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Unlike many books on painting that usually talk about art or painters, James Elkins’ compelling and original work focuses on alchemy, for like the alchemist, the painter seeks to transform and be transformed by the medium. In What Painting Is, James Elkins communicates the experience of painting beyond the traditional vocabulary of art history. Alchemy provides a magical language to explore what it is a painter really does in her or his studio - the smells, the mess, the struggle to control the uncontrollable, the special knowledge only painters hold of how colours will mix, and how they will look. Written from the perspective of a painter-turned-art historian, What Painting Is is like nothing you have ever read about art.
There are as many meanings to drawing and painting as there are cultural contexts for them to exist in. But this is not the end of the story. Drawings and paintings are made, and in their making embody unique meanings that transform our perception of space-time and sense of finitude. These meanings have not been addressed by art history or visual studies hitherto, and have only been considered indirectly by philosophers (mainly in the phenomenological tradition). If these intrinsic meanings are explained and further developed, then the philosophy of art practice is significantly enhanced. The present work, accordingly, is a phenomenology of how the gestural and digital creation of visual imagery generates self-transformation through aesthetic space.
How do we perdure when we and everything around us are caught up in incessant change? But the course of this change does not seem to be haphazard and we may seek the modalities of its Logos in the transformations in which it occurs. The classic term "Metamorphosis" focuses upon the proportions between the transformed and the retained, the principles of sameness and otherness. Applied to life and its becoming, metamorphosis pinpoints the proportions between the vital and the aesthetic significance of life. Where could this metaphysical in-between territory come better to light than in the Fine Arts? In this collection are investigated the various proportions between the vital significance of the constructivism of life and a specifically human contribution made by the creative imagination to the transformatory search for beauty and aesthetic values. Papers by: Lawrence Kimmel, Mark L. Brack, Sheryl Tucker de Vazquez, William Roberts, Jadwiga Smith, Victor Gerald Rivas, Max Statkiewicz, Matti Itkonen, George R. Tibbetts, Linda Stratford, Jorella Andrews, Ingeborg M. Rocker, Stephen J. Goldberg, Leah Durner, Donnalee Dox, Catherine Schear, Samantha Henriette Krukowski, Gary Maciag, Kelly Dennis, Wanda Strukus, Magda Romanska, Patricia Trutty-Coohill, Ellen Burns, Tessa Morrison, Sabine Coelsch-Foisner, Gary Backhaus, Daniel M. Unger, Howard Pearce.
Javier Gomez, a highly talented figure painter of long experience and excellent reputation, shares the secrets of his success in this accessible 'how-to' guide to painting miniatures. He takes the reader step-by-step through the whole process, from choice of materials (unlike other available guides it is not linked to any specific figure manufacturer) and preparation of the miniatures to basing and even advice on photographing the finished item. Techniques such as dry-brushing, ink-washing, shading and highlighting are all explained clearly with the help of step-by-step photographs and colour charts. Specific case studies tackle a variety of useful subjects across all periods, such as mixing realistic flesh tones for different races; painting horses; guns and limbers; Medieval heraldry; Napoleonic uniforms; WW2 and modern camouflage patterns. Javier also clearly explains how these techniques and processes can be applied to all the major wargaming scales, from 40mm down to 6mm. Whatever historical period (or Sci-fi/Fantasy) and whatever scale the reader is interested in, this book is an invaluable source of practical advice and inspiration.
A prominent abstract painter, through the use of illustrations, draws a parallel between the sixteenth-century crisis in figurative painting and the current pivotal status of abstract art

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