Millet: Detailed Paintings ab 0.99 EURO
IT is much easier to understand and remember a thing when a reason is given for it, than when we are merely shown how to do it without being told why it is so done; for in the latter case, instead of being assisted by reason, our real help in all study, we have to rely upon memory or our power of imitation, and to do simply as we are told without thinking about it. The consequence is that at the very first difficulty we are left to flounder about in the dark, or to remain inactive till the master comes to our assistance. Now in this book it is proposed to enlist the reasoning faculty from the very first: to let one problem grow out of another and to be dependent on the foregoing, as in geometry, and so to explain each thing we do that there shall be no doubt in the mind as to the correctness of the proceeding. The student will thus gain the power of finding out any new problem for himself, and will therefore acquire a true knowledge of perspective. George Adolphus Storey Book First The Necessity of the Study of Perspective to Painters, Sculptors, and Architects LEONARDO DA VINCI tells us in his celebrated Treatise on Painting that the young artist should first of all learn perspective, that is to say, he should first of all learn that he has to depict on a flat surface objects which are in relief or distant one from the other; for this is the simple art of painting. Objects appear smaller at a distance than near to us, so by drawing them thus we give depth to our canvas. The outline of a ball is a mere flat circle, but with proper shading we make it appear round, and this is the perspective of light and shade. The next thing to be considered is the effect of the atmosphere and light. If two figures are in the same coloured dress, and are standing one behind the other, then they should be of slightly different tone, so as to separate them. And in like manner, according to the distance of the mountains in a landscape and the greater or less density of the air, so do we depict space between them, not only making them smaller in outline, but less distinct. Sir Edwin Landseer used to say that in looking at a figure in a picture he liked to feel that he could walk round it, and this exactly expresses the impression that the true art of painting should make upon the spectator. There is another observation of Leonardos that it is well I should here transcribe; he says: Many are desirous of learning to draw, and are very fond of it, who are notwithstanding void of a proper disposition for it. This may be known by their want of perseverance; like boys who draw everything in a hurry, never finishing or shadowing. This shows they do not care for their work, and all instruction is thrown away upon them. At the present time there is too much of this everything in a hurry, and beginning in this way leads only to failure and disappointment. These observations apply equally to perspective as to drawing and painting. Unfortunately, this study is too often neglected by our painters, some of them even complacently confessing their ignorance of it; while the ordinary student either turns from it with distaste, or only endures going through it with a view to passing an examination, little thinking of what value it will be to him in working out his pictures. Whether the manner of teaching perspective is the cause of this dislike for it, I cannot say; but certainly most of our English books on the subject are anything but attractive. All the great masters of painting have also been masters of perspective, for they knew that without it, it would be impossible to carry out their grand compositions. In many cases they were even inspired by it in choosing their subjects. When one looks at those sunny interiors, those corridors and courtyards by De Hooghe, with their figures far off and near, one feels that their charm consists greatly in their perspective, as well as in their light and tone and colour...
Masterpieces by Nicolas Poussin, Claude Lorrain, Domenichino, Giambattista Tiepolo and Francesco Guardi feature in this detailed catalogue of Baroque and later paintings in the Ashmolean Museum. The collection of Italian, French and Spanish works from abo
Since 1983, Bob Ross has been television´s favorite artist. His Joy of Painting show captures higher ratings than any other art program in history, year after year. Bob´s quick painting style and easy, encouraging manner reach millions of viewers around the world each day. His third book -- New Joy of Painting -- is now available in paperback, containing another sixty of his favorite landscape paintings. Each is presented in full color, along with written instructions and detailed black-and-white how-to photographs. Now you really can complete your very own beautiful masterpiece -- you can do it. ´´Remember, there is no failure, only learning,´´ says author Annette Kowalski. ´´As I´ve heard Bob Ross say a thousand times, I hope you never create a painting that you´re totally satisfied with, for it´s this dissatisfaction that will create the motivation necessary for you to start your next painting, armed with the knowledge you acquired from the previous one.´´
This is the definitive instructional guide to the art of botanical illustration, published in association with The Society of Botanical Artists and featuring detailed step-by-step demonstrations by members of the Society.
