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A Comprehensive Guide with 264 Illustrations

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A revolutionary reaction to traditional nineteenth-century art, the turn-of-the-century Art Nouveau movement drew much of its inspiration from nature. Applying its sinuous, curvilinear motifs to the decorative arts, graphics, architecture, sculpture, and painting, artists and craftspeople attempted to create a style suitable for a "modern" age. In this absorbing, exceptionally detailed, and well-researched book (one of the first scholarly works to revive interest in the style after World War II), a noted Norwegian authority on the subject examines the movement in depth. Stephan Madsen offers a wealth of facts and insights about the origins and development of the style; trends leading up to Art Nouveau, including the influence of Blake and the Pre-Raphaelites; early Art Nouveau posters and book illustrations; and its use in architectural ornamentation, furniture, jewelry, wrought-iron, glass, and other applied arts. A magnificent selection of 264 photographs and line drawings accompanies the text, which gives broad coverage to the movement, as well as insightful discussions of such important artists as Emile Galle, Alphonse Mucha, Walter Crane, Charles Rennie Mackintosh, Aubrey Beardsley, Henry Van de Velde, Victor Horta, William Morris, and Eugene Grasset.Artists and students, admirers of Art Nouveau, and anyone interested in this enduring and influential style will welcome Professor Madsen's expert, fully documented study.

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Celebrity, art merchant, socialite, publisher, and writer, Ambroise Vollard (18671939) was one of the most extraordinary figures in 20th-century art. He possessed an uncanny ability to recognize genius in painters  dozens of important artists received valuable commissions and gallery space with his help, and his galleries presented the first one-man shows for such luminaries as Matisse, Cezanne, and Picasso. Vollard's warmth, candor, and intelligence earned him the friendship of a generation of artists and make this memoir an enthralling and often hilarious account of an exciting Golden Age of painting.Vollard's anecdotal recollections transport the reader to Paris at the turn of the 20th century and the legendary "Street of Pictures," the rue Laffitte, where Vollard lived and worked. Rather than critiquing artists or esthetic movements, Vollard focuses on the human sidelights that made his life as picture dealer so rich and fascinating: his early efforts to sell the works of Cezanne, despite incredible opposition to Impressionism; his dinner parties, whose guests included Renoir, Forain, Degas, Redon, and Rodin; his many portrait sittings for Cezanne, Renoir, Rouault, Bonnard, Forain, and Picasso; his observation on the studios, habits, and personalities of Manet, Matisse, Picasso, de Groux, Signac, and Rousseau; and his encounters with Gertrude Stein, Alfred Jarry, Guillaume Apollinaire, Mallarme, and Zola.

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The combined training and experience of the authors of this classic in the varied activities of painting conservation, cultural research, chemistry, physics, and paint technology ideally suited them to the task they attempted. Their book, written when they were both affiliated with the Department of Conservation at Harvard's Fogg Art Museum, is not a handbook of instruction. It is, instead, an encyclopedic collection of specialized data on every aspect of painting and painting research.The book is divided into five sections: Mediums, Adhesives, and Film Substances (amber, beeswax, casein, cellulose, nitrate, dragon's blood, egg tempera, paraffin, lacquer, gum Arabic, Strasbourg turpentine, water glass, etc.); Pigments and Inert Materials (over 100 entries from alizarin to zinnober green); Solvents, Diluents, and Detergents (acetone, ammonia, carbon tetrachloride, soap, water, etc.); Supports (academy board, dozens of different woods, esparto grass, gesso, glass, leather, plaster, silk, vellum, etc.); and Tools and Equipment.Coverage within each section is exhaustive. Thirteen pages are devoted to items related to linseed oil; eleven to the history and physical and chemical properties of pigments; two to artificial ultramarine blue; eleven to wood; and so on with hundreds of entries. Much of the information  physical behavior, earliest known use, chemical composition, history of synthesis, refractive index, etc.  is difficult to find elsewhere. The rest was drawn from such a wide range of fields and from such a long span of time that the book was immediately hailed as the best organized, most accessible work of its kind.That reputation hasn't changed. The author's new preface lists some recent discoveries regarding pigments and other materials and the pigment composition chart has been revised, but the text remains essentially unchanged. It is still invaluable not only for museum curators and conservators for whom it was designed, but for painters themselves and for teachers and students as well.

