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Stories, Art and Recipes for Making Watercolour Paint

A unique work of practical reference that combines the history, evolution and application of painting pigment in the world of art.

Packed with vibrant, stylish photography that captures Lucy Mayes at work on location and in her studio, this stunning book is a tribute to her passion for the subject and her desire to share its stories, riches and recipes.

The history and science are riveting; the recipes, textures and techniques are alchemy; the ecological vision that can be added to an artist’s statement is unparalleled: this is the new world of art and painting media.

Mayes L: The Natural Pigment Handbook

The Natural Pigment Handbook

A Maker’s Guide to the Art, Stories and Recipes for Creating Paint

The Female Body in Art

What is Art in the age of inequality, climate change and AI? From leading design group, Metahaven.

Cognitive Futures

The Hard Question of Art

Routledge Advances in Democratic Theory

Art’s obsession with politics is a problem, even a paradox. The more art there is, the less it shares with the political. Even the radical character of contemporary artistic practices revolves around the idea that there are no alternatives to liberal democracy and capitalist pluralism without risking another dystopia – a paradigm that, in the artistic realm, is articulated as the opposition between modernism and postmodernism. Indeed, with three recent transformations of our understanding; of emancipatory politics; the nature of aesthetics; and the post-Fordist transformation of capitalism, many argue that we overcome the fundamental challenges of aesthetic and political modernities and encounter ‘things’ beyond power relations and beyond aesthetics. However, even at its most creative, art has more in common with hegemony than capitalism. At every hegemonic turn, artwork is directed against itself, only to reinstate another art form in order to continue. This book looks at the problem of hegemony from an aesthetical perspective and argues that there is a ‘hegemonic trap’ pointing us in the direction of the alteration rather than alternative. Julia Svetlichnaja asks: Can art become hegemony? What is proposed is not Paolo Virno's ‘exit', it is the ‘exit’ from thinking about the ‘world-making’ in terms of alternative. What if instead of searching for alternatives we perform an alteration and pluralise modernism? The aesthetic project of the alteration of hegemony through the pluralisation of modernism does not represent hope for a better, different, political order but a space for problematisation, overlapping and contaminations of a number of social orders. The idea is to think about the world not in terms of ‘alternatives,’ but in terms of their absence.

Towards Plural Hegemony

The Art of Democracy

Find your creative flow, soothe nerves and reconnect with yourself through art therapy. Art is the best medicine - and by tapping into our creativity regularly, we can develop tools to help us feel better, calmer, and more resilient. Art Therapy for Every Day features 365 accessible and engaging exercises, each designed to help you develop self-awareness, explore their emotions, and find relief from stress and trauma. Each exercise focuses on a specific intention, can be completed with everyday art supplies, and is designed to fit easily into your day. Whether you want to better regulate your emotions, find joy in the creative process, or simply seek a meaningful and hopeful alternative to idle online scrolling, Art Therapy for Every Day unlocks the simple yet transformative power of self-expression, day after day.

365 Exercises to Help You Create, Heal, and Grow

Art Therapy for Every Day

Die Kunst des Zeichnens

Die Kunst des Zeichnens 10 Steps

In nur 10 einfachen Schritten beeindruckende Pflanzen zeichnen
 Mit der 10 Steps-Reihe des Erfolgskonzeptes&nbsp;"Die Kunst des Zeichnens" gelingt Ihnen das ganz leicht! Jedes Motiv wird in einzelne Elemente zerlegt und beginnt mit einer ganz einfachen Grundform. Anschauliche Schritt-für-Schritt-Illustrationen führen ohne viel Textzur gelungenen Zeichnung. Über 50 botanische Motive stehen zur Auswahl: von bezaubernden Wildblumen bis zu beliebten Zimmerpflanzen, von Bäumen und Sträuchern bis zu Pilzen und Früchten. Grundlagen zu den Materialien und ein kurzer Überblick über die verschiedenen Methoden des Kolorierens runden diese perfekte Einführung in das Zeichnen einer faszinierenden Pflanzenwelt ab.Das erwartet Sie:
 <ul><li>beeindruckende Pflanzen zeichnen in 10 einfachen Schritten
 </li><li>über 50 verschiedene Pflanzenmotive
 </li><li>Wildblumen, Waldpflanzen &amp; Pilze, Kletterpflanzen, Bäume &amp; Sträucher, Früchte und Zimmerpflanzen zeichnen
 </li><li>einfache Grundformen als Ausgangspunkt
 </li><li>bebilderte Schritt-für-Schritt-Anleitungen ohne viel Text
 </li><li>mit Grundlagenteil zu den Materialien
 </li><li>mit Anregungen zum Kolorieren der fertigen Zeichnungen
 </li><li>für Anfänger:innen und Fortgeschrittene
 </li>
 </ul>

