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See below for a selection of the latest books from Art styles not defined by date category. Presented with a red border are the Art styles not defined by date books that have been lovingly read and reviewed by the experts at Lovereading. With expert reading recommendations made by people with a passion for books and some unique features Lovereading will help you find great Art styles not defined by date books and those from many more genres to read that will keep you inspired and entertained. And it's all free!
As documented in Patsy Pittman Light's award-winning book, Capturing Nature, Mexican artisan Dionicio RodrIguez arrived in San Antonio in the 1920s and created concrete bus stop shelters, park benches, footbridges, and other structures in the style known as faux bois, or trabajo rUstico. Following on the success of that previous work, Light, with photographer and artist Kent Rush, presents a comprehensive look at the legacy of RodrIguez as reflected in the works of those whom he trained, mentored, or influenced.RodrIguez captured nature in his work, but he also continues to capture our imagination. Drawing these artistic creations out of the urban landscape, Artisans of Trabajo RUstico makes the nearly invisible fully visible to the critic, the historian, and especially to the casual viewer. Light asserts that San Antonio has the largest concentration of this art form in the country and includes copious full-color photography of the work of RodrIguez and other artisans. This handsomely illustrated and painstakingly documented work offers the broadest possible panorama for the craft and endearing familiarity of this form. Inspired by nature, built by hand, and placed in the service of the public, these 'rustic works' continue to provide enjoyment, convenience, and a touch of artistic elegance to public and private landscapes in San Antonio and beyond. Light and Rush's work affords a fresh and wide-ranging look at this important artisanal tradition.
Look At This If You Love Great Art is a must read for anyone with a passion for exceptional art. Featuring 100 of the best artworks ever produced, inside is a collection of insightful summaries on just what it is that makes each one so vital. Art writer Chloe Ashby talks you through the pieces that resonate with her, revealing the fascinating stories behind them and offering her considered take on why each work should be regarded as a pinnacle of artistic endeavour. With entries curated to offer a unique juxtaposition of styles, mediums and schools of art, expect a contemporary take on classic artworks, where titans of art history cross paths with under-appreciated examples from outside the traditional canon, and where rebellious visionaries blaze trails that still influence today's cutting-edge artists. Covering all the most important genres of art -Abstraction, Pop Art, Surrealism, Renaissance art, Impressionism and more - this engaging summary only deals with artworks that really matter and the reasons why you have to see them.
California Dreaming is a multi-genre collection featuring works by Asian American artists based in California. Exploring the places of Asian America through the migration and circulation of the arts, this volume highlights creative processes and the flow of objects to understand the rendering of California's imaginary. Here, California is interpreted as both a specific locale and an identity marker that moves, linking the state's cultural imaginary, labor, and economy with Asia Pacific, the Americas, and the world. Together, the works in this collection shift previous models and studies of the Golden State as the embodiment of frontier mentality and the discourse of exceptionality to a translocal, regional, and archipelagic understanding of place and cultural production. The poems, visual essays, short stories, critical essays, interviews, artist statements, and performance text excerpts featured in this collection expand notions of where knowledge is produced, directing our attention to the particularity of California's landscape and labor in the production of arts and culture. An interdisciplinary collection, California Dreaming foregrounds sensing and imagining place, vividly, as it hopes to inspire further creative responses to the notion of emplacement. In doing so, California Dreaming explores the possibilities imagined by and through Asian American arts and culture today, paving the way for what is yet to be.
The history of modern design and architecture has displayed many attempts to embrace and merge different art forms and bring art into the framing of everyday life and the organisation of modern society, discussed as total design or total architecture. They were historically based on the romanticist idea of merging all art forms into a uniting and transgressing work of art, Art Work of the Future, most associated with - but certainly not limited to - Richard Wagner's musical dramas and extensive writings. The book traces the developments and discussions of this idea from the Wagnerian romanticism over Jugendstil, Werkbund and ends at the Bauhaus School (1919-33) with some further discussion on role of the idea in Hitler's talks on culture in the Third Reich and in the US exile of the Bauhausler. It is striking, how this tradition had a profound influence among both progressive, left-wing and radical, right-wing artists and critics. This utopian dream of the Gesamtkunstwerk or Total Work of Art was both thought as bringing unity to the people and bring art into everyday life of homes as well as factories and cities, even modern media, so the experiments stretches from music, poetry and drama to architecture, design, visual communication and city-planning. Such ideas of merging art forms into more immersive and transgressive installations or design interventions into everyday life and society have, of course, also developed into contemporary art scenes and activist practices in design and architecture. They are, however, so widespread today that the complex and often problematic roots are ignored. There have been a handful of international publications on the idea of the Gesamtkunstwerk during the last fifteen years, however, mostly written from the scope of literature history and philosophy. None of them expand the focus far into architecture and design that no doubt present the broadest and most influential experiments on the Gesamtkunstwerk, e.g. garden cities for workers and corporate identity design to the German AEG corporation, as this book.
