A Contemporary Guide to Figure Drawing, Painting, and Composition
Author: Robert Zeller
Pubpsher: The Monacelli Press, LLC
Written by a well-known artist and expert instructor, The Figurative Artist's Handbook offers a comprehensive, contemporary approach to the subject that instructs artists on the foundation basics and advanced techniques they need for successful figure drawing and painting. In addition to Zeller's stunning drawings and paintings, the work of over 50 of today's top practicing artists is included, so that the book will do double-duty as a hard-working how-to book and a visual treasure trove of some of the finest figurative art being created today. A must-have reference book for today's figurative artists and art students. This handbook combines three oschools of thoughto regarding figure drawing that are, at least on the surface, at odds with each other. But with his vast teaching experience, Zeller has seen that on a deeper level they are very compatible. Such a synthesis leads to a more complete understanding of the figure. Although this comprehensive approach is reflected in contemporary art and art education, no book has ever combined all three before. Gestural- The dynamic, gestural, rhythmic understanding of the figure as practiced by the great Mannerists of the Renaissance. This philosophy emphasizes life and rhythm in the human form. Rooted in the 16th and 17th centuries. Structural- A solid architectural understanding of the structure and anatomy of the body as the basis for building solid figure drawings. Rooted in the 20th and 21st centuries. Atelier Method- A beautiful, careful, detailed understanding of surface morphology of the figure. Smooth surface rendering. Very sensual. Rooted in the 18th and 19th centuries.
Images and Pictures from Prehistory to Perspective
Author: Whitney Davis
Pubpsher: Princeton University Press
A provocative and challenging new conceptual framework for the study of images This book builds on the groundbreaking theoretical framework established in Whitney Davis’s acclaimed previous book, A General Theory of Visual Culture, in which he shows how certain culturally constituted aspects of artifacts and pictures are visible to informed viewers. Here, Davis uses revealing archaeological and historical case studies to further develop his theory, presenting an exacting new account of the interaction that occurs when a viewer looks at a picture. Davis argues that pictoriality—the depiction intended by its maker to be seen—emerges at a particular standpoint in space and time. Reconstruction of this standpoint is the first step of the art historian’s craft. Because standpoints are inherently mutable and mobile, pictoriality constantly shifts in form and possible meaning. To capture this complexity, Davis develops new concepts of radical pictorial ambiguity, including “bivisibility” (the fact that pictures can always be seen in ways other than intended), pictorial naturalism, and the behavior of pictures under changing angles of view. He then applies these concepts to four cases—Paleolithic cave painting; ancient Egyptian tomb decoration; classical Greek architectural sculpture, with a focus on the Parthenon frieze; and Renaissance perspective as invented by Brunelleschi. A profound new theory of the work of both makers and viewers by one of the discipline’s most esteemed and engaged thinkers, Visuality and Virtuality is essential reading for art historians, architects, archaeologists, and philosophers of art and visual theory.