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The hustle and bustle of London, its changing landscape and infinite sights have provided a rich subject for the many artists who have visited and inhabited the city. From the earliest known paintings, artists have sought to encapsulate their impressions of this lively metropolis. Their representations are fascinatingly diverse, revealing visions of London that let us see the city as it has been experienced and reflected by a variety of artists through the centuries. From recognisable views of the River Thames, St Paul's and Tower Bridge, to idyllic scenes of London's residential squares and streets, or paintings capturing the architectural feats and engineering marvels of their day, artists have documented a developing London - a London which found wealth and confidence and was to emerge as the first truly modern city. Drawing from Tate's superb collection and beyond, this stunning book presents 100 paintings from the 17th century to the present. Whether iconic or unusual, topographical or verging on the abstract, each work offers a special perspective. Contextualised by an insight into the chosen view or location, the artist, and their particular technique, the paintings are also accompanied by revealing and memorable anecdotes which vividly bring the images to life. Featuring some of the world's most influential artists - Canaletto, Turner, Constable, Pissarro, Monet, Kossoff and Auerbach - as well as lesser-known contemporary artists, such as David Hepher and Lisa Milroy, London in Paint brings together a selection of artworks which portray the changing faces of London, and provide a fresh look - through artists' eyes - at this much-loved global city.
Without question, the tache (blot, patch, stain) is a central and recurring motif in nineteenth-century modernist painting. Manet's and the Impressionists' rejection of academic finish produced a surface where the strokes of paint were presented directly, as patches or blots, then indirectly as legible signs. Cezanne, Seurat, and Signac painted exclusively with patches or dots. Through a series of close readings, this book looks at the tache as one of the most important features in nineteenth-century modernism. The tache is a potential meeting point between text and image and a pure trace of the artist's body. Even though each manifestation of tacheism generates its own specific cultural effects, this book represents the first time a scholar has looked at tacheism as a hidden continuum within modern art. With a methodological framework drawn from the semiotics of text and image, the author introduces a much-needed fine-tuning to the classic terms index, symbol, and icon. The concept of the tache as a 'crossing' of sign-types enables finer distinctions and observations than have been available thus far within the Peircean tradition. The 'sign-crossing' theory opens onto the whole terrain of interaction between visual art, art criticism, literature, philosophy, and psychology.
The subject of this book is the so-called London Qazv?n?, an early 14th-century illustrated Arabic copy of al-Qazv?n?'s The Wonders of Creation and the Oddities of Existing Things, which was acquired by the British Library in 1983 (Or. 14140). As is commonly the case for copies of this text, the London Qazv?n? is lavishly illustrated, with 368 extant paintings out of the estimated original ca. 520.
Its large format, ambitious illustrative cycle and the fine quality of many of the illustrations suggest that the atelier where it was produced must have been well-established and able to attract craftsmen from different parts of the Ilkhanid area. It also suggests that its patron was wealthy and curious about scientific, encyclopedic and caj?'ib literature, and keen to experiment with the illustration of new texts like this work, which had been composed by the author only two or three decades earlier. The only centre that was capable of gathering such artistic influences ranging from Anatolia to Mesopotamia appears to have been Mosul.
The London Qazv?n? is an important newly surfaced document for the study of early illustrated Arabic copies of this text, representing the second earliest known surviving manuscript, as well as for the study of Ilkhanid painting. In a single and unique manuscript are gathered earlier Mesopotamian painting traditions, North Jaziran-Seljuq elements, Anatolian inspirations, the latest changes brought about after the advent of the Mongols, and a number of illustrations of extraordinary subjects which escape a proper classification.
Babies love to look at faces and high-contrast images from birth. Baby's Very First Book: Facesalso has a mirror and crinkly pages to stimulate their senses. illustrated by Jo Lodge, this best-selling cloth book is perfect for babies from 0 months plus!
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