by Judith Noorman, David de Witt (2016)
Rembrandt and his pupils drew from the nude model in the 17th century. They took part in a new trend of drawing from models, but with different approach from their contemporaries. Rembrandt's drawings were especially realistic and he was criticized for presenting reality instead of pursuing the ideals of beauty then current.
Judith Kafka Maxwell
"Anna Richards Brewster, American Impressionist is the first in-depth study of an artist whose name is not well-known today but who was one of the most successful women artists of her time. This illustrated book, catalog to the exhibition of the same name, provides a fascinating look at the turn-of-the-twentieth-century art world as experienced by a woman artist."--Jacket.
[exhibition curated by Tim Wilcox
"This book brings together for the first time Sean Scully's images of the walls of Aran, revealing the unexpected yet monumental beauty of these centuries-old structures that meander across the austere and exposed landscape. In form and spirit, the photographs of the walls, with their horizontal and vertical shards of limestone, shed light on Scully's own sensibilities as an artist, revealing a creative process expressed through abstract shapes yet rooted in the material world. They also capture the stillness and serenity of this rugged, timeless place on the edge of Europe."--Jacket.
Joel Sternfeld
Accompanied by text from Ian Frazier and Douglas R. Nickel, this collection functions as an in-depth look into the breadth and growth of Sternfeld's art.
Daniel S. Walker
Fifty of the finest Oriental rugs collected in the past five decades are assembled here to illustrate the extraordinary achievements of village and nomad rug-weavers across Asia. Included are examples from Turkey, Iran, the Caucasus, Soviet Turkestan, Central Asia, and China. All belong or once belonged to members of the Hajji Baba Club, America's oldest and most prestigious rug society. Although they are all referred to as rugs, these pieces were not exclusively intended to be floor coverings. Many decorated the walls of tents, were used as bags for storing or transporting possessions, served as saddle covers or blankets for horses and camels, took the place of coverlets, or provided a surface on which to kneel during prayer. They were intended to be utilitarian but also highly decorative, and their jewel-like colors, bold patterns, and lustrous wool have proved irresistible to Western collectors. Both pile rugs and flat-woven kilims are represented in this selection. Some are crowded with intricate geometric details worked in sublet shades, others rely on a few simple motifs and striking color combinations. Most were made in the nineteenth or early twentieth century. The so-termed classical rugs produced in court workshops in the sixteenth and seventeenth centuries, which are not represented here, have largely disappeared from the marketplace, but it is still possible to discover fine examples of the more recent weavings. In addition to a detailed discussion and technical analysis of each rug, Daniel S. Walker, Curator of Ancient, Near Easter, and Far Eastern Art at the Cincinnati Art Museum, has provided a brief history of the Hajji Baba Club which should be of great interest to those who have recently fallen under the spell of Oriental rugs. Fifty color plates, a glossary of important terms, and a bibliography make this volume a particularly useful reference for specialists and non-specialist alike. -- Inside jacket flap.