Art and science - they may seem like opposites, but throughout history there have been visionaries who have brought together these contrasting subjects. The Art of Science explores the work of 40 such artists and artist-scientists, uncovering how these innovators have designed futuristic technology centuries ahead of its time, investigated time and space through abstract art, and created sculpture informed by NASA technology. An expertly curated selection of artists from many different cultures and eras - including Huang Quan, Leonardo da Vinci, Johannes Vermeer, Anna Atkins, Olafur Eliasson and Anicka Yi - this book tells the story of the vital partnership between art and science, with over 200 lavish illustrations.
The Art Collection is a newly created and designed art series analyses the historical importance and cultural legacy of famous artists, from Renoir to Cezanne, through Monet, van Gogh, Degas, Klimt, Toulouse-Lautrec, Gauguin and Hieronymus Bosch, with a final volume on religious icons. The books are distinguished by superb illustrations and colour reproductions of representative works, resulting in an essential collection for any art lover at a remarkably affordable price. The tenth title in the series celebrates religious works of art (most commonly paintings) in the cultures of the Eastern Orthodox Church, Oriental Orthodoxy, the Roman Catholic, and certain Eastern Catholic churches. The most common subjects include Christ, Mary, saints and angels. The book is full of examples of icons, including portraits, narrative and Biblical scenes. Icons may also be cast in metal, carved in stone, embroidered on cloth, painted on wood, done in mosaic or fresco work and printed on paper or metal.
A collection of all the historical pigments mentioned in the treatises included in the series Colour Palettes, by century, complemented by recipes from other contemporary sources. The entries define the pigment - colour, its source (animal, plant, mineral) and its name - and describe its method of preparation, with historical remarks tracing the pigment through the centuries. Recipes provide the documentary history of the pigment beginning with the earliest known through to 1837, the date of George Field's, Chromatography, to make up a history of each pigment.
From the early Taos artists to today's cutting-edge painters, from Native American weavers and early Spanish santeros to internationally celebrated sculptors, and from a multicultural mix of works by Hispanics, Native Americans, and Anglos, New Mexico's diversity attracts serious collectors and art lovers from around the world. New Mexico Millennium Collection presents 160 full-color images which reflect the beauty and variety of that art. The artists included are Allan Houser, Maria Martinez, Maynard Dixon, and Glenna Goodacre.
In postrevolutionary Russia, as the Soviet government was initiating a program of rapid industrialisation, avant-garde artists declared their intent to serve the nascent state and to transform life in accordance with their aesthetic designs. In spite of their professed utilitarianism, however, most avant-gardists created works that can hardly be regarded as practical instruments of societal transformation. Exploring this paradox, Vaingurt claims that the artists' investment of technology with aesthetics prevented their creations from being fully conscripted into the arsenal of political hegemony. The purposes of avant-garde technologies, she contends, are contemplative rather than constructive. Looking at Meyerhold's theater, Tatlin's and Khlebnikov's architectural designs, Mayakovsky's writings, and other works from the period, Vaingurt offers an innovative reading of an exceptionally complex moment in the formation of Soviet culture.
Throughout his long and prolific career, Ray Stanford Strong (1905-2006) strove to capture the essence of the western American landscape. An accomplished painter who achieved national fame during the New Deal era, Strong is best known for his depiction of landscapes in California and Oregon, rendered in his signature plein air style. This beautiful volume, featuring more than 100 color and black-and-white illustrations, is the first comprehensive exploration of Strong's life and artistry. Through family papers, archives, photographs, and a two-year series of interviews conducted with the artist personally, Mark Humpal traces Strong's journey from his childhood on an Oregon berry farm to his artistically formative years in New York and San Francisco. After moving back to the West Coast, Strong produced important works for the WPA, executed major diorama projects for two world expositions, helped organize the Santa Barbara Art Institute, and served as teacher and mentor for a new generation of plein air artists. But, as Humpal emphasizes, Strong distinguished himself by resisting the drumbeat of the avant-garde. During an era when many artists were experimenting with abstract expressionism, Strong never relinquished his personal vision and adherence to a more traditional style. With his outgoing personality, he forged friendships and associations with such prominent artists as Frank Vincent DuMond, Maynard Dixon, Ansel Adams, Frank Lloyd Wright, and John Steinbeck. Ultimately, Strong had little concern for his place in the sweep of art history. The proficiency he achieved through years of formal and informal study allowed him to craft a personal style difficult to categorize but unique and engaging. By expanding our understanding and appreciation of Strong's artistic contributions, this book offers a fitting tribute to one of America's finest landscape artists.