Bibliografia do Ateli Maurcio Takiguthi

Nome do
Livro
A arte
cavalheiresc
a do
arqueiro
ZEN

Autor

Editora

ISBN

Eugen
Herrigel

Pensamento

8531500184

A cegueira e
o Saber

Affonso
Romano de
Sant'Anna

Rocco

8532520995

A Palavra
Pintada

Tom Wolfe

L&PM

8525401404

Alla prima
Everything I
Know about
painting

Richard
Schmid

Stove Prairie
Press

0966211707

Descrio
Trazendo o fantstico para o nvel do real, neste livro o filsofo alemo Eugen Herrigel conta a sua extraordinria experincia
como discpulo de um mestre Zen, com quem aprendeu a arte de atirar com arco, durante os anos em que viveu no Japo
como professor da Universidade de Tohoku. Sem dvida - como afirma na introduo o professor D. T. Suzuki - um livro
maravilhoso que, graas limpidez de seu estilo, ajudar o leitor do Ocidente a 'penetrar na essncia dessa experincia
oriental, at agora to pouco acessvel aos ocidentais'.
Inspirado pela fbula 'A nova roupa do imperador', de Hans Christian Andersen, e outros textos que discutem a aparente
cegueira da humanidade, os ensaios deste livro falam sobre a perplexidade do homem diante da vida e da cultura
contemporneas. Nas seis primeiras crnicas, que do ttulo ao livro, o autor seleciona lendas, mitos e textos literrios sobre o
'intrigante tpico da cegueira e do (no) saber', como o 'Ensaio sobre a cegueira', de Saramago, 'Em terra de cego', conto de H.
G. Wells, 'A carta roubada', de Poe, 'A nova roupa do imperador', de Andersen, entre outros, para apresentar os vrios
aspectos do ver e do no-ver - a cegueira como uma praga temporria, a viso arrogante que no enxerga o bvio, o pacto
social em torno do no-ver, a sabedoria que ilumina a vida interior, o desafio de ver o mundo com novos olhos. Affonso
Romano de Sant'Anna tambm fala sobre os percalos da carreira de escritor, s voltas com a folha em branco ou com as
sucessivas recusas dos editores publicao. Ele d exemplos como o de Marcel Proust, que precisou bancar a publicao de
Em busca do tempo perdido por no encontrar uma editora disposta a public-lo. O autor dialoga ainda com a obra 'A grande
recusa', de Mario Baudino. Em seu livro, o italiano conta a histria das sucessivas negativas recebidas por grandes escritores
como Scott Fitzgerald, James Joyce, D. H. Lawrence, Hemingway e muitos outros. O livro traz tambm uma seqncia de seis
crnicas intitulada 'Real Romance de M. Haritoff', que narra a histria de um amor fulminante, e 'Um judeu, um palestino', 'Os
cabelos de Clarice' e 'Outro Cabral, barroco'.
Amazon.com Review:
In 1975, after having put radical chic and '60s counterculture to the satirical torch, Tom Wolfe turned his attention to the
contemporary art world. The patron saint (and resident imp) of New Journalism couldn't have asked for a better subject. Here
was a hotbed of pretension, nitwit theorizing, social climbing, and money, money, money--all Wolfe had to do was sharpen his
tools and get to work. He did! Much of The Painted Word is a superb burlesque on that modern mating ritual whereby artists get
to despise their middle-class audience and accommodate it at the same time. The painter, Wolfe writes, "had to dedicate
himself to the quirky god Avant-Garde. He had to keep one devout eye peeled for the new edge on the blade of the wedge of
the head on the latest pick thrust of the newest exploratory probe of this fall's avant-garde Breakthrough of the Century.... At the
same time he had to keep his other eye cocked to see if anyone in le monde was watching."
The other bone Wolfe has to pick is with the proliferation of art theory, particularly the sort purveyed by postwar colossi like
Harold Rosenberg, Clement Greenberg, and Leo Steinberg. Decades after the heyday of abstract expressionism, these guys
make pretty easy targets. What could be more absurd, after all, than endless Jesuitical disputes about the flatness of the picture
plane? So most of them get a highly comical spanking from the author. It's worth pointing out, of course, that Wolfe paints with a
broad (as it were) brush. If he's skewering the entire army of artistic pretenders in a single go, there's no room to admit that
Jasper Johns or Willem DeKooning might actually have some talent. But as he would no doubt admit, The Painted Word isn't
about the history of art. It's about the history of taste and middlebrow acquisition--and nobody has chronicled these two topics
as hilariously or accurately as Tom Wolfe. --James Marcus --This text refers to an out of print or unavailable edition of this title.
Most Helpful Customer Reviews (Amazon):
I can hardly praise this book enough. It is full of experience and concrete knowledge.
The text is made of 10 chapters, plus an introduction:
1. Good ideas and free advice
2. Direct painting
3. Starting
4. Drawing
5. Values
6. Edges
7. Color and light
8. Composition