In nur 10 einfachen Schritten beeindruckende Pflanzen zeichnenMit der 10 Steps-Reihe des Erfolgskonzeptes&nbsp;„Die Kunst des Zeichnens“ gelingt Ihnen das ganz leicht! Jedes Motiv wird in einzelne Elemente zerlegt und beginnt mit einer ganz einfachen Grundform. Anschauliche Schritt-für-Schritt-Illustrationen führen ohne viel Text zur gelungenen Zeichnung. Über 50 botanische Motive stehen zur Auswahl: von bezaubernden Wildblumen bis zu beliebten Zimmerpflanzen, von Bäumen und Sträuchern bis zu Pilzen und Früchten. Grundlagen zu den Materialien und ein kurzer Überblick über die verschiedenen Methoden des Kolorierens runden diese perfekte Einführung in das Zeichnen einer faszinierenden Pflanzenwelt ab.Das erwartet Sie:<ul><li>beeindruckende Pflanzen zeichnen in 10 einfachen Schritten</li><li>über 50 verschiedene Pflanzenmotive</li><li>Wildblumen, Waldpflanzen &amp; Pilze, Kletterpflanzen, Bäume &amp; Sträucher, Früchte und Zimmerpflanzen zeichnen</li><li>einfache Grundformen als Ausgangspunkt</li><li>bebilderte Schritt-für-Schritt-Anleitungen ohne viel Text</li><li>mit Grundlagenteil zu den Materialien</li><li>mit Anregungen zum Kolorieren der fertigen Zeichnungen</li><li>für Anfänger:innen und Fortgeschrittene</li></ul>

In 10 einfachen Schritten über 50 Pflanzen zeichnen

Die Kunst des Zeichnens 10 Steps - Pflanzen

The Pulitzer Prize-winning biographer turns his eye to the seventeenth-century Dutch Golden Age Twenty years ago, Benjamin Moser followed a love affair to an ancient Dutch town. In order to make sense of this new place, he threw himself into the Dutch museums. Soon, he found himself unearthing the strange, inspiring and sometimes terrifying stories of the artists who shaped one of the most luminous moments in the history of human creativity, the Dutch Golden Age. As he explored the hidden world of the Dutch Masters (and one Mistress), Moser met a crowd of fascinating personalities: the stormy Rembrandt, the intimate Ter Borch, the mysterious Vermeer. Through their art, he got to know their country, too: from Pieter Saenredam's translucent churches to Paulus Potter's muddy barnyards, and from Pieter de Hooch's cozy hearths to Jacob van Ruisdael's tragic trees. Over the years, Moser found himself on increasingly intimate terms with these centuries-dead artists, and found that they, too, were struggling with the same questions he was. Why do we make art? What is art, anyway - and what is an artist? What does it mean to succeed as an artist, and what does it mean to fail?The Upside-Down World is an invitation to ask these questions, and to turn them on their heads: to look, and then to look again. It is a brilliant, colourful and learned book for anyone, whether lifelong scholar or curious tourist, who has ever felt the lure of the Dutch galleries. It shows us art, and artists, as we have never seen them before.

