George de Forest Brush

George de Forest Brush

Author: Nancy K. Anderson

Publisher:

Published: 2008

Total Pages: 252

ISBN-13:

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Catalog of an exhibition at the National Gallery of Art, Washington, Sept. 14, 2008-Jan. 4, 2009, and at the Seattle Art Museum, Feb. 26-May 24, 2009.


Camoupedia

Camoupedia

Author: Roy R. Behrens

Publisher:

Published: 2009

Total Pages: 468

ISBN-13:

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An encyclopedic sourcebook for camouflage enthusiasts in all research areas who want to explore the history and development of camouflage (artistic, biological and military) since the 19th century. Richly illustrated with historic photographs, diagrams and drawings. Includes subject timeline, bibliography and index.


Hawthorne on Painting

Hawthorne on Painting

Author: Charles W. Hawthorne

Publisher: Courier Corporation

Published: 1960-06-01

Total Pages: 98

ISBN-13: 048620653X

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Look around and select a subject that you can see painted. That will paint itself. Do the obvious thing before you do the superhuman thing. It may have been accidental, but you knew enough to let this alone. The good painter is always making use of accidents. Never try to repeat a success. Swing a bigger brush — you don’t know what fun you are missing. For 31 years, Charles Hawthorne spoke in this manner to students of his famous Cape Cod School of Art. The essence of that instruction has been collected from students’ notes and captured in this book, retaining the personal feeling and the sense of on-the-spot inspiration of the original classroom. Even though Hawthorne is addressing himself to specific problems in specific paintings, his comments are so revealing that they will be found applicable a hundred times to your own work. The book is divided into sections on the outdoor model, still life, landscape, the indoor model, and watercolor. Each section begins with a concise essay and continues with comments on basic elements: general character, color, form, seeing, posture, etc. It is in the matter of color that students will especially feel themselves in the presence of a master guide and critic. Hawthorne’s ability to see color and, more important, to make the student see color, is a lesson that will aid student painters and anyone else interested in any phase of art. Although it does not pretend to be a comprehensive or closely ordered course, this book does have much to offer. It also represents the artistic insight of one of the finest painter-teachers of the twentieth century. "An excellent introduction for laymen and students alike." — Time "To read these notes and comments … is in itself an education. One cannot help but gain great help." — School Arts


Of Dogs and Other People

Of Dogs and Other People

Author: Susan Landauer

Publisher: Univ of California Press

Published: 2017-04-15

Total Pages: 200

ISBN-13: 0520292200

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"Roy De Forest's brightly colored, crazy-quilted jungles dotted with nipples of paint and inhabited by a cast of characters uniquely his own (a perennial favorite being his wild-eyed, pointy-eared dogs) appeal to a broad spectrum of viewers from young to old, from the casual visitor to the most sophisticated art aficionado. OMCA's project aims to reassess De Forest's art-historical position, placing him in a national rather than solely regional/West Coast context. Landauer positions De Forest as part of a bicoastal alternative current of American art that has been poorly documented and deliberately ran counter to better publicized tendencies of the 1960s and 1970s, notably Pop, Minimalism, and post-painterly abstraction. Despite the playfulness of his work, close study of De Forest's art reveals deep layers of meaning. He was a fan of popular science fiction and adventure stories, but he was also well versed in Australian aboriginal art, ukiyo-e prints, poetry, literature, and the history of philosophy. He enjoyed secreting obscure art-historical references into his work: animals might assume postures found in Medieval or Renaissance art, or a drawing that appears to depict a comic-book character may in fact refer to Titian's triple-headed allegory of Prudence. This engaging publication presents gorgeous color reproductions of 150 of De Forest's finest artworks, plus a variety of figure illustrations that illuminate the artist's diverse sources and freewheeling social and creative milieu in Northern California."--Provided by publisher.


Corcoran Gallery of Art

Corcoran Gallery of Art

Author: Corcoran Gallery of Art

Publisher: Lucia Marquand

Published: 2011

Total Pages: 0

ISBN-13: 9781555953614

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This authoritative catalogue of the Corcoran Gallery of Art's renowned collection of pre-1945 American paintings will greatly enhance scholarly and public understanding of one of the finest and most important collections of historic American art in the world. Composed of more than 600 objects dating from 1740 to 1945.


Monadnock Summer

Monadnock Summer

Author: William Morgan

Publisher: David R. Godine Publisher

Published: 2011

Total Pages: 162

ISBN-13: 1567924220

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A fascinating look into a special corner of New England summer home architecture: the many styles of homes in Dublin, New Hampshire. The small, high, mountain town of Dublin, New Hampshire was known as an artistic and literary retreat in the last quarter of the nineteenth century. Less well known, but equally fascinating, is Dublin's claim as home to just about every architectural style and several major domestic architects of the late nineteenth and early twentieth century. On its slopes, overlooking deep, spring-fed Dublin Lake and the looming Mount Monadnock, we find a virtual encyclopedia of building styles, ranging from the plain and unadorned to the most ornate and ambitious. A list of the architects who plied their trade in this small town would include Charles A. Platt, Peabody & Stearns, Rotch & Tilden, Henry Vaughan, and Lois Lilley Howe. In this immensely readable and enjoyable survey, veteran architectural historian William Morgan takes the reader on a verbally vivid and visually varied tour of the terrain, concentrating not only on the traditional and expected examples that crop up in Dublin as often as elsewhere, but also on the eccentric, unusual, and often unique extravaganzas that pepper its slopes. For Dublin was a place which for a century had both the money and the taste to indulge architects of all stripes and styles, and to give them commissions to design among the most beautiful and original examples their talents could produce.