Categoria

Filosofia
oriental

Livro de
crnicas

Livros tericos
sobre arte

Pintores

9. Technique
10. The magic
It has 193 pages, and is full of Schmid's paintings, almost all of them oils.
WHAT THIS BOOK TEACHES YOU:
It teaches you how to OBSERVE 3-D REALITY AND TRANSLATE IT ON A FLAT SURFACE AS DIRECTLY AS YOU CAN. The
way of achieving it is to paint LIGHT ITSELF (what you see), not the very object with descriptive minutiae (what you know).
Meticulous and painstaking painting tends to be naive in most hands.
Schmid asks you to clear up your mind and trust your instinct. THE HOW BECOMES OBVIOUS ONCE YOU UNDERSTAND
THE WHAT AND THE WHY.
Some of his most insistent advices are: keep it SIMPLE; don't overwork; don't use ostentatious techniques; don't make random
guessing brushstrokes; do a minimum of trial and error (correction wastes time); rather be BOLD than shy, but do it without
hurrying and without any thoughtless bravado. Also, EXCESSIVE BLENDING IS LIKE MUMBLING WHEN YOU SPEAK.
He teaches you that, as you start, you sholud focus on one specific problem. Set a GOAL and do it in the time available. Limiting
your time helps to SIMPLIFY your works. Simplify values by SQUINTING. If edges remain sharp when you squint, paint them
sharp; if they go fuzzy, paint them fuzzy. Trust your squinting.
Schmid insists on the fact that, unlike common belief, most mistakes happen with drawing, not with colour. He says there is no
comprehensive colour law; but there's something close to it: COOL LIGHT PRODUCES WARM SHADOWS, AND WARM
LIGHT PRODUCES COOL SHADOWS. His palette has as many as 12 colours, not one more, because more than that is
unnecessary (and often, the fewer colours, the better), as we can see in the colour charts--a perfect way of mixing all colours
with one another until exhausting all possible combinations of two colours plus white. (Besides, don't overmix too many colours,
or else you'll obtain MUD colour.)
He recommends: Cadmium Yellow Pale, Cadmium Lemon, Cadmium Yellow Deep, Yellow Ochre Light, Cadmium Red, Terra
Rosa, Alizarin Crimson, Transparent Oxide Red, Viridian, Cobalt Blue Light, Ultramarine Blue Deep, Titanium White. There is no
black, since he uses different mixtures of browns or reds with blue for getting a substitute for black.
He says what good lighting is for painting.
His ideas about colour harmony and composition are very down-to-earth and full of common sense. No mystic babblings or
over-intelectualized theories.
WHAT THIS BOOK DOESN'T TEACH YOU:
It doesn't deal with technical intricacies about different kinds of canvases, papers, grounds, turpentine, brushes, easels,
palettes, and materials in general. (Pigments do have his full attention.) It doesn't ignore technique, but it's not the core of the
text. (For that subject, you can read Ralph Mayer's book on materials.) Since the book deals with painting in general no matter
what medium you use, it doesn't speak about classical Old Master examples (no Leonardo, Velazquez, Rembrandt, Hals,
Rubens or any painter in particular). You can apply the lessons to oils, acrylics, tempera, gouache, or even watercolour. By the
way, there's a very brief part about using the palette knife, which obviously couldn't be applied to watercolour, for instance.
Since the book focuses on Direct Painting the way Sorolla, Sargent or many late-19th century artists did (without mentioning
them much), you will find no details about Renaissance or Baroque ways of applying paint. There are not many words about
glazing, for instance. There are no words about perspective or anatomy, either, for this is not a handbook for painting specific
subjects, but about how to observe light and colour in general.
I love this book! Had I found and read it a long time ago (despite its high price), I would have saved years of an agonizing,
careless and method-less hit-and-miss process that had no sense at all in my learning.