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One of England's most respected and influential architects, James Gibbs was born in Scotland, studied in Rome, and left a legacy of design the world will treasure forever. His legendary 1728 folio, a sprawling gallery of Gibbs's magnificent drawings, perspectives, and blueprints, is a brilliant testimony to his remarkable talent. Profusely illustrated, the volume features such notable commissions as London's St. Martin in the Fields  the inspiration for many steeple churches of the colonial period in America; St. Mary le Strand, his first public building; Marybone Chapel; The Church of Allhallows in Derby; plus Gibbs's first commission, an addition for King's College at Cambridge. His most outstanding accomplishment may be the circular Radcliffe Library at Oxford, for which he received a Master of Arts. Also included here are detailed floor plans, plus fine drawings of decorative marble cisterns, ornamental iron gates, stately funeral monuments, and much more. Essential for an understanding of classic architecture, this stunning edition should grace the bookshelf of every architect, as well as architectural students, teachers, and historians.

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In this classic, engrossing text, a distinguished historian explores the mind and manifold interests of the greatest personality of the Renaissance. More than just a biography, the book presents a detailed investigation of Leonardo da Vinci's genius. Its colorful, evocative prose offers numerous demonstrations of the master's achievements, not only in sculpture and painting, but also in music, engineering, and even experimental aviation. A renowned authority on the works and personality of Leonardo, author Edward McCurdy translated many of the artist's writings. "In the thousands of pages of his manuscript he has left the mirror of his thought," McCurdy observes, "and there his mind may be seen at work, moving among the phenomena of nature and the inherited knowledge of antiquity, trying all things, expounding all things, proving all things." McCurdy begins by tracing the artist's travels, from his native Florence to Milan, Venice, Rome, and France. Part Two examines the manuscripts and their philosophical revelations, and the third section assesses the paintings and sculpture. First published in 1928, this book remains one of the best introductions to Leonardo and his extraordinary versatility.

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Drawing is "the very essence of all pictorial art," and this book approaches the challenging art of animal painting from the point of view of accurate representation of animal subjects on canvas. Combining useful information on important anatomical features with direction on how to handle the subjects and how to express their forms and postures, the author has produced a complete, inexpensive, at-home course in animal painting and anatomy.All aspects of animal drawing and painting are covered: drawing from life; anatomy in relation to drawing (not surgical anatomy, but a precise knowledge of the visible structure and movements of animals); characteristic movements of animals and suggestions on how to capture them in your picture; composition (design, restraint, rhythm, balance of light and shade, relative scale of animals and landscape, foregrounds); painting and color. 36 illustrations, mostly sketches by the author, depict horses, pigs, cows, dogs, and other animals in various life positions and movements.  A long, detailed discussion of the anatomy of animals completes the book. Here Mr. Calderon describes all the structures of animals that are of significance to the artist: the vertebral skeleton, the bones and muscles of the head, the muscles of the vertebral skeleton, the fore-limb and its muscles, the muscles attaching the shoulder blade to the trunk, and the bones and muscles of the hind limb. 208 drawings accompany these discussions and show you how anatomy is related to surface contours and techniques of shading.

