From dragons and serpents to many-armed beasts that preyed on ships and sailors alike, sea monsters have terrified mariners across all ages and cultures and have become the subject of many tall tales from the sea. Accounts of these creatures have also inspired cartographers and mapmakers, many of whom began decorating their maps with them to indicate unexplored areas or areas about which little was known. Whether swimming vigorously, gamboling amid the waves, attacking ships, or simply displaying themselves for our appreciation, the sea monsters that appear on medieval and Renaissance maps are fascinating and visually engaging. Yet despite their appeal, these monsters have never received the scholarly attention that they deserve. In Sea Monsters on Medieval and Renaissance Maps, Chet Van Duzer analyzes the most important examples of sea monsters on medieval and Renaissance maps produced in Europe. Van Duzer begins with the earliest mappaemundi on which these monsters appear in the tenth century and continues to the end of the sixteenth century and, along the way, sheds important light on the sources, influences, and methods of the cartographers who drew or painted them. A beautifully designed visual reference work, Sea Monsters on Medieval and Renaissance Maps will be important not only in the history of cartography, art, and zoological illustration, but also in the history of the geography of the "marvelous" and of Western conceptions of the ocean.
Blue Book of Art Values: Artists & Their Works from Around the World
Peter Jennings and Todd Brewster, The Century (New York: Doubleday, 1998), 154. 8. Time-Life Editors, This Fabulous Century, Vol. IV, 23. 9.
Offers a selection of eighty-seven full-color reproductions of Timberlake's paintings, with an introduction by the painter
THE FERRELL BROTHERS, WILBUR AND WARREN , in their own words "were not known as singular artists but a duo." Wilbur began his career as a motion picture ...
Adelson, Warren, “John Singer Sargent and the 'New Painting,'” in Stanley Olson, Warren Adelson, and Richard Ormond, Sargent at Broadway: The Impressionist ...
This is a rich undiscovered history—a history replete with competing art departments, dynastic scenic families, and origins stretching back to the films of Méliès, Edison, Sennett, Chaplin, and Fairbanks.
Through careful research, Carol Gibson-Wood exposes the mythology surrounding the Morellian method, especially the mythology of the coherence and primacy of his method of attribution. She argues that it “could also be said that Berenson ...
Gibson translates from the Phoenician: “Beware! Behold, there is disaster for you ... !” (SSI 3, no. 5=KAI nr. 2). Examples from Cyprus include SSI 3, no. 12=KAI nr. 30. Gibson's translation of the Phoenician reads (SSI 3, ...
Examines the emergence of abstract organic forms and their assimilation into the popular arts and culture of American life from 1940-1960, covering advertising, decorative arts, commercial design, and the fine arts.
... S. Newman ACCOUNTING Christopher Nobes ADAM SMITH Christopher J. Berry ADOLESCENCE Peter K. Smith ADVERTISING ... ALGEBRA Peter M. Higgins AMERICAN CULTURAL HISTORY Eric Avila AMERICAN HISTORY Paul S. Boyer AMERICAN IMMIGRATION ...