Much of the learning to practice as well as to appreciate art is concerned with understanding the basic principles. One of these principles is what Harold Speed calls "dither," the freedom that allows realism and the artistic vision to play against each other. Very important to any artist or work of art, this quality separates the scientifically accurate from the artistically accurate. Speed's approach to this problem is now considered a classic, one of the few books from the early years of this century that has continued to be read and recommended by those in the graphic arts.

This instructive volume introduces not only the techniques of oil painting but also the underlying principles of figure drawing. Written by a distinguished Pre-Raphaelite painter, portraitist, and book illustrator, the treatment begins by explaining the construction of the figure, head, and limbs. Succeeding chapters illustrate these teachings with examples of images by the Old Masters, including paintings from the Italian, Dutch, Spanish, French, and British schools.

The Birmingham Daily Post pronounced this volume probably the most useful handbook for art students that has yet been published. Students at every level of expertise will benefit from its discourses on light and shade, monochrome study, still life in color, painting from life in monochrome, coloring a monochrome, and painting in color direct from life. Thirty-two full-color pages complement this new edition of a timeless guide.

Can drawing -- sound, honest representation of the world as the eye sees it, not tricks with the pencil or a few effects -- be learned from a book? One of the most gifted draftsmen, who is also one of the greatest art critics and theorists of all time, answers that question with a decided Yes. He is John Ruskin, the author of this book, a classic in art education as well as a highly effective text for the student and amateur today.

Many art students and professionals have mastered the art of depicting unclothed figures, but still have trouble accurately rendering clothing or other forms of draped cloth. Part of the problem--before this book came along--was that there was a lack of concise and simple instruction on the subject, and much that was written was too vague to be helpful. This comprehensive, well-illustrated book was created to solve the problem.

This is a new unabridged edition of the two sketchbooks by Heinrich Kley, one of the greatest cartoonists and social satirists of modern times. Kley's drawings combine savage humor that cuts to the bone with unbelievably brilliant draughtsmanship. Several of these sketches have been reprinted time and again, and probably everyone has seen at least one. But until now the main body of Kley's work has been almost completely unavailable, and it has been impossible to savor the full richness of his mocking irony.

Part of the explanation for this neglect, surely, is the absence of sufficient information about the materials and procedures involved in tempera painting. The present volume, in fact, is virtually the only complete, authoritative, step-by-step treatment of the subject in the English language, D.V. Thompson wrote this book after an exhaustive study, over many years, of countless medieval and Renaissance manuscripts in the British Museum and elsewhere, and is unquestionably the world's leading authority on tempera materials and processes.

This classic of art instruction is the work of James Duffield Harding (1798-1863), who served as drawing master and sketching companion to the great Victorian art critic, John Ruskin. Generations of students have benefited from the teachings of this 19th-century master, who sought always to "produce as near a likeness to Nature, in every respect, as the instrument, or material employed, will admit of; not so much by bona fide imitation, as by reviving in the mind those ideas which are awakened by a contemplation of Nature . . . The renewal of those feelings constitutes the true purpose of Art."

John Ruskin's drawing master and sketching companion, James Duffield Harding (1798-1863) ranked among nineteenth-century England's most respected watercolorists, art critics, and teachers. Harding's reputation as an elegant, well-trained, and accomplished sketcher is evidenced by his drawings from nature and his compositions of picturesque landscapes. With this manual, the great instructor offers practical advice about the best methods, in addition to pointers on how to cultivate the kinds of correct observation and sound judgment that endow drawings with life.

Originally published in 1845 as The Principles & Practice of Art: With Illustrations Drawn and Engraved by the Author, this enduring guide is the work of an English painter and lithographer. J. D. Harding wrote several popular books on art instruction, and this volume constitutes one of his finest. A comprehensive manual geared toward practicing artists, the book features 24 black-and-white plates of illustrations by Harding that elucidate his observations and instructions.