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This book contains the entire contents of four fine volumes of monogram and allied devices published between 1830 and 1881. Over 2,500 monogrammatic and alphabetic designs are displayed in plates from "Dictionnaire du Chiffre-monogramme," etc., by Charles Demengeot (1881); "Monograms and Ciphers," by H. Renoir (187074); "Knight's New Book of Seven Hundred & Fifty Eight Plain, Ornamented & Reversed Cyphers" (1830); and "Monograms in Three and Four Letters," by J. Gordon Smith (n.d.).There are monograms in every two-letter combination and extensive selections of three and four letters; name devices ("Alice," "Theodore," etc.), crowns, crests, coats of arms and helmets. There are heavy, intricately entwined monograms that appear as though engraved on metal; lighter, thick-and-thin script styles; fanciful and formal designs; monograms in circles, ovals, square shapes, and free outline; and an immense variety of letter styles, including many designed for the particular device.A notable feature of this volume is the Index of Monograms and Ciphers, listing alphabetically every letter combination shown and the page or pages on which each appears ("S W", for example, is drawn in three different styles; "A L" in five; but "F N H W" in only one); and an Index of Names and Devices. Both features add greatly to the usefulness of the book. Importantly, every device shown may be reproduced by the purchaser free of charge.Artists, designers, engravers, and craftspeople will find this book a prolific source of inspiration and unusual styles; typographers, calligraphers, draftspeople , and students will use it as an aid in creating their own letter designs; while those in the printing, publishing, advertising, and allied fields will call upon it whenever a distinctive monogram or decoration is needed.

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"A remarkable work. . . . For sheer weight of information there is no equal to it."  The Spectator. It is probable that the earliest "books" were written on wood or leaves as early as the fourth millennium B.C. These fragile materials, unfortunately, have not come down to us. In their absence, the earliest surviving books are the clay tablets of Mesopotamia, the oldest attributed to c. 3500 B.C. On these ancient clay shards, dense rows of cuneiform script record the seminal writings of mankind: the Gilgamesh epic, Sumerian literary catalogues, Babylonian astrology, Assyrian accounts of the Creation and the Flood, and the Lipit-Ishtar Law-Code (c. 2000 B.C.), predating Hammurabi and the oldest law code in human history.Probably as ancient as the Mesopotamian writings, or nearly so, are Egyptian hieroglyphics. In a sense, it is the papyrus scrolls of the Egyptians  preserved by that country's hot, dry climate  that represent the true ancestors of the modern book. As the centuries passed, papyrus slowly gave way to parchment (the prepared skins of animals) as writing material. Indeed, the handwritten parchment or vellum codex is "the book" par excellence of the Middle Ages. Western European book production is only part of the story, and the author is at pains to illuminate the bibliographic contributions of numerous peoples and cultures: Greek and Roman book production, books made in central and southern Asia, the books of Africa, pre-Columbian America, and the Far East  material that is often not mentioned in Western histories of the book.Based on years of painstaking research and incorporating a wealth of new material and conclusions, the text is enhanced throughout by abundant illustrations  nearly 200 photographic facsimiles of priceless manuscripts in museums and libraries around the world.

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The alphabet is the message. With these special effects and topical alphabets, you can advertise or identify a product or service in lettering that reinforces your message. For example: letters shaped like chopsticks; letters made up of logs; letters made up of bones; letters frozen in ice; letters with stars and stripes.These are just a few of the alphabets you can use from the 100 fonts selected by Dan X. Solo from the Solotype Typographers Catalog. All the fonts appear in upper case, while many also have lower case and/or numerals.Whether your message is about the Fourth of July, cool refreshment, outdoor life, modern technology, summer, spring, winter, or a hundred other moods and occasions, you'll find in this collection an alphabet that tells the story. The typographic designs may be sophisticated or naive, but all are eminently useful and difficult to find in usual sources.