An artist
teaches:
Reflections
on the Art of

David A.
Leffel

Bright Light
Publishing

0974707422

Schmid has a very specific method. Maybe it's not meant for all painters, but if you love Sorolla or Sargent, this is THE
METHOD for you, no matter whether you are a mere beginner or an experienced artist. And even if you aim at a very different
style than that of the artists just mentioned, this book can help you a lot. Trust
Most Helpful Customer Reviews (Amazon):
Being an alumni masters student from the New York Academy of Art and a practicing painter/educator, I always take the
opportunity to check out new books on painting, teaching, and art in general. I was pointed to this book by a friend because of
my intense interest in Rembrandt. Upon opening it I was immediately struck by the sumptuous paint handling in his still-life and

Pintores

Painting

the great close up photos of the paint surface. It was obvious why he had pointed me to it: this was someone who had also
studied Rembrandt in depth.
So I decided to sit down and read through the book more thoroughly. I'll address the photos of the artwork first as I'm a visual
artist and I learn more from analysing the painting. His still-life were stunning and beautiful orchestrations of light and expressive
paint handling. There were a good number of detailed photos of these, yet only a meager few of his landscapes, which I found
most beautiful of all his work. Now, I must forewarn you that being a portrait and figure painter myself, I'm somewhat of a stickler
about painting the flesh. That being said, I found his portraits and figures to be the weakest. The color development in the flesh
created a plastic look which somewhat negated his substantial drawing and painting skills.
Now, on to the writing. I found some of his discussions on developing an oil painting to be helpful, but some of them where
misleading (example: color development in flesh). I found it to be pretty well written and easy to follow, but it certainly didn't
illuminate any great revelations in painting technique. Especially given the heavy price. I think this is decent for beginnermoderate painters but look for a used copy. I would probably pay $35-40 just for the still-life and landscapes, but no more.
His adherence to using Maroger I think is quite ridiculous. I've studied the chemical analyses of Rembrandt's paintings, and
there was no secret medium that he used, in almost all of the paintings he used linseed oil, sometimes sun-thickened or stand
oil.
In conclusion, I would recommend to anyone who studies with this book to look closely at Leffel's work and compare that with
the paintings of Odd Nerdrum, whose color development is much more effective. I think the contrast of the two would be most
helpful. I don't think one should rely on books to teach such things. In my 20 years of experience, a painter learns most from
copying the masters and just painting, thinking, and then painting some more.

