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From Clay to Bronze: A Studio Guide to Figurative Sculpture
Going beyond theory straight to hands-on practice, this studio workbook is devoted to the creation of a large, realistic bronze figure, from initial studies through the complex processes of enlarging, modeling, molding, casting, and finishing. First the book deals with preparing the clay, building the armature, developing the figure study, and enlarging it. Then casting is explored, plaster waste, flexible molds, systems of lost-wax casting, metal chasing, welding, mounting, and patinas. Tips on the maintenance and restoration of bronze sculpture are included..
Price: $19.08
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A Writer's Companion
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Discovering Voice: Voice Lessons for Middle and High School
In Discovering Voice, Nancy Dean creates a prequel to Voice Lessons specifically designed to teach the elements of voice to students in middle and early high school. The lessons on diction, detail, figurative language, imagery, syntax, and tone help students understand the concepts of voice in what they read and develop a strong, personal voice in their own writing. Every voice lesson includes a quotation selected from a wide range of literature, two discussion questions, and an exercise that encourages students to practice what they have learned about the elements of voice. Discovering Voice also offers a collection of quotations students can use to create their own voice lessons. Discussion suggestions for each voice lesson and additional activities for teaching voice enhance the scope and instructional value of the resource. Each Discovering Voice lesson provides focused practice for a specific element of voice and takes only ten to twenty minutes of class time. The lessons fit well with any curriculum. As students work with the elements that comprise voice, they will improve their ability to critically analyze literature. Students will also learn to apply the elements of voice to their own writing, creating a clear voice of their own..
Price: $12.61
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Art Nouveau Figurative Designs (Colouring Books)
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Context Clues & Figurative Language: 35 Reading Passages for Comprehension
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Bay Area Figurative Art: 1950-1965
During the 1950s a few painters in the San Francisco Bay Area began to stage personal, dramatic defections from the prevailing style of Abstract Expressionism, creating what would come to be known as Bay Area Figurative Art. In 1949 David Park destroyed many of his nonobjective canvases and began a new style of consciously naive figuration. Soon Elmer Bischoff and Richard Diebenkorn joined Park and other painters such as Nathan Oliveira, Theophilus Brown, James Weeks, and Paul Wonner in the move away from abstraction and toward figurative subject matter. When artists such as Bruce McGaw, Manuel Neri, and Joan Brown emerged as a second generation of figurative artists, the momentum grew for a powerful new development in American painting. The achievement of Bay Area Figurative painters and sculptors has become directly relevant to current debates regarding abstraction and representation, as well as to discourses on modernism and postmodernism. Indeed, the historical phenomenon of the movement is an important case study in the evolution of modernism in America, serving as an early example of rupture in the formalist "mainstream." Bay Area Figurative Art 1950-1965 was written to accompany an exhibition of the same name at the San Francisco Museum of Modern Art. Based on extensive archival research and interviews, it is the first study of the movement as a whole and is the broadest and most accurate account of the careers and interactions of ten Bay Area artists who worked in this new style. .
Price: $30.00
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Francis Bacon: The Logic of Sensation
Translated and with an Introduction by Daniel W. Smith Afterword by Tom Conley Gilles Deleuze had several paintings by Francis Bacon hanging in his Paris apartment, and the painter’s method and style as well as his motifs of seriality, difference, and repetition influenced Deleuze’s work. This first English translation shows us one of the most original and important French philosophers of the twentieth century in intimate confrontation with one of that century’s most original and important painters. In considering Bacon, Deleuze offers implicit and explicit insights into the origins and development of his own philosophical and aesthetic ideas, ideas that represent a turning point in his intellectual trajectory. First published in French in 1981, Francis Bacon has come to be recognized as one of Deleuze’s most significant texts in aesthetics. Anticipating his work on cinema, the baroque, and literary criticism, the book can be read not only as a study of Bacon’s paintings but also as a crucial text within Deleuze’s broader philosophy of art. In it, Deleuze creates a series of philosophical concepts, each of which relates to a particular aspect of Bacon’s paintings but at the same time finds a place in the “general logic of sensation.” Illuminating Bacon’s paintings, the nonrational logic of sensation, and the act of painting itself, this work—presented in lucid and nuanced translation—also points beyond painting toward connections with other arts such as music, cinema, and literature. Francis Bacon is an indispensable entry point into the conceptual proliferation of Deleuze’s philosophy as a whole. Gilles Deleuze (1925–1995) was professor of philosophy at the University of Paris, Vincennes–St. Denis. He coauthored Anti-Oedipus and A Thousand Plateaus with Félix Guattari. These works, as well as Cinema 1, Cinema 2, The Fold, Proust and Signs, and others, are published in English by Minnesota. Daniel W. Smith teaches in the Department of Philosophy at Purdue University. .
Price: $18.00
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John Currin
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Elmer Bischoff: The Ethics of Paint
Elmer Bischoff (1916Ð1991) is generally regarded as one of the leaders among the artists in the San Francisco Bay Area who, after contributing to the local emergence of Abstract Expressionism during the 1940s and 50s, shifted the terms of their spectacularly sensuous brushwork to recognizable imagery. Bill Berkson writes that if "David Park was the classicist of the founding triad of the Bay Area Figurative painters, and Richard Diebenkorn the modernist, Bischoff was the romantic." Designed to accompany a major retrospective of Bischoff's work, this superb volume is lavishly illustrated with duotones and color plates that faithfully capture the subtle variations in shade that characterize the painter's oeuvre. Berkson and Susan Landauer, both of whom knew Bischoff, provide the definitive view of the life, art, and teaching career of this important artist. Native to the Bay Area, Bischoff studied at the University of California under the "Berkeley School" modernists Worth Ryder, Erle Loran, and Margaret Peterson. His experience during World War II profoundly affected his view of the world and his place in it. In 1946, Bischoff joined the faculty of the California School of Fine Arts where--with colleagues Edward Corbett, Richard Diebenkorn, Claire Falkenstein, David Park, Ad Reinhardt, Mark Rothko, Hassel Smith, and Clyfford Still--he found himself at the hub of avant-garde expression in the Bay Area. Throughout his career, Bischoff applied his visual intelligence and unusual personal integrity in creating a uniquely varied body of work that invites our investigation. Having interviewed many of the artist's surviving colleagues and family members, Landauer offers valuable primary documentation on Bischoff, the Bay Area Figurative School, and the cultural history of the Northern California art scene. Her lively text is supported with insightful research into the social and political background of the period. She considers Bischoff's career in relation to the European artists who influenced him, his interactions with his local contemporaries, and his reactions to the New York art scene. A useful chronology of the artist's life, a bibliography, and documentary photographs that Landauer uncovered during her research make this volume an invaluable resource for anyone interested in the artistic vision of Elmer Bischoff. .
Price: $29.70
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