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This fascinating book is the product of intensive scholarly research, its exacting illustrations based on choice examples of Mexican Indian textiles in many different museums and private collections. Incorporating abstract and geometric forms as well as highly stylized images of flowers, plants, animals, birds, and humans, the patterns represent more than 20 major Mexican Indian cultures.Among the designs are a two-faced feathered serpent from the Huichol culture, an allover pattern dominated by horizontal zigzags woven by the Otomi, and a flower and leaf design from the Tepehua. The Huasteco people are represented by a bold motif featuring prancing animals with bushy tails; a Nahuatl design depicts a lion with a flower in his mouth; while an elegant curvilinear Mazatec motif features flowers, vines, and birds. Other peoples whose art is represented include the Tarahumara, Tepecano, Mestizo, Zapotec, Mixteco, and Cuicatec. In the bold, startling designs originated by these cultures are primal links to the imagery of other cultures and traditions, centuries old and worldwide.Artists, designers, and craftspeople will value this modestly priced collection as a source of striking and unusual royalty-free designs for inspiration and practical use; anyone interested in Mexican Indian culture will find it an important reference as well.

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All those concerned with goldsmithing, silversmithing, rare metal objects, or metal scientific instruments, or their repair or restoration will be delighted to find this bible of their craft available again in a new edition. And those interested in such work as one of the most rewarding of all avocational arts can hardly find a better guide. For this is the professional's handbook  the standard text on the subject.The author, who, among his other achievements, was responsible for reconstruction work on the Sutton Hoo treasure in the British Museum (and was awarded the Order of the British Empire for his work), treats every aspect of the craft in detail, from basic tools to casting and enameling in separate sections. After discussing materials and tools, he provides a treatment of soldering in rare metals that is more extensive, more thorough, and richer in practical advice than can be found elsewhere. He continues into filigree work, the setting of stones, raising and shaping, spinning, repousse work, wire twisting, hinges and joints, inlaying and overlaying, niello, alloys and stratified fabrics, enameling (including cloisonne, plique-a-jour, champleve, bassetaille, encrusted and painted enamels), metal casting, construction, setting out, polishing and coloring, design, and assaying and hallmarking. Wherever possible, he analyzes examples of fine craftsmanship, ancient and modern, to illustrate practical aspects of the process he is explaining. Helpful hints are included on shop set-up and safety. The vastness of the author's experience in the actual work, with his authoritative knowledge of the entire field, ensures that readers of Metalwork and Enamelling are being advised and guided by a renowned expert.Over 300 figures and photographs amplify the discussion of tools, materials, and construction. Tables and standards useful to the craftsman (melting points and weights of metals, for example) are included. Notes to the photographic plates describe the objects in detail  magnificent examples of craftsmanship throughout the ages. Both complete and concise, this book belongs close to every rare metals workshop, laboratory, museum shop, and craft center.

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Basketry is among the most widespread and ancient crafts  one that is highly satisfying to both craftspeople and collectors and appealing in utilitarian as well as esthetic terms. Over the centuries, basket-making techniques have been used to manufacture an amazing assortment of items: crab or lobster pots, eel traps, winnowing fans, horse collars, fish creels, seed-gathering baskets, portable stalls used by street vendors, huge "skeps" for sorting wood  even one-person boats (or coracles) and enormous crates for transporting prize livestock to shows. These items and many more are fully described, and often pictured, in this profusely illustrated edition of an authoritative classic.Dorothy Wright, a lifelong student of basketry and cataloger of the basket collection of the Museum of English Rural Life, charmingly relates the history and geography of a plethora of baskets and gives the specifics of their construction. She provides detailed advice on basket design, materials, techniques, care, and repair, and gives step-by-step instructions (in easy-to-follow "recipe" format) for making an array of baskets, including a tall oval shopping basket, wastepaper basket, lidded picnic basket, all-purpose plate, wine cradle, fruit bowl, cane rattle, carpet beater, and more  made with a wide range of materials including willow, cane, ruch, raffia, straw, grasses, palms, and coppice woods, and by a variety of techniques, including stake-and-strand (wickering), framing or ribbing, coiling, plaiting, and twining.Craftspeople, collectors, students of traditional crafts, and general readers will find themselves fascinated by this authoritative survey.

