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JMW Turner is one of the greatest artists Britain has ever produced. His watercolours with their extraordinary effects of shifting light and dramatic skyscapes are especially highly regarded. For the first time the secrets of Turner's technique are revealed allowing present-day watercolourists to learn from his achievements.This book combines unrivalled knowledge of Turner's working methods from Tate curators and conservators with practical advice from some of the world's most respected watercolour experts.Twenty-two thematic exercises are illustrated with Turner's works. Expert contemporary watercolourists explain step-by-step how to paint a similar composition learning from Turner's techniques.Packed with invaluable information from the materials Turner used to achieve the masterpieces we know and love today to the modern materials the twenty-first-century watercolour artist will need.Backed by the authority of Tate the world centre for Turner scholarship with a glossary of technical terms this is an invaluable resource both for lovers of Turner's art and of watercolour painting.
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Throw yourself into British art with this zany book of activities based on artworks by some of Britain's most exciting artists. There are fascinating facts about the artists dotted throughout the book and when you're ready to take a break from creating, delve into an Op Art maze inspired by Bridget Riley or take your pencil on a Word Walk like Richard Long. The Tate Kids British Art Activity Book explains the key concepts behind historical, modern and contemporary artworks in a succinct and fun way. Art activities and games encourage a deeper understanding of each artist's ideas and introduce children to artworks in a variety of media including photography, mixed media, sculpture, conceptual art, installation art, and painting. Featured artworks: Gillian Wearing's I'm desperate 1992 - 3 Bridget Riley's Blaze 1964 * Chris Ofili's No Woman, No Cry 1998 * Cornelia Parker's Thirty Pieces of Silver 1988 - 9 * Richard Long's Two Straight Twelve Mile Walks on Dartmoor, England 1980 1980 * Damien Hirst's Mother and Child Divided 1993 * Barbara Hepworth's Tides I 1946 * Sonia Boyce's From Tarzan to Rambo 1987 * L.S. Lowry's Coming Out of School 1927 * J.M.W. Turner's The Scarlet Sunset c.1830 - 40.
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More than two hundred illustrations, an illustrated chronology, and critical artistic analysis trace the life of the nineteenth-century British landscape painter, describes the influences on his remarkable work, and attempts to portray his complex and mysterious personality.
The 1968 Election and the Transformation of American Politics
Author: Lawrence O'Donnell
Category: Political Science
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From the host of MSNBC’s The Last Word with Lawrence O'Donnell, an important and enthralling new account of the presidential election that changed everything, the race that created American politics as we know it today The 1968 U.S. Presidential election was the young Lawrence O’Donnell’s political awakening, and in the decades since it has remained one of his abiding fascinations. For years he has deployed one of America’s shrewdest political minds to understanding its dynamics, not just because it is fascinating in itself, but because in it is contained the essence of what makes America different, and how we got to where we are now. Playing With Fire represents O’Donnell’s master class in American electioneering, embedded in the epic human drama of a system, and a country, coming apart at the seams in real time. Nothing went according to the script. LBJ was confident he'd dispatch with Nixon, the GOP frontrunner; Johnson's greatest fear and real nemesis was RFK. But Kennedy and his team, despite their loathing of the president, weren't prepared to challenge their own party’s incumbent. Then, out of nowhere, Eugene McCarthy shocked everyone with his disloyalty and threw his hat in the ring to run against the president and the Vietnam War. A revolution seemed to be taking place, and LBJ, humiliated and bitter, began to look mortal. Then RFK leapt in, LBJ dropped out, and all hell broke loose. Two assassinations and a week of bloody riots in Chicago around the Democratic Convention later, and the old Democratic Party was a smoldering ruin, and, in the last triumph of old machine politics, Hubert Humphrey stood alone in the wreckage. Suddenly Nixon was the frontrunner, having masterfully maintained a smooth façade behind which he feverishly held his party’s right and left wings in the fold, through a succession of ruthless maneuvers to see off George Romney, Nelson Rockefeller, Ronald Reagan, and the great outside threat to his new Southern Strategy, the arch-segregationist George Wallace. But then, amazingly, Humphrey began to close, and so, in late October, Nixon pulled off one of the greatest dirty tricks in American political history, an act that may well meet the statutory definition of treason. The tone was set for Watergate and all else that was to follow, all the way through to today. Playing With Fire is the perfect holiday gift!