Anatomy for
the artist

Sarah
Simblet e
John Davis

Dorling
Kindersley
Press

078948045X

Arte e Iluso

Ernst H. J.
Gombrich

Martins
Fontes

8560156313

Arte e
Percepo
Visual: Uma
Psicologia
da Viso
Criadora

Rudolf
Arnheim

Arte,
arquitetura,
urbanismo

8522101485

Assim se
compe um
quadro

Jos Maria
Parramn

Parramon

8434200082

Richard T Scott
Joelle-Scott Gallery
In Anatomy for the Artist, acclaimed artist and teacher Sarah Simblet unveils the extraordinary construction of the human body,
and celebrates its continual prominence in Western Art.
The transparent body. Using superb, specially commissioned photographs of male and female models, together with historical
and contemporary works of art, and her own illustrations, Sarah shows us how to see inside the human frame, to map its muscle
groups, skeletal strength, balance, poise, and grace. Selected drawing superimposed over photographs reveal fascinating
relationships between external appearance and internal structure.
Drawing from life. Six drawing classes guide the reader to see the human body afresh, offering techniques and attitudes that
imaginatively show how to view and draw the skeleton, head, ribcage, pelvis, hands, and feet.
Dissecting the Masters. By investigating ten Masterworks, the author demonstrates different artist's ideas and knowledge across
time, ranging from Holbein's Christ Entombed, to Edward Hopper's Hotel Room. Each Masterclass presents a photographed
model set in the same pose, so that anatomical comparisons can be made. Understanding anatomy is often the key to an
artist's understanding and interpretation of the body. This imaginative modern reference book will enhance the drawing and
painting techniques of artists at every level.
'Arte e iluso' um estudo clssico sobre a produo de imagens. Publicada h mais de quarenta anos, a obra nada perdeu de
sua vitalidade e importncia. Os problemas da representao so temas fundamentais da histria da arte, e 'Arte e iluso' um
texto para os que se interessam pela compreenso desse campo da atividade humana. Esta edio(?) traz um prefcio, no
qual o autor discute a diferena crucial entre uma imagem e um sinal.
Esta obra instrumentaliza a experincia da apreciao artstica a partir da inata capacidade humana de entender por meio do
olhar e prope-se a discutir algumas qualidades da viso, objetivando fortalec-las e dirigi-las. O autor preocupa-se em
delinear o papel da atividade artstica como principal instrumento de explorao da personalidade humana, e ressalta que os
princpios do pensamento psicolgico nele expressos provm da teoria da Gestalt enquanto disciplina (portanto amplificando
seu entendimento para alm das fronteiras de mtodo), que desde suas origens teve afinidade com a arte.

Tcnicas de
desenho,
figura
humana,
anatomia

Teoria da
percepo

nalise e
percepo
visual
Anlise,
interpretao
da arte,
composio

Bridgmans
Complete
Guide to
drawing
from life

George B.
Bridgman

Wings Books

0517255464

Conceitos
Fundamenta
is da
Histria da
Arte

Heinrich
Wlfflin

Martins
Fontes

8533612028

Desconstruir
Duchamp

Affonso
Romano de
Sant'Anna

Vieira & Lent

8588782103

Desenho
(Edio
portuguesa)

Sarah
Simblet

Civilizao
Editora ou
The drawing
book (Edio
Inglesa)

1405306300
(Dorling
Kindersley
Publishers
Ltd)

Drawing
lessons from Robert
the great
Hale
masters

Dynamic
Anatomy

Dynamic
Figure
Drawing

Burne
Hogarth

Burne
Hogarth

Watson
Guptill

Watson
Guptill

Watson
Guptill

0823014010

0823015521

0823015777

From Library Journal:

It's rare to find good, comprehensive books on drawing the anatomy. Each of these the first, the return of a classic; the second,
a focused study; and the third, lessons from the masters deserves a place on library shelves. Bridgman was a legendary
teacher at New York's Art Students' League. There, he originated a system of drawing known as "constructive anatomy." In
1952, his seven books on anatomy were gathered into one volume, which became a standard work at art schools and
universities. Published now for the first time in paperback, it holds up as an indispensable volume, with more than 200
illustrations of hands and hundreds of images of arms, shoulders, heads, torsos, legs, knees, and feet. Fairley's book
concentrates on those troublesome extremities hands and feet. Sketchbook exercises are followed by eight detailed painting
demonstrations in watercolor, oil, and other media. Fairley then continues on to portraits in which variations in age, skin tone,
composition, mood, and movement are integrated. Advanced students will find Hale and Coyle's Anatomy Lessons from the
Great Masters a rich source of inspiration. Hale, like Bridgman, was one of the great teachers at the Art Students' League. His
student, Coyle, gathered together Hale's famous lectures to produce this compendium. Hale drew on principles found in 100
masterpieces by such artists as Leonardo, Michelangelo, Rubens, Raphael, D?rer, Titian, and Rembrandt. In 1995, Giovanni
Civardi's trilogy Drawing Human Anatomy (Sterling, 1995), Drawing the Female Nude (Sterling, 1995), and Drawing the Male
Nude (LJ 3/15/96. o.p.) reached a high standard for good, basic books in this genre. These three surpass Civardi's works and
are highly recommended for serious artists and comprehensive library collections.
Copyright 2001 Reed Business Information, Inc. --This text refers to the Paperback edition.
Este estudo sobre a evoluo do estilo na arte situa a obra no conjunto da vida de uma poca. Atravs da anlise das obras
dos grandes artistas, de Drer a Rembrandt, o autor mostra a evoluo interna dos estilos e define as categorias permanentes
da arte.

