Turner's daringly loose brushwork and dazzling colors shine in his watercolors J.M.W. Turner, one of Britain's greatest painters, is perhaps known best for his oil paintings. But he was a lifelong watercolorist, and he fundamentally reshaped what would be understood as possible within the medium, both during his lifetime and after. Edited in partnership with Tate Britain, where the majority of the artist's works are conserved, Conversations with Turner: The Watercolorsis published on the occasion of a major exhibition spanning the entirety of Turner's career. Divided into six thematic sections, it focuses on the critical role played by watercolors in defining Turner's personal style. The book brings together texts by prominent scholars of Turner's art, including the art historians and curators Tim Barringer, Alexander Nemerov, Oliver Meslay and Susan Grace Galassi. Comprised of 100 works (all of which are reproduced in this volume), the exhibition was selected from upward of 30,000 works on paper, 300 oil paintings, and 280 sketchbooks donated after the artist's death in 1851, as part of the collection known as the "Turner Bequest." Turner's innovations in watercolor are illustrated in this book through an emphasis on landscapes and seascapes, many of which were painted during Turner's long stays abroad in continental Europe and beyond. The works showcase the development of Turner's stylistic language, focused on experimentation with the expressive potential of light and color, which anticipated trends in late-19th-century painting. J.M.W. Turner(1775-1851) was a controversial figure throughout his career, despite being championed by Ruskin and having played a key role in the elevation of pure landscape painting as a genre, which he took to unprecedented levels of abstraction. He traveled widely in Europe, starting with France and Switzerland in 1802 and studying in the Louvre in Paris in the same year, and later making many visits to Venice.
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 ...