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Anni Albers (1899-1994) was a textile designer, weaver, writer and printmaker, who was among the leading pioneers of twentieth-century modernism. Throughout her fruitful career she inspired a reconsideration of fabrics, both in their functional roles and as wall hangings, truly establishing thread and weaving as a valid medium for art. In her later years, Albers took up print-making, translating many of her persistent themes and ideas into two-dimensional form. But while Albers has been extremely influential for younger generations of artists and designers, her contribution to modernist art history has, until now, been rather overlooked. In 2018, a groundbreaking exhibition, together with this accompanying publication will present Albers's most important works to fully explore and redefine her contribution to twentieth-century art and design, and highlight Albers's significance as an artist in her own right, rather than alongside her husband Josef . Contextualising Albers's early career at the Bauhaus, and her teaching years at Black Mountain College, this beautifully illustrated book will showcase major commissioned works, wall hangings, designs for commercial use, drawings and studies, jewellery designed and made by Albers and a selection of her prints. 00Exhibition: K20, Düsseldorf, Germany (09.06.-02.09.2018) / Tate Modern, London, UK (03.10.2018-06.01.2019).
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""The Kelmscott Chaucer" is the most memorable and beautiful edition of the complete works of the first great English poet. Next to "The Gutenberg Bible", it is considered the outstanding typographic achievement of all time. There are 87 full-page illustrations by Sir Edward Burne-Jones, and the borders, decorations and initials are drawn by William Morris himself. Only 425 copies of this magnificent work were produced in 1896, and this beautiful monochrome facsimile, slightly smaller than the original, makes this glorious book available to all. A fascinating Introduction by Nicholas Barker places the book and its importance in context. The main text is followed by a black and white facsimile of A Note by William Morris on his Aims in Founding the Kelmscott Press, together with a Short History of the Press by S C Cockerell. The volume is illustrated with 87 woodcuts by Sir Edward Burne-Jones, and the borders, decorations and initials are drawn by Sir Edward Burne-Jones and William Morris."--Publisher description.
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The accompanying catalogue to the first major exhibition to consider the relationship between the photographic medium and the history of abstraction in the twentieth century, on display at London's Tate Modern.The exhibition catalogue will be arranged in a broadly chronological way to tell the story of photography and its relationship with abstraction from around 1915 to the present day, and will include historic works in a variety of media from painting and sculpture to montage and kinetic installations. Beginning with the works of cubism and vorticism, the catalogue then highlights the key contributions of Bauhaus, constructivist and surrealist artists of the 1920's and 1930's. It then moves into the `subjective photography' of the 1940's and 1950's, exploring the global scope of this movement through works by artists from Latin America and Asia, before considering the impacts of photography of abstract expressionism, op art and minimalism in Europe and the US.0Bringing together iconic as well as rarely seen works, Photography and Abstract Art explores the development of photography in relation to abstract art, tracing the key moments of innovation in new techniques and practice.00Exhibition: Tate Modern, London, UK (03.05.-16.09.2018).
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What compels people to carry out attacks on art? And have these motives changed over the last 500 years? Published to accompany an exhibition at Tate Britain, this book explores the history of attacks on art in the UK, from the Reformation of the 16th century to the present day, showing how religious, political, moral, and aesthetic controversy can become arenas for assaults on art. From the state-sanctioned zeal of religious reformers and the symbolic statue-breaking that often accompanies political change to attacks on art by individuals stimulated by moral or aesthetic outrage, this study aims to present the rationale of iconoclasm and how it has become a productive and transformational practice for some contemporary artists. Termed “a fascinating exploration” by the Observer, this book offers an eye-opening look at protest.