Diferentemente das obras que apresentam a histria da arte moderna, os textos do escritor e crtico Affonso Romano de
Sant'Anna olham a arte dos ltimos 150 anos no com o olhar saudoso e complacente, mas como um esforo para afastar o
entulho e descortinar outros caminhos.
Whether you are a beginner or just keen to improve your skills, become a drawing expert with the latest masterpiece from
Anatomy for the Artist author Sarah Simblet. From pencils to silverpoint, step-by-step illustrations take you through the basics to
more advanced techniques, across a wide range of subjects including still life, the human body and architecture. Stunning an
excellent reference book, illuminated by splendid photographs Artists & Illustrators magazine on Anatomy For The Artist
A book whose sales have not diminished but rather increased dramatically since its publication 45 years ago, this bestselling
classic is the ultimate manual of drawing taught by the late Robert Beverly Hale, whos famed lectures and classes at New York
Citys Art Student League captivated artists and art educators from around the world.
Faithfully producing and methodically analyzing 100 master drawingsincluding works of Michelangelo, Leonardo da Vinci,
Rodin, Goya, and Rembrandt among othersHale shows how these artists tackled basic problems such as line, light and
planes, mass, position and thrust, and anatomy. With detailed analytical captions and diagrams, every lesson is clearly
delineated and illustrated. Throughout, also, is commentary that sheds light on the creative process of drawing and offers deep
insight into the unsurpassed achievements of the masters.
Praised by critics and teachers alike for more than 40 years, Burne Hogarths Dynamic Anatomy is recognized worldwide as the
classic, indispensable text on artistic anatomy. Now revised, expanded, and completely redesigned with 75 never-beforepublished drawings from the Hogarth archives and 24 pages of new material, this award-winning reference explores the
expressive structure of the human form from the artists point of view. The 400 remarkable illustrations explain the anatomical
details of male and female figures in motion and at rest, always stressing the human form in space. Meticulous diagrams and
fascinating action studies examine the rhythmic relationship of muscles and their effect upon surface forms. The captivating text
is further enhanced by the magnificent figure drawings of such masters as Michelangelo, Rembrandt, Rodin, Picasso, and other
great artists.
Figure drawing is the most essential--and the most difficult--of all skills for the artist to learn. In this book, Bruce Hogarth, one of
the founders of the School of Visual Arts in New York, introduces his own revolutionary system of figure drawing, which makes it
possible to visualize and accurately render the forms of the human body from every conceivable point of view. 300+ drawings &
diagrams.

Tcnicas de
desenho,
figura
humana,
anatomia

Anlise,
interpretao
da arte,
composio

Tcnicas de
desenho,
figura
humana,
anatomia

Conceitos
tcnicos de
desenho

Tcnicas de
desenho,
figura
humana,
anatomia
Tcnicas de
desenho,
figura
humana,
anatomia

John Singer
Sargent: the
Early
Portraits
(volume
one)

Richard
Ormond

Paul Mellon
Center BA

0300072457

From Library Journal:

