist and the Scenic Designer Chapter 5 The Painting Tools of Scenic Artistry Chapter 6 Color and Paint Chapter 7 Preparing Soft Goods for Painting Chapter 8 Preparing Hard Scenery for Painting Chapter 9 Scenery Cartooning and Layout Chapter 10 Two-Dimensional Scenic Painting Techniques Chapter 11 Trompe L'Oeil Painting Technique Chapter 12 Signs and Lettering Chapter 13 A Pathway of Student Projects Chapter 14 Three-Dimensional Textures Chapter 15 Surface Transformation: Faux Finishes, Aging Techniques, and Surface Finishing.
  • (source: Nielsen Book Data)
Now in its Third Edition, Scenic Art for the Theatre: History, Tools and Techniques continues to be the most trusted source for both student and professional scenic artists. With new information on scenic design using Photoshop, Paint Shop Pro and other digital imaging softwares this test expands to offer the developing artist more step-by-step instuction and more practical techniques for work in the field. It goes beyond detailing job functions and discussing techniques to serve as a trouble-shooting guide for the scenic artist, providing practical advice for everyday solutions.
(source: Nielsen Book Data)
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
ND2885 .C73 2012 Unknown
Book
xiii, 249 p. : col. ill. ; 24 cm.
This title offers an original survey on Colonial artists' materials and techniques. This is the first comprehensive study of an important but largely anonymous part of the history of American art: the materials and techniques used by American painters. Based on extensive research including artists' recipe books, letters, journals, and painting manuals, much previously unpublished, the authors have also drawn on their many years as conservators of paintings for museums and collectors. Information is provided on the methods of painters such as Benjamin West, Gilbert Stuart, Washington Allston, Thomas Sully, Thomas Cole, and William Sidney Mount. It includes topics such as the quest for the 'secrets' of the Old Masters; how artists saw their paintings changing over time; the application of 'toning' layers; and, the evolving self-confidence of American experimenters and innovators.
(source: Nielsen Book Data)
This title offers an original survey on Colonial artists' materials and techniques. This is the first comprehensive study of an important but largely anonymous part of the history of American art: the materials and techniques used by American painters. Based on extensive research including artists' recipe books, letters, journals, and painting manuals, much previously unpublished, the authors have also drawn on their many years as conservators of paintings for museums and collectors. Information is provided on the methods of painters such as Benjamin West, Gilbert Stuart, Washington Allston, Thomas Sully, Thomas Cole, and William Sidney Mount. It includes topics such as the quest for the 'secrets' of the Old Masters; how artists saw their paintings changing over time; the application of 'toning' layers; and, the evolving self-confidence of American experimenters and innovators.
(source: Nielsen Book Data)
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
ND1471 .M39 2011 Unknown
Book
111 p. : ill. (some col.) ; 22 x 26 cm.
This fantastic guide to perspective is perfect for all painting and drawing enthusiasts. Covering everything from how to paint and draw freehand from nature without losing perspective to representing spacial structure, this book is suitable for both beginners as well as more experienced artists. It applies the principles to real examples as well as theoretical exercises and covers a range of different perspectives including frontal to vanishing point, oblique to two vanishing points, views from above and curving.This book is the perfect companion to our other drawing titles the Art of Botanical Drawing and Drawing for Interior Designers.
(source: Nielsen Book Data)
This fantastic guide to perspective is perfect for all painting and drawing enthusiasts. Covering everything from how to paint and draw freehand from nature without losing perspective to representing spacial structure, this book is suitable for both beginners as well as more experienced artists. It applies the principles to real examples as well as theoretical exercises and covers a range of different perspectives including frontal to vanishing point, oblique to two vanishing points, views from above and curving.This book is the perfect companion to our other drawing titles the Art of Botanical Drawing and Drawing for Interior Designers.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Request at circulation desk Find it
NC750 .R75 2011 Unknown On Reserve 2-hour loan
ART-15-CSP, ARTSTUDI-141S-01, ARTSTUDI-141S–02
Course
ART-15-CSP -- Drawing Outdoors
Instructor(s)
Deas, Yvette Kimberly
Course
ARTSTUDI-141S-01 -- Drawing Outdoors
Instructor(s)
Deas, Yvette Kimberly
Course
ARTSTUDI-141S–02 -- Drawing Outdoors
Instructor(s)
Deas, Yvette Kimberly
Book
224 p. : ill. ; 24 cm. + 1 CD-ROM (4 3/4 in.)
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
N7420 .L23 V75 2011 Unknown
Book
x, 301 p. : ill. (some col.) ; 30 cm.
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
ND1630 .S85 2011 F Unknown

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