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Burne-Jones’ oeuvre can be understood as an attempt to create in paint a world of perfect beauty, as far removed from the Birmingham of his youth as possible. At that time Birmingham was a byword for the dire effects of unregulated capitalism – a booming, industrial conglomeration of unimaginable ugliness and squalor. The two great French symbolist painters, Gustave Moreau and Pierre Puvis de Chavannes, immediately recognised Burne-Jones as an artistic fellow traveller. But, it is very unlikely that Burne-Jones would have accepted or even, perhaps, have understood the label of ‘symbolist’. Yet he seems to have been one of the most representative figures of the symbolist movement and of that pervasive mood termed “fin-de-siecle”. Burne-Jones is usually labelled as a Pre-Raphaelite. In fact he was never a member of the Brotherhood formed in 1848. Burne-Jones’ brand of Pre-Raphaelitism derives not from Hunt and Millais but from Dante Gabriel Rossetti. Burne-Jones’ work in the late 1850s is, moreover, closely based on Rossetti’s style. His feminine ideal is also taken from that of Rossetti, with abundant hair, prominent chins, columnar necks and androgynous bodies hidden by copious medieval gowns. The prominent chins remain a striking feature of both artists’ depictions of women. From the 1860s their ideal types diverge. As Rossetti’s women balloon into ever more fleshy opulence, Burne-Jones’ women become more virginal and ethereal to the point where, in some of the last pictures, the women look anorexic. In the early 1870s Burne-Jones painted several mythical or legendary pictures in which he seems to have been trying to exorcise the traumas of his celebrated affair with Mary Zambaco. No living British painter between Constable and Bacon enjoyed the kind of international acclaim that Burne-Jones was accorded in the early 1890s. This great reputation began to slip in the latter half of the decade, however, and it plummeted after 1900 with the triumph of Modernism. With hindsight we can see this flatness and the turning away from narrative as characteristic of early Modernism and the first hesitant steps towards Abstraction. It is not as odd at it seems that Kandinsky cited Rossetti and Burne-Jones as forerunners of Abstraction in his book, “Concerning the Spiritual in Art”.
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Picasso, Picabia and Ernst were what might be described as true Europeans, settled in Paris but with origins in other European countries, bringing their own culture and experience to the melting pot of the avant-garde which was Paris in the early 20th century. These artists were part of an exciting atmosphere of artistic and technological discovery and experimentation, and they were among the first to embrace new materials and techniques in order to push the boundaries of what could be achieved using both traditional artists¿ paints and less conventional materials - in certain cases deliberately debunking the fine art establishment and its prescriptive expectations. They also pushed against the conservative, patriotic establishment which emerged from the First World War, and were all major contributors to changing the course of art history in the 20th century. Each had a truly international outlook, taking their work to other parts of Europe and across the Atlantic to the USA. There they made close friends with American avant-garde artists and promoters of modern art, introducing their achievements to the American public, and also taking inspiration from the modern marvel that was New York, which chimed so well with their desire for the new and innovative.This title focuses on new perspectives on some of Tate's key paintings by Picabia, Picasso and Ernst. it is the conclusion of a two-year study into their history, context, materials and techniques. The paintings selected for the study have almost all been radically reworked by the artist, and both documentary and technical research has been carried out to give new insight into the earlier versions of these works.In addition papers by a number of international art historians, conservators and conservation scientists are included which present new research into Picasso and Picabia, covering both their early and later periods of painting, to give context and a broader perspective.