The Norwegian painter Edvard Munch produced some of the most intensely evocative images of modern art. Building upon nineteenth century Symbolism and greatly influencing German Expressionism, masterpieces such as The Scream have left a lasting impression on the history of art. Munchs harrowing and unique paintings present a paranoid, troubled world, revealing the importance of art for expressing human experience. Delphis Masters of Art Series presents the worlds first digital e-Art books, allowing readers to explore the works of great artists in comprehensive detail. This volume presents Munchs complete paintings in beautiful detail, with concise introductions, hundreds of high quality images and the usual Delphi bonus material. (Version 1) * The complete paintings of Edvard Munch - over 1800 paintings, fully indexed and arranged in chronological and alphabetical order * Includes reproductions of rare works * Features a special Highlights section, with concise introductions to the masterpieces, giving valuable contextual information * Enlarged Detail images, allowing you to explore Munchs celebrated works in detail, as featured in traditional art books * Hundreds of images in colour - highly recommended for viewing on tablets and smart phones or as a valuable reference tool on more conventional eReaders * Special chronological and alphabetical contents tables for the paintings * Easily locate the paintings you wish to view * Includes a selection of Munchs drawings - explore the artists varied works Please visit www.delphiclassics.com to browse through our range of exciting e-Art books CONTENTS: The Highlights FROM MARIDALEN THE SICK CHILD SPRING NIGHT IN SAINT-CLOUD MELANCHOLY EVENING ON KARL JOHAN STREET PUBERTY SELF PORTRAIT WITH A CIGARETTE SUMMER NIGHT PORTRAIT OF HANS JÆGER DEATH IN THE SICKROOM VAMPIRE THE VOICE MADONNA THE DANCE OF LIFE THE SCREAM JEALOUSY GIRLS ON THE BRIDGE PORTRAIT OF WALTER RATHENAU PORTRAIT OF DR. DANIEL JACOBSON THE SUN WORKERS ON THEIR WAY HOME The Paintings THE COMPLETE PAINTINGS DETAILED LIST OF PAINTINGS ALPHABETICAL LIST OF PAINTINGS The Drawings LIST OF DRAWINGS Please visit www.delphiclassics.com to browse through our range of exciting titles or to buy the whole Art series as a Super Set
This lovely book will be an indispensable guide for acrylic flower artists, revealing how to paint 40 of the most popular floral subjects, from agapanthus to zinnia, with plant-specific instructions for capturing the unique beauty of each species. All the techniques the reader will need are clearly explained and demonstrated, from analysing the shape and structure of the flowers to mixing and blending rich, luminous colours, laying washes, creating textured effects and adding highlights. Each featured flower includes information about its distinguishing characteristics, detailed step-by-step instructions, a complete colour palette, mini demonstrations showing special techniques, and a stunning full-colour image of a finished painting.
In sixteenth-century Venice, paintings were often treated as living beings. As this book shows, paintings attended dinner parties, healed the sick, made money, and became involved in love affairs. Presenting a range of case studies, Elsje van Kessel offers a detailed examination of the agency paintings and other two-dimensional images could exert. This lifelike agency is not only connected to the seemingly naturalistic style of these images - works by Titian, Giorgione and their contemporaries, illustrated here in over 150 plates. It is also brought in relation to their social-historical contexts, meticulously unravelled through archival research. Grounded in the theoretical literature on the agency of material things, ´´The Lives of Paintings´´ contributes to Venetian studies as well as engaging with wider debates on the attribution of life and presence to images and objects.
Lee gives readers clear, friendly, easy to follow instruction for achieving detailed, realistic art from photographs with an encouraging ?You can do it!? attitude. This big guide, a great companion to ´´Lee Hammond´s Big Book of Drawing,´´ is perfect for beginners, showing them everything they need to create a wide variety of subjects in no time with one convenient book, including Lee´s helpful graphing technique for achieving a likeness. Readers will enjoy painting popular subjects like people, animals, flowers and more.This is unique in our fine art list due to its bigger page count loaded with lots of simple techniques and step-by-step demonstrations that will comprehensively cover popular realistic subjects at an affordable price.