"Discover Her Art is a brilliant guide to understanding how a painting does what it does." —Emily Eveleth, painter Discover Her Art invites young art lovers and artists to learn about painting through the lives and masterpieces of 24 women from the 16th to the 20th century. In each chapter, readers arrive at a masterwork, explore it with an artist's eye, and learn about the painter's remarkable life and the inspirations behind her work. Young artists will discover how these 24 amazing women used composition, color, value, shape, and line in paintings that range from highly realistic to fully abstract. Hands-on exercises encourage readers to create their own art! Whether you love to make art or just look at it, you will enjoy discovering the great work of these women artists.
A picture book biography of the remarkable folk artist Clementine Hunter. Can you imagine being an artist who isn't allowed into your own show? That's what happened to folk artist Clementine Hunter. Her paintings went from hanging on her clothesline to hanging in museums, yet because of the color of her skin, a friend had to sneak her in when the gallery was closed. With lyrical writing and striking illustrations, this picture book biography introduces kids to a self-taught artist whose paintings captured scenes of backbreaking work and joyous celebrations of southern farm life. They preserve a part of American history we rarely see and prove that art can help keep the spirit alive.
In this interactive coloring and activity book, Marion Deuchars takes the broad canvas of art and fills it with drawings and activities that engage with what art can be, how it can be made, what it can mean for you and what it has meant for people through the ages. Aimed at children aged eight and older, the emphasis is on fun and making the creation of art an integral part of the way you express yourself.
Five centuries of fascinating female creativity presented in more than 400 compelling artworks and one comprehensive volume The most extensive fully illustrated book of women artists ever published, Great Women Artists reflects an era where art made by women is more prominent than ever. In museums, galleries, and the art market, previously overlooked female artists, past and present, are now gaining recognition and value. Featuring more than 400 artists from more than 50 countries and spanning 500 years of creativity, each artist is represented here by a key artwork and short text. This essential volume reveals a parallel yet equally engaging history of art for an age that champions a greater diversity of voices. "Real changes are upon us, and today one can reel off the names of a number of first-rate women artists. Nevertheless, women are just getting started."—The New Yorker
The fiftieth anniversary edition of the essay that is now recognized as the first major work of feminist art theory—published together with author Linda Nochlin’s reflections three decades later. Many scholars have called Linda Nochlin’s seminal essay on women artists the first real attempt at a feminist history of art. In her revolutionary essay, Nochlin refused to answer the question of why there had been no “great women artists” on its own corrupted terms, and instead, she dismantled the very concept of greatness, unraveling the basic assumptions that created the male-centric genius in art. With unparalleled insight and wit, Nochlin questioned the acceptance of a white male viewpoint in art history. And future freedom, as she saw it, requires women to leap into the unknown and risk demolishing the art world’s institutions in order to rebuild them anew. In this stand-alone anniversary edition, Nochlin’s essay is published alongside its reappraisal, “Thirty Years After.” Written in an era of thriving feminist theory, as well as queer theory, race, and postcolonial studies, “Thirty Years After” is a striking reflection on the emergence of a whole new canon. With reference to Joan Mitchell, Louise Bourgeois, Cindy Sherman, and many more, Nochlin diagnoses the state of women and art with unmatched precision and verve. “Why Have There Been No Great Women Artists?” has become a slogan and rallying cry that resonates across culture and society. In the 2020s, Nochlin’s message could not be more urgent: as she put it in 2015, “There is still a long way to go.”