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If you can chop vegetables and boil water, you can make paper. It's easy with this fascinating step-by-step guide to making paper with vegetable fibers. No special tools are required and quality results can be had in a very short time.The opening chapter of Vance Studley's clearly outlined, beautifully illustrated text introduces the reader to the origin and development of paper, describes its use in history, examines cultures that made paper and explains why quality paper is ideal for creative use.The author then shows you in detail how to make attractive and useful paper in a vast number of sizes, shapes, textures, and colors. Details of the papermaking process range from scissoring the raw material and beating the pulp, to blending the contents and forming, pressing, drying, and separating the sheets.Step-by-step instructions and over 160 sharply detailed illustrations introduce professional artists as well as students of all ages and levels of expertise to necessary materials, tools, and equipment. A final chapter suggests a variety of projects, including the compilation of a portfolio, creating papers for printmaking and drawing, and producing a collage from the designer's finished product.An invaluable book for the craftsperson interested in learning a satisfying and fascinating hobby, this comprehensive manual will also appeal to artists in search of distinctive papers and teachers looking for a refreshing change in classroom projects.

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Elma Waltner, Crafts Designer from Hurley, South Dakota, has put together a series of specific instructions that will enable even the amateur, using the simplest tools and materials, to progress easily from raw wood to an interesting hand-carved animal. All that's needed is a small block of two-inch wood  redwood, white pine, sugar pine, western pine, basswood, cottonwood, or any other soft wood  and a simple pocket or carver's knife. Inexpensive watercolors or enamels, shellac, and varnish are perfect for decoration and finishing.Each step in the carving is made absolutely clear through photographs and angle sketches. There are profile patterns (to be traced on the block) for all of the 24 projects, ranging from Bolivar Bull through Casper Camel to Sammy Stegosaurus. Horatio Horse, Gulliver Goat, and Esmerelda Elephant serve as teaching pieces, with complete instructions from start to finish for each. Once these have been mastered, the same methods are easily applied to the rest of the projects, and special steps in the carving of these are again shown in photographs.The poses and animals represented here are only a beginning in animal caricature, and the hobbyist will soon find himself developing other animals and other poses of these familiar friends to add to his wooden menagerie. They will find in these and in their own projects an almost inexhaustible source of gentle relaxation and delight.

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The dazzling visual effects created by light caught in a myriad of colored glass shapes has fascinated man for centuries. Today stained glass making enjoys increasing popularity, creating an inexhaustible demand for new design ideas.Circular Stained Glass Pattern Book offers glass crafters at every level of experience 60 fresh, elegant motifs in the sought-after circular format. Artist Connie Eaton brings sophisticated design ingenuity to dozens of original compositions  varied in complexity and offering unlimited possibilities in choice of color, glass cutting, and construction.The circular shape provides a picturesque frame for inspiring floral and foliate elements, stylized heads, suns, landscapes, pastoral scenes, abstracts, and more. Patterns can be used directly, enlarged or reduced to suit your needs.You'll find this versatile collection ideal for making beautiful stained glass windowpanes, mobiles, mirrors, candle shelters, room dividers, ornamental boxes, and other creations sure to be one-of-a-kind showpieces that will be treasured for years to come.

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Oriental Design Stained Glass Pattern Book

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A peacock proudly spreading its plumage, a geisha strolling under a drift of peach blossoms, a mandarin duck paddling by a footbridge, a butterfly taking flight from a peony blossom, Japanese boatmen plying a tranquil lake  these are only a few of the charming subjects in this versatile collection of Oriental designs created especially for artists who work in stained glass. You'll find forty-seven different designs in this rich new treasury, each finding its inspiration in the peace and harmony of nature, each meticulously prepared for the exacting needs of the stained glass craft.The patterns may be reduced, enlarged, or otherwise modified for a wide variety of stained glass projects: windows, lightcatchers, mirrors, lampshades, lightboxes, and more. A special feature presents patterns for four complete four-paneled screens of the type traditionally used in Japanese dwellings, with beautiful subjects such as distant figures on horseback moving through a summer landscape and herons nestled in a grove of cypress trees. They are presented here in four generous double-page spreads.Combining the delicate and tranquil beauty of Oriental design with the luminous appeal of stained glass artistry, this unique pattern book will provide endless pleasure and a stimulating challenge to all who work in this time-honored medium.

