Following the success of his first book, ´´The Best of the Joy of Painting,´´ Bob Ross gathered sixty more of his favorite paintings to create ´´ More Joy of Painting.´´ Now available in paperback, ´´More Joy of Painting´´ presents each painting in full color, followed by detailed instructions and a series of black-and-white photos to walk you, step-by-step, through the process of creating a Bob Ross original. So, whether you want a landscape of snowcapped mountains or a serene fall day, with ´´More Joy of Painting´´ you can create a beautiful work of art with the same ease and grace as Bob Ross.
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...
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.´´
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.
Presents exciting, original conclusions about Leonardo da Vinci´s early life as an artist and amplifies his role in Andrea del Verrocchio´s studio This groundbreaking re-examination of the beginnings of Leonardo da Vinci´s (1452-1519) life as an artist suggests new candidates for his earliest surviving work and revises our understanding of his role in the studio of his teacher, Andrea del Verrocchio (1435-1488). Anchoring this analysis are important yet often overlooked considerations about Verrocchio´s studio-specifically, the collaborative nature of most works that emerged from it and the probability that Leonardo must initially have learned to paint in tempera, as his teacher did. The book searches for the young artist´s hand among the tempera works from Verrocchio´s studio and proposes new criteria for judging Verrocchio´s own painting style. Several paintings are identified here as likely the work of Leonardo and others long considered works by Verrocchio or his assistant Lorenzo di Credi (1457/59-1536) may now be seen as collaborations with Leonardo sometime before his departure from Florence in 1482/83. In addition to Laurence Kanter´s detailed arguments, the book features three essays presenting recent scientific analysis and imaging that support the new attributions of paintings, or parts of paintings, to Leonardo.
The object of this series of text-books is to provide concise teachable histories of art for class-room use in schools and colleges. The limited time given to the study of art in the average educational institution has not only dictated the condensed style of the volumes, but has limited their scope of matter to the general features of art history. Archæological discussions on special subjects and æsthetic theories have been avoided. The main facts of history as settled by the best authorities are given. If the reader choose to enter into particulars the bibliography cited at the head of each chapter will be found helpful. Illustrations have been introduced as sight-help to the text, and, to avoid repetition, abbreviations have been used wherever practicable. The enumeration of the principal extant works of an artist, school, or period, and where they may be found, which follows each chapter, may be serviceable not only as a summary of individual or school achievement, but for reference by travelling students in Europe. This volume on painting, the first of the series, omits mention of such work in Arabic, Indian, Chinese, and Persian art as may come properly under the head of Ornament-a[viii] subject proposed for separate treatment hereafter. In treating of individual painters it has been thought best to give a short critical estimate of the man and his rank among the painters of his time rather than the detailed facts of his life. Students who wish accounts of the lives of the painters should use Vasari, Larousse, and the Encyclopædia Britannica in connection with this text-book. Acknowledgments are made to the respective publishers of Woltmann and Woermanns History of Painting, and the fine series of art histories by Perrot and Chipiez, for permission to reproduce some few illustrations from these publications.
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. Elsje van Kessel , University of St Andrews.