On April 29, 1848, in a small estate in Travancore, was born a boy destined to become more famous than the ruler of his kingdom. His uncle, noticing his precocious talent at art, took the teenager to the royal court at the invitation of the king to learn painting there. Ravi Varma’s debut was to come seven years later when a Danish painter arrived in court to paint the Maharaja and his wife. The twenty-year-old boldly upstaged the experienced artist, presenting the king with a more flattering painting of the royal couple at the same time as the official portrait was unveiled. Jensen, the painter, never forgave Ravi Varma, but for the young man there was no looking back. His reputation grew with each painting. For the first time, an Indian artist was using the realism and sensuality of the European oil painters and applying them to not just ordinary Indians, but to the deities as well. The artist-prince became India’s first celebrity painter. The lines to see his exhibition of mythological paintings in Bombay in 1890—the first public showing by any Indian artist—were endless; the prices he commanded were astronomical; then, when he started his own printing press, producing oleographs of his work, Raja Ravi Varma became a household name. Soon, every home had a Ravi Varma print. For the first time, comes a beautifully told, gripping account of Ravi Varma: the man who was the darling of the royal courts, but who hardly gave his own wife and children any time; the nobleman who took the revolutionary step of being an artist, yet who insisted on using the false title of raja; and the idealistic entrepreneur who bankrupted himself running a printing press, yet whose dream of bringing art to the masses became a reality. Blending fact with imagination, writing with wit and lyricism, Deepanjana Pal takes you into the life of an extraordinary man and brings him vividly alive.
The narrative of the Wagilag Sisters and Wititj the Olive Python is a creation story of the Yolngu people of Central and eastern Arnhem Land. It is of central importance to their social life and rituals, ceremony and song, and the laws relating to authority, kinship, territory and marriage. The narrative also binds together groups possessing different parts of the story: the artists of the Liyagalawumirr clan and related artists from Central Arnhem Land, and the clans of Eastern Arnhem Land. This publication explores the pictorial representation of the tale across four generations of Yolngu artists, reproducing works from the 1930s to the 1990s.
Two important contributions to Greek pottery studies. Aftermath, by D. A. Amyx, is a catalogue of material supplementing his work in Corinth VII.2 but found after the cutoff of 1969 or omitted for some other reason. This article and Corinth VII.2 together stand as a full compilation of painters at present represented in the collection of the Corinth Excavations. The Chimaera Group at Corinth and Dodwellians in the Potters' Quarter are both by Patricia Lawrence. The first is a thoughtful analysis of this group of painters, based on a close examination of material found in the excavations at Corinth but including attributed pieces from other sites. The second studies 15 new fragments and reexamines material previously published in Corinth XV.3, demonstrating that the Geladakis Painter, as well as several Dodwellians, are represented there.
"This is the second of six books in the series Art and its histories, which form the main texts of an Open University second-level course of the same name"--Preface.
This book explores the persona of the artist in Archaic and Classical Greek art and literature. Guy Hedreen argues that artistic subjectivity, first expressed in Athenian vase-painting of the sixth century BCE and intensively explored by Euphronios, developed alongside a self-consciously constructed persona of the poet. He explains how poets like Archilochos and Hipponax identified with the wily Homeric character of Odysseus as a prototype of the successful narrator, and how the lame yet resourceful artist-god Hephaistos is emulated by Archaic vase-painters such as Kleitias. In lyric poetry and pictorial art, Hedreen traces a widespread conception of the artist or poet as socially marginal, sometimes physically imperfect, but rhetorically clever, technically peerless, and a master of fiction. Bringing together in a sustained analysis the roots of subjectivity across media, this book offers a new way of studying the relationship between poetry and art in ancient Greece.
This book calls for education to become an end in itself, as opposed to the means to an end, and for a place to be found in contemporary education for the spiritual, the aesthetic and the ethical.
Today's most exciting paint program is now profiled in a stunning full-color book. Fractal Design Painter 4 has garnered the highest honors from industry and users for its groundbreaking "natural media" capabilities. The Painter Wow! Book shows the breathtaking array of artistic possibilities available to artists, illustrators, graphic designers, and photographers for creating new fine art pieces or adding pizzaz to existing designs.