This work, published for the Paul Mellon Centre for Studies in British Art and the result of 16 years of research, is the first
volume of the definitive catalogue raisonne of Sargent's works in oil, watercolor, and pastel. This volume covers Sargent's
formative years in France and England and his first professional trip to America in 1887. His subjects range from family and
friends to writers and other artists, as well as the famous Robert Louis Stevenson looking gaunt and the actress Ellen Terry in
her role as Lady MacBeth. It was also during this creative period that Sargent painted the well-known group portrait "The
Daughters of Edward D. Boit" and the portrait of Madame Gautreau, the controversial and exotic "Madame X." The planned
Volume 2 will cover Sargent from 1890 to the end of his career, bringing together nearly 600 portraits, 1600 landscapes, and
three murals, many reproduced for the first time. Volume 1 is illustrated with 80 black-and-white and 180 color reproductions.
Each sitter is identified, with discussion on the context of the painting, along with provenance and exhibition history. A good
companion to Trevor Fairbrother's more text-driven John Singer Sargent (LJ 7/94). Highly recommended for all
collections.?Joseph C. Hewgley, Nashville P.L., TN
Copyright 1998 Reed Business Information, Inc.
Product Description:
This magnificent book is the first volume of the definitive catalogue raisonn_ of the works in oil, watercolor, and pastel of the
beloved painter John Singer Sargent. This volume catalogues portraits by Sargent from 1874, when he began his training in
Paris, and covers pictures painted while he was establishing his reputation in Paris, during his early years in England, and on
his first professional visit to America in 1887.
Este livro tem origem numa srie de palestras que o Mestre Zen Shunryu Suzuki fez para um pequeno grupo em Los Altos,
Califrnia. Ele participava das prticas de meditao do grupo uma vez por semana e depois respondia a perguntas e
procurava encorajar os participantes na prtica do Zen, ajudando-os a resolver os problemas da vida. Sua abordagem
informal, e seus exemplos so tirados de acontecimentos comuns e do bom senso. Zen aqui e agora, diz ele; e pode ser to
significativo para o Ocidente quanto para o Oriente. Contudo, seus ensinamentos e sua prtica fundamental so provenientes
dos muitos sculos de Zen-budismo e especialmente de Dogen, um dos mais importantes e criativos dentre todos os mestres
Zen. Este livro, o nico de Shunryu Suzuki, sobre a prtica do Zen como disciplina e caminho vivel, sobre postura e
respirao, sobre as atitudes e entendimentos bsicos que tornam a prtica do Zen possvel, sobre a no-dualidade, o vazio e
a iluminao. Por meio dele comeamos a entender o que realmente o Zen. E acima de tudo, cada pgina respira a alegria e
a simplicidade que tornam possvel uma vida livre de condicionamentos. Shunryu Suzuki diz: 'O mundo sua prpria mgica'sentimento que permeia o livro todo. Lendo o livro com ateno, a mesma frase ou seqncia de idias simultaneamente
simples e bvia, obscura e desconcertante, e iluminadora.
As coisas so sempre o que so.' Essa reflexo no um conselho ao desespero, mas um convite para viver plenamente o
zen, isto , viver a vida em si e nada mais.Este livro traz pensamentos simples e claros para as coisas e os incidentes do dia-adia, como luta, mudana, separao e vnculos, liberdade, conscientizao e deslumbramento.Desperte para a vida com bom
senso, conselhos prticos e a profunda sabedoria oriental.
Stimulating, informative guide by noted teacher covers painting technique, painting from life, materials (paints, varnishes, oils
and mediums, grounds, etc.), a painters training, more. Expert analysis of work of Velasquez, Reynolds, Gainsborough, Hals,
Rembrandt, etc. 64 photos. 5 line drawings.

Pintores

Mente Zen,
Mente de
Principiante

Shunryu
Suzuki

Palas Athena

8572420061

Nada
Especial:
Vivendo Zen

Charlotte
Joko Beck

Saraiva

8502014935

Oil painting
techniques
and
materials

Harold
Speed

Dover
Publications

0486255069

Watson
Guptill

082303822X

Pintores

Watson
Guptill

0823039013

Pintores

0942604687

From the Inside Flap:

The proximate end of the 20th century affords a unique occasion to consider the art of Burton Silverman. His art may be seen as
a kind of radical realism by virtue of its continuing devotion to a humanist vision that has survived the modernist dogmas of the
Pintores
fifties, as well as the austere, impersonal canons of judgment imbedded in the new realism of the eighties. At once old and
paradoxically new, his art relates to traditions of European and American realism while updating that legacy with acute
perceptions of contemporary experience.
This artistic legacy, which includes such major precursors as Degas, Eakins and Americas greatest urban painter, Edward

Painting
Portraits
Pastel

Sight and
Insight: The
Art of Burton
Silverman

Everett
Raymond
Kinstler
Daniel E.
Greene

Burton
Silverman

Silverman
Studios Inc.