The Pulitzer Prize-winning biographer turns his eye to the seventeenth-century Dutch Golden Age Twenty years ago, Benjamin Moser followed a love affair to an ancient Dutch town. In order to make sense of this new place, he threw himself into the Dutch museums. Soon, he found himself unearthing the strange, inspiring and sometimes terrifying stories of the artists who shaped one of the most luminous moments in the history of human creativity, the Dutch Golden Age. As he explored the hidden world of the Dutch Masters (and one Mistress), Moser met a crowd of fascinating personalities: the stormy Rembrandt, the intimate Ter Borch, the mysterious Vermeer. Through their art, he got to know their country, too: from Pieter Saenredam's translucent churches to Paulus Potter's muddy barnyards, and from Pieter de Hooch's cozy hearths to Jacob van Ruisdael's tragic trees. Over the years, Moser found himself on increasingly intimate terms with these centuries-dead artists, and found that they, too, were struggling with the same questions he was. Why do we make art? What is art, anyway - and what is an artist? What does it mean to succeed as an artist, and what does it mean to fail? The Upside-Down World is an invitation to ask these questions, and to turn them on their heads: to look, and then to look again. It is a brilliant, colourful and learned book for anyone, whether lifelong scholar or curious tourist, who has ever felt the lure of the Dutch galleries. It shows us art, and artists, as we have never seen them before.

Meetings with the Dutch Masters

The Upside-Down World

Rethinking Art's Histories

The Cartographies of Conceptual Art

Charting Space

Studien aus dem Warburg-Haus

Die Auseinandersetzung mit Positionen des Skeptizismus wurde in der Kunstgeschichte bisher geführt, indem man Thesen aus der Philosophie auf die Ikonographie von Gemälden bezog. Forschung, die sich mit Skepsis beschäftigte, fragte danach, wie philosophische Texte ihren Niederschlag in Kunstwerken fanden. "Visuelle Skepsis" analysiert stattdessen, wie Bilder aufgrund der ihnen eigenen medialen Struktur zum Ort von performativen Prozessen werden können, die mit den dialogischen Strategien des Skeptizismus vergleichbar sind. Eine Hauptthese lautet, dass dabei Widersprüche und Negationen auftreten, die den Charakter einer medialen Selbstbefragung haben. Bilder können ihren eigenen Status als Erkenntnismedien problematisieren - zum einen ausstellen, zum anderen aber auch in Zweifel ziehen.

Die Auseinandersetzung mit Positionen des Skeptizismus wurde in der Kunstgeschichte bisher geführt, indem man Thesen aus der Philosophie auf die Ikonographie von Gemälden bezog. Forschung, die sich mit Skepsis beschäftigte, fragte danach, wie philosophische Texte ihren Niederschlag in Kunstwerken fanden. „Visuelle Skepsis" analysiert stattdessen, wie Bilder aufgrund der ihnen eigenen medialen Struktur zum Ort von performativen Prozessen werden können, die mit den dialogischen Strategien des Skeptizismus vergleichbar sind. Eine Hauptthese lautet, dass dabei Widersprüche und Negationen auftreten, die den Charakter einer medialen Selbstbefragung haben. Bilder können ihren eigenen Status als Erkenntnismedien problematisieren – zum einen ausstellen, zum anderen aber auch in Zweifel ziehen.