The Extraordinary Life and Momentous Times of J.M.W. Turner
Author: Franny Moyle
Category: Biography & Autobiography
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The life of one of Western art's most admired and misunderstood painters J.M.W. Turner is one of the most important figures in Western art, and his visionary work paved the way for a revolution in landscape painting. Over the course of his lifetime, Turner strove to liberate painting from an antiquated system of patronage. Bringing a new level of expression and color to his canvases, he paved the way for the modern artist. Turner was very much a man of his changing era. In his lifetime, he saw Britain ravaged by Napoleonic wars, revived by the Industrial Revolution, and embarked upon a new moment of Imperial glory with the ascendancy of Queen Victoria. His own life embodied astonishing transformation. Born the son of a barber in Covent Garden, he was buried amid pomp and ceremony in St. Paul's Cathedral. Turner was accepted into the prestigious Royal Academy at the height of the French Revolution when a climate of fear dominated Britain. Unable to travel abroad he explored at home, reimagining the landscape to create some of the most iconic scenes of his country. But his work always had a profound human element. When a moment of peace allowed travel into Europe, Turner was one of the first artists to capture the beauty of the Alps, to revive Venice as a subject, and to follow in Byron’s footsteps through the Rhine country. While he was commercially successful for most of his career, Turner's personal life remained fraught. His mother suffered from mental illness and was committed to Bedlam. Turner never married but had several long-term mistresses and illegitimate daughters. His erotic drawings were numerous but were covered up by prurient Victorians after his death. Turner's late, impressionistic work was held up by his Victorian detractors as example of a creeping madness. Affection for the artist’s work soured. John Ruskin, the greatest of all 19th century art critics, did what he could to rescue Turner’s reputation, but Turner’s very last works confounded even his greatest defender. TURNER humanizes this surprising genius while placing him in his fascinating historical context. Franny Moyle brilliantly tells the story of the man to give us an astonishing portrait of the artist and a vivid evocation of Britain and Europe in flux. From the Hardcover edition.
The Art of Imitation from the Pre-Raphaelites to the First World War
Author: Elizabeth Prettejohn
Publisher: Paul Mellon Centre for Studies in British Art
Category: Historicism in art
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Le revers de la jaquette indique : "With the rise of museums in the 19th century, including the formation in 1824 of the National gallery in London, the art of the past became visible and accessible (in Victorian England) as never before. Inspired by the work of Sandro Botticelli, Jan van Eyck, Diego Velazquez, and others, British artists transformed contemporary art through a creative process that emphasized imitation and emulation. Elizabeth Prettejohn analyzes the ways in which the Old Masters were interpreted by artists, as well as critics, curators, and scholars, and argues that Victorian artists were, paradoxically, at their most original when they imitated the Old Masters most faithfully. Covering Victorian art from the Pre-Raphaelites through to the early modernists, she vividly traces the ways in wich artist such as Dante Gabriel Rossetti, Edward Burne-Jones, and William Orpen engaged with the art of the past to produce some of the greatest art of the late nineteenth and early twentieth centuries."
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Is there anything more satisfying for a child than repeating every word their parents say, just like a parrot? Here they can do exactly that, along with three adorable little parrots. Each new page of this joyful book offers children the fun of repeating the line that was just read on the previous page and then discovering a new line that completes the rhyme. Just like the catchy sentences, the colorful graphic shapes appear, reappear, evolve, and transform to create an unexpected adventure full of funny effects. A final surprise brings young readers right back to the beginning, ready for another round of parrot-like repetitions.
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Part of a new series of beautiful gift art books, 100 Pre-Raphaelite Masterpieces brings together the best of Rossetti, Burne-Jones, Hughes and other superlative artists from the Pre-Raphaelite Brotherhood. With a fresh and thoughtful introduction to the movement, discussing the life, art and times of this group of artists, the book goes on to showcase key works in all their glory. This is a sumptuous treat for the eyes.
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The Pre-Raphaelites were determined to liberate art and love from the shackles of convention. Ned Burne-Jones had never had a painting lesson and his family wanted him to be a parson. Only young Georgie Macdonald - the daughter of a Methodist minister - understood. She put aside her own dreams to support him, only to be confronted by many years of gossip and scandal. Dante Gabriel Rossetti was smitten with his favourite model, Lizzie Siddal. She wanted to be an artist herself, but was seduced by the irresistible lure of laudanum. William Morris fell head-over-heels for a 'stunner' from the slums, Janey Burden. Discovered by Ned, married to William, she embarked on a passionate affair with Gabriel that led inexorably to tragedy. Margot Burne-Jones had become her father's muse. He painted her as Briar Rose, the focus of his most renowned series of paintings, based on the fairy-tale that haunted him all his life. Yet Margot longed to be awakened to love. Bringing to life the dramatic true story of love, obsession and heartbreak that lies behind the Victorian era's most famous paintings, Beauty in Thornsis the story of awakenings of all kinds.