Filosofia
oriental

Filosofia
oriental

Tcnicas de
pintura

Teoria
artstica na
Itlia (14501600)

Anthony
Blunt

Cosac Naify

8575030736

The Natural
way to draw

Kimon
Nicolaides

Houghton
Mifflin

0395530075

Tony
Couch's
Keys to
Successful
Painting

Tony
Couch

North Light
Books

0891344276

Universos
da Arte

Fayga
Ostrower

Editora
Campus

8535201106

Hopper, has been consciously reconceptualized through paintings that synthesize representational imagery with a late 20th
century sensibility regarding the frailty of human existence in a techno-urbanized world. He brings to his deliberately
unexceptional subject matter time honored techniques of craftsmanship and patient observation. For Silverman, form remains
inextricably linked to meaning. Asserting itself throughout his painting is the fluid brushwork and natural coloration that informs
the eye while eliciting, alchemically, a compassionate understanding of the human condition. In the final analysis, it is
Silvermans unflinching vision, together with his creative rethinking of tradition, that constitutes his most defiant and enduring
artistic contribution. --Prof. Robert L. McGrath, Dartmouth College
This book is a collection of the past 25 years of work by this universally respected painter, illustrator and teacher, who has been
increasingly regarded as one of Americas important realist artists. With essays by Prof. Robert McGrath, Phillip Saietta and a
memoir by the artist, this profusely illustrated monograph chronicles a career rich in depictions of life and equally rich in a
panoply of ideas about art. Silvermans memoir, Odyssey, offers observations about his work, his goals and his controversial
views of the art world today. A full-color catalog of the exhibitions held at the Butler Institute of American Art and the Brigham
Young Museum complements the text and provides the reader with a moveable feast of this artists work to which they can
return again and again. --This text refers to an out of print or unavailable edition of this title.
O professor de Histria da arte ingls Anthony Blunt, um dos maiores especialistas na pintura europia do sculo XVIII,
pesquisa textos de autores da Itlia Renascentista sobre as questes do fazer e do pensar artsticos nessa poca
culturalmente privilegiada. Essa compilao conduz a uma reflexo fundamental sobre a esttica do perodo.

Teoria
artstica
Tcnicas de
desenho,
figura
humana,
anatomia

There is only one right way to draw that is a perfectly natural way. It has nothing to do with artifice or technique. It has nothing
to do with aesthetics or conception. It has only to do with the act of correct observation, and by that a physical contact with all
sort of objects through all the senses. Nicolaides

Composio

Didtico, analtico e contemplativo, este livro representa uma contribuio original para a compreenso da arte. Procedendo em
vrios nveis, a autora expe os princpios fundamentais de composio ao mesmo tempo que relata uma experincia
fascinante - ministrar um curso de arte para os operrios de uma fbrica. Alm do relato da autora o livro contm mais de 300
ilustraes que acompanham o texto entre desenhos que exemplificam os conceitos de composio e reprodues de obras
datando desde a Pr-Histria at os dias de hoje. Todas as ilustraes so acompanhadas de anlises da estrutura espacial da
imagem, demonstrando as correspondncias que existem, entre essas estruturas e o seu contedo expressivo.

Anlise,
interpretao
da arte,
composio

Bibliografia extra
Nome do
Livro

Classical
painting
atelier

Autor

Juliette
Aristides

Editora

Watson
guptill

ISBN

0823006581

Descrio
Students of art hailed Classical Drawing Atelier, Juliette Aristidess first book, as a dynamic return to the atelier
educational model. Ateliers, popular in the nineteenth century, teach emerging artists by pairing them with a master
artist over a period of years. The educational process begins as students copy masterworks, then gradually progress
to painting as their skills develop. The many artists at every level who learned from Classical Drawing Atelier have
been clamoring for more of this sophisticated approach to teaching and learning. In Classical Painting Atelier,
Aristides, a leader in the atelier movement, takes students step-by-step through the finest works of Old Masters and
todays most respected realist artists to reveal the principles of creating full-color realist still lifes, portraits, and figure
paintings. Rich in tradition, yet practical for todays artists, Classical Painting Atelier is ideal for serious art students
seeking a timeless visual education.