Clementine Hunter (1887--1988) painted every day from the 1930s until several days before her death at age 101. As a cook and domestic servant at Louisiana's Melrose Plantation, she painted on hundreds of objects available around her -- glass snuff bottles, discarded roofing shingles, ironing boards -- as well as on canvas. She produced between five and ten thousand paintings, including her most ambitious work, the African House Murals. Scenes of cotton planting and harvesting, washdays, weddings, baptisms, funerals, Saturday night revelry, and zinnias depict experiences of everyday plantation life along the Cane River. More than a personal record of Hunter's life, her paintings also reflect the social, material, and cultural aspects of the area's larger African American community. Drawing on archival research, interviews, personal files, and a close relationship with the artist, Art Shiver and Tom Whitehead offer the first comprehensive biography of this self-taught painter, who attracted the attention of the world. Shiver and Whitehead trace Hunter's childhood, her encounters at Melrose with artists and writers, such as Alberta Kinsey and Lyle Saxon, and the role played by eccentric François Mignon, who encouraged and promoted her art. The authors include rare paintings and photographs to illustrate Hunter's creative process and discuss the evolution of her style. The book also highlights Hunter's impact on the modern art world and provides insight into a decades-long forgery operation that Tom Whitehead helped uncover. This recent attention reinforced the uniqueness of Hunter's art and confirmed her place in the international art community, which continues to be inspired by the life and work of Clementine Hunter.
A missing muse is the catalyst for a baffling case for Inspector Witherspoon and Mrs. Jeffries in the twelfth novel in the long-running Victorian mystery series. An artist’s model never shows up at Neville Grant's house—or so he claims. But when one of Mr. Grant’s house guests suddenly dies, the Inspector and Mrs. Jeffries have to work double time to find both the missing model and the killer! “One historical mystery series that never gets boring or dull.”—Midwest Book Review
Knafo, a feminist psychoanalyst and art critic, extends the discourse between feminism and art history, while revealing core psychological sensibilities involved in women's self-representation - the need for mirroring, the use of mask and masquerade, the drive for reparation, the presence of the uncanny, and the concept of female narcissism. --Publisher.
The 17th century saw a tremendous thematic and technical development in the realm of painting as artists experimented with realism and anatomical exactitude, and gave free expression to themes of sensuality. This is especially apparent in Velazquez' "Venus at Her Mirror", also known as "The Rokeby Venus". In this text Andreas Prater uses the much-studied and imitated painting to trace Venus's depiction in art through the centuries. Prater begins by offering a detailed examination of Velazquez' masterpiece. He delves into its numerous levels of meaning as well as its impact on the nude paintings of its day. He also looks at the painting's history, including its attempted destruction by a suffragette in 1919. Velazquez' self-admiring Venus is compared to her depictions in other well-known works by admiring artists, including da Vinci, Giorgione, and Titian, as well as in works by later artists such as Manet and Cabanel, and into the modern world of advertising. These comparisons provoke intriguing perspectives on the evolution of eroticism, feminism, and Christianity in art, and offer an understanding of the influence that one artist and one work can have on generations that follow.
Introduction to Art Therapy: Sources and Resources, is the thoroughly updated and revised second edition of Judith Rubin’s landmark 1999 text, the first to describe the history of art in both assessment and therapy, and to clarify the differences between artists or teachers who provide "therapeutic" art activities, psychologists or social workers who request drawings, and those who are trained as art therapists to do a kind of work which is similar, but qualitatively different. This new edition contains downloadable resources with over 400 still images and 250 edited video clips for much richer illustration than is possible with figures alone; an additional chapter describing the work that art therapists do; and new material on education with updated information on standards, ethics, and informing others. To further make the information accessible to practitioners, students, and teachers, the author has included a section on treatment planning and evaluation, an updated list of resources – selected professional associations and proceedings – references, expanded citations, and clinical vignettes and illustrations. Three key chapters describe and expand the work that art therapists do: "People We Help," deals with all ages; "Problems We Treat," focuses on different disorders and disabilities; and "Places We Practice," reflects the expansion of art therapy beyond its original home in psychiatry. The author’s own introduction to the therapeutic power of art – as a person, a worker, and a parent – will resonate with both experienced and novice readers alike. Most importantly, however, this book provides a definition of art therapy that contains its history, diversity, challenges, and accomplishments.