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Native American Designs Stained Glass Pattern Book

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Stained glass workers in search of handsome, high-quality patterns will welcome this collection of designs based on traditional Native American themes. Approximately 120 identified patterns  shown as insets on the pattern page  have been adapted from authentic tribal motifs.Here are striking designs fashioned after motifs from Seminole beadwork, an Apache basket, an Acoma polychrome vessel, pottery from the Santo Domingo Pueblo in New Mexico, an Arapaho rawhide bag, Zuni and Hopi pottery, New Mexican Laguna jars, Jicarilla Apache basketry, an altar with feathers, a Navajo weave of Germantown yarn, a Hopi ceremonial blanket, a detail of Mayan stonework from the Yucatan Peninsula, images from a Nez Perce woven bag, a thunderbird figure on a shaman's rattle from the Pacific Northwest, a design on a Blackfoot cradleboard (late nineteenth century), eagle feathers in an abstract design, and much more.Shown in circular, rectangular, diamond-like, and other shapes, these dramatic, decorative elements can be incorporated into stained glass and other imaginative craft projects.

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Ancient Greek, Roman & Byzantine Costume

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This scrupulously researched and abundantly illustrated book includes 315 drawings based on renderings by artists of the period to achieve utmost accuracy and authenticity.Included are elaborate examples of Aegean costume, Doric and Ionic styles of dress for women, Greek and Roman armor, graceful and intricately arranged Roman togas, the tunica  roomy, wide-sleeved apparel; and the pallium, a cloak-like garment. Ornate vestments of the Eastern Orthodox Church and Byzantine costumes are carefully described and portrayed, as are styles of hairdressing, jewelry, and other decorative elements.An excellent reference for the history classroom, the volume also includes instructions and flat patterns showing the cut of sample garments, making it easy for costume designers to reproduce period apparel. This book will be valuable as well to costume historians and art students interested in the development of representative art.

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Ancient Egyptian, Mesopotamian & Persian Costume

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Clothing was hardly a practical necessity in North Africa and what is today the Middle East. Often a luxury item in these warm, humid climates, it became more essential as people's lives improved socially and economically. But even then, the drapery was light and tended to accent the body's shape rather than conceal it. The first part of this profusely illustrated and scrupulously researched text examines the evolution in apparel worn by Egyptian royalty, priests, musicians, manual workers, the military, and foreigners (as depicted by Egyptian artists). Two additional sections consider clothing worn in ancient Mesopotamia and Persia, focusing largely on Sumerian, Babylonian, and Assyrian styles. Over 250 illustrations, drawn in the artistic style of the period, are accompanied by flat patterns showing the cut of the garment, thus enabling today's costumers to accurately reconstruct this apparel. A comprehensive archive that will not only be of immense value to fashion historians and students of costume design, this volume will also fascinate anyone interested in the development of artistic representation.

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Thomas Sheraton's Classical Revival Furniture Designs

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Thomas Sheraton's trade card offered his services as delineator and designer. In this capacity he began to publish The Cabinet-Maker and Upholsterer's Drawing-Book in 1791. With additions and alterations it reached completed form in 1794. In the process it changed from a wordy treatise on mechanical drawing, perspective, and orthographic projection to an exemplar of furniture design. Indeed, by its masterful selection of the best of the Late Adam Classical Revival, it epitomized in textbook style the range and taste in English furniture in the last quarter of the eighteenth century. The examples advanced from the Hepplewhite choices of only a few years earlier, adding decorative elegance and the restrained richness of ornament inspired by acute observation of the contemporary style of Louis XVI.This Dover edition is essentially the furniture sourcebook of the Drawing-Book, a grand resume of the noblest themes of the Classical Revival as inspired by the Brothers Adam and rendered into furniture by countless cabinetmakers, craftsmen, and artists who served one of historys most self-consciously opulent societies.