Wie Bilder zweifeln

Visuelle Skepsis

"A collection of Hal Foster's writing as a critic, since 1993"--

From the distinguished art critic and historian, vital essays on key artists and critics, revealing how they redefined art and criticism over the last six decades. “Serious art anticipates the future as much as it reflects the present,” Hal Foster remarked in a 2015 interview. “By the same token serious art history is driven by the present as much as it is informed by the past.” In Fail Better, Foster, an art critic and historian whose influential work spans disciplines and decades, brings this peripatetic perspective to contemporary art, art criticism, art history, and his own work over the past 50 years. In these 40 texts, Foster reviews artists from Richard Hamilton and Jasper Johns to Gerhard Richter and Ed Ruscha; considers contemporaries from Louise Lawler and Cindy Sherman to Jeremy Deller and Adam Pendleton; and traces the development of criticism since the early 1960s, with essays on such influential figures as Susan Sontag and Rosalind Krauss and institutions like Artforum magazine and the Whitney Museum Independent Study Program. Taking his title from Beckett—“try again, fail again, fail better”—Foster notes that, etymologically, an essay is always an attempt, more or less failed. Critics fail artworks, because there can never be a definitive reading; art fails its historical moment, because it cannot resolve the contradictions that prompt it. But in these failures Foster finds historical consciousness, and with it the promise of future work, future illumination. In his “reckonings” he turns his own long history of criticism to account, and succeeds in conveying shifting concepts of art and criticism, the work of key artists and critics, and the relationships between criticism, theory, history, and politics over the last six decades.

Reckonings with Artists and Critics

Fail Better

A beautifully produced companion that provides 100s of solutions to the frequent problems faced by the watercolour artist.

A beautifully produced companion that provides 100s of solutions to the frequent problems faced by the watercolour artist.

500 Practical Hints, Tips, and Solutions for All Artists

The Bedside Book of Watercolor Wisdom

Aesthetics and Contemporary Art

James Hyde, a practicing painter, boldly revises the concept of space in the European history of art. He presents it as a concept bound to historical circumstance, developing -sometimes contentiously-in philosophy, mathematics and science, and finally emerging in 20th century theorizations of art. Using primary documents, Hyde exposes what many will find surprising-that space only becomes part of the descriptive and analytic apparatus of art and architecture at the turn of the 20th century, not earlier. Hyde examines narratives that have shaped our understanding of the history of art and their explanatory efficacy in the context of the transformations of 13th and 15th century Italian art. He offers insights into the relationship between painting, architecture, icons and narrative pictures, the effects of St. Francis's miracles on painting and the essential diagrammatical nature of Renaissance perspective. The arrival of space into discussions about art introduces Kant, Leibniz, Apollonaire and Adolf von Hildebrand into the story. Hyde considers how and why artists and historians appropriated space at the end of the 19th century, as well as how space moved from the discourse of Neoclassical sculpture and Cubism to its prominence in discussions of art today. Hyde's original reading of the definition of space and the cultural forces that shaped it provides a re-envisioning of the foundations of art history and the philosophy of art.

Controversies, Contradictions and its Rise to Prominence

The Trouble with Space in Visual Art

Handbooks in International Art Business

The Valuation of Fine Art and Design provides a detailed analysis of the art and science of valuation, focussing on the process of assigning monetary values to artworks. The book sets out to educate art-world stakeholders in the nuances of pricing in the broadest sense. Construction of appropriate values requires an understanding of the international art market infrastructure in which these values will be applied; for this reason, the book explores the major sales venues in some detail. Additionally, it requires the appraiser to establish the importance of the work in question; to this end, the book presents fine and decorative-arts research sources. Finally, all value conclusions are based upon evidence derived from previous sales of similar items. The book concludes by demonstrating, through case studies, the impact on an artwork's value of factors including authenticity, style, artist's stature, publication and exhibition record, medium, rarity, and inclusion of related works in museum collections.

The Valuation of Fine Art and Design provides a detailed analysis of the art and science of valuation, focussing on the process of assigning monetary values to artworks. The book sets out to educate art-world stakeholders in the nuances of pricing in the broadest sense. Construction of appropriate values requires an understanding of the international art market infrastructure in which these values will be applied; for this reason, the book explores the major sales venues in some detail. Additionally, it requires the appraiser to establish the importance of the work in question; to this end, the book presents fine and decorative-arts research sources. Finally, all value conclusions are based upon evidence derived from previous sales of similar items. The book concludes by demonstrating, through case studies, the impact on an artwork's value of factors including authenticity, style, artist’s stature, publication and exhibition record, medium, rarity, and inclusion of related works in museum collections.

A Handbook for Professionals

The Valuation of Fine Art and Design

The Natural Pigment Handbook

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