Categoria

Conceitos tcnicos de
pintura

An atelier program between the covers of a book

* Serious techniques for the serious art student
* Study the work of the Old Masters and todays top realist artists
* In the tradition of Watson-Guptills classic Drawing Lessons from the Old Masters
Classical
drawing
atelier

The grove
book of art
writing

Elements of
drawing

Art &
Physics
parallel
visions in
space, time,
and light

Juliette
Aristides

Martin
Gayford e
Karen
Wright

John
Ruskin

Leonard
Shlain

Watson
guptill

Pub Group
West

WG
Publications

Harper USA

0823006573

Ateliers have produced the greatest artists of all time--and now that educational model is experiencing a renaissance.
These studios, a return to classical art training, are based on the nineteenth-century model of teaching artists by
pairing them with a master artist over a period of years. Students begin by copying masterworks, then gradually
progress to painting as their skills develop. Classical Drawing Atelier is an atelier in a book--and the master is Juliette
Aristides, a classically trained artist. On every page, Aristides uses the works of works of Old Masters and todays
most respected realist artists to demonstrate and teach the principles of realist drawing and painting, taking students
step by step through the learning curve yet allowing them to work at their own pace. Unique and inspiring, Classical
Drawing Atelier is a serious art course for serious art students.

Conceitos tcnicos de
desenho

0802137202

Discussing the visual arts successfully in words is often held to be an impossible task. In fact it is merely difficult. And
since the days of the ancient Greeks, many writers of all kinds have taken up the challenge -- not only art critics but
novelists, poets, gossips, artists, and essayists. In The Grove Book of Art Writing, Martin Gayford and Karen Wright
have collected the best and most lively attempts to pin it down, in a single-volume cornucopia of writing on art. From
Vasari and Freud on why Mona Lisa smiles, to Adolf Hitler on the degeneracy of modernism, to Picasso on how to
measure the depiction of the female body, art historians, art critics, artists, as well as the aforementioned weigh in on
what makes art so wonderful, frustrating, what makes it art. From the deadly serious to the deeply witty, from the
sublime to the ridiculous Grove Book of Art Writing is an eloquent compendium of insight into the diverse ways the
visual arts can be seen and thought about.

Artes Teoria e Histria

0823016021

The Elements of Drawing was written during the winter of 1856. The First Edition was published in 1857 ; the Second
followed in the same year, with some additions and slight alterations. The Third Edition consisted of sixth thousand,
1859 ; seventh thousand, 1860; and eighth thousand, 1861. The work was partly reproduced in "Our Sketching Club,"
by the Rev. R. St. John Tyrwhitt, M-A., 1874; with new editions in 1875, 1882, and 1886. Mr. Ruskin meant, during his
tenure of the Slade Professorship at Oxford, to recast his teaching, and to write a systematic manual for the use of his
Drawing School, under the title of "The Laws of Fesole." Of this only vol. L was completed, 1879; second edition,
1882. As, therefore, "The Elements of Drawing" has never been completely superseded, and as many readers of Mr,
Ruskin's works have expressed a desire to possess the book in its old form, it is now reprinted as it stood in 1859,
with the addition of an Index.

Artes Desenho

0061227978

Art interprets the visible world. Physics charts its unseen workings. The two realms seem completely opposed. But
consider that both strive to reveal truths for which there are no wordswith physicists using the language of
mathematics and artists using visual images. In Art & Physics, Leonard Shlain tracks their breakthroughs side by side
throughout history to reveal an astonishing correlation of visions. From the classical Greek sculptors to Andy Warhol
and Jasper Johns, and from Aristotle to Einstein, artists have foreshadowed the discoveries of scientists, such as
when Monet and Cezanne intuited the coming upheaval in physics that Einstein would initiate. In this lively and
colorful narrative, Leonard Shlain explores how artistic breakthroughs could have prefigured the visionary insights of
physicists on so many occasions throughout history. Provicative and original, Art & Physics is a seamless integration
of the romance of art and the drama of scienceand an exhilarating history of ideas.

Artes Teoria e Histria