Through his profound understanding of the physical nature of landscapes and his highly developed artistic sense, John Carlson is able to explain both the whys and the hows of the various aspects of landscape painting. Among the subjects covered are angles and consequent values (an insightful concept necessary for strong overall unity of design), aerial and linear perspective, the painting of trees, the emotional properties of line and mass in composition, light, unity of tone, choice of subject, and memory work. In the beginning chapters, the author tells how to make the best of canvas, palette, colors, brushes, and other materials and gives valuable advice about texture, glazing, varnishing, bleaching, retouching, and framing.

For years greatly admired and widely used, this excellent text by one of Britain's foremost art instructors, Vicat Cole, has achieved the status of a classic in its field. The author, also a noted landscape painter, offers complete and accurate instruction in painting and drawing trees to all serious artists--beginner or advanced, amateur or professional. Its extremely comprehensive and detailed coverage has earned this volume a permanent place in the libraries of landscape painters, students, and teachers.

Tailored to both beginner- and intermediate-level illustrators, this highly enjoyable guide and reference was written by Arthur L. Guptill, co-founder of Watson-Guptill Publications and one of the leading art instruction authors of the twentieth century. Filled with tips, methods, and techniques on outlining, shading, stippling, portraiture, and much more, this fully illustrated introduction will help readers develop their drawing and sketching skills according to their abilities and interests.

In this thought-provoking practical guide, a noted artist and educator demonstrates that learning to violate the rules of perspective (profitably) is as important for the practicing artist as learning the principles of perspective themselves. Only in this way can students free themselves from the constraints of tradition and find their own imaginative paths. However, it is vital that students first have a solid grasp of classical perspective before they can think about adapting it creatively.

In this thought-provoking practical guide, a noted artist and educator demonstrates that learning to violate the rules of perspective (profitably) is as important for the practicing artist as learning the principles of perspective themselves. Only in this way can students free themselves from the constraints of tradition and find their own imaginative paths. However, it is vital that students first have a solid grasp of classical perspective before they can think about adapting it creatively.

Is there art after modernism? Many of today's art students and professionals are finding the answer — "yes" — lies in the long-neglected field of figurative sculpture, a demanding form of expression that requires extremely rigorous technical training. Most modern schools, however, are simply not equipped to provide the necessary technical background. The republication of this highly valuable text by Edouard Lanteri, renowned teacher, sculptor, and intimate friend of Rodin (Rodin called him "my dear master, my dear friend"), makes it possible for serious students to gain the requisite skills and bridge the gap between artistic concept and figurative realization. Representing at least three thousand years of studio lore, this readily understandable, authoritative guide is a goldmine of technical information, easily comprising a four-year sculpture curriculum unavailable elsewhere.

Such provocative assertions are characteristic of this stimulating and informative guide, written in a highly personal and unique style by a noted painter and teacher. Brimming with pertinent insights into the technical aspects and painting in oils, it is also designed to help students perfect powers of observation and expression. Harold Speed has distilled years of painting and pedagogical experience into an expert instructional program covering painting technique, painting from life, materials (paints, varnishes, oils and mediums, grounds, etc.), a painter's training, and more. Especially instructive is his extensive and perceptive discussion of form, tone, and color, and a fascinating series of detailed "Notes" analyzing the painting styles of Velasquez, Reynolds, Gainsborough, Franz Hals, and Rembrandt.

"A joy to read, as well as a constant reference library. Thoroughly inspiring." — Workbench
The republication of this highly valuable text by Edouard Lanteri, a renowned teacher, sculptor, and intimate friend of Rodin (Rodin called him "my dear master, my dear friend"), makes it possible for serious students to gain the requisite skills needed for figurative sculpture and to bridge the gap between artistic concept and figurative realization.
Modelling and Sculpting Animals, together with its companion piece Modelling and Sculpting the Human Figure, is the classic treatise on the techniques of figurative sculpture. Representing at least three thousand years of studio lore, this readily understandable, authoritative guide is a goldmine of technical information, easily comprising a four-year sculpture curriculum unavailable elsewhere.

This is the first inexpensive republication of probably the finest work on the techniques of etching, drypoint, soft-ground etching, aquatint, and the allied arts. Lumsden, the renowned etcher, Associate of the Royal Scottish Academy, and author of the article on etching technique in the Encyclopaedia Brittanica (14th edition), was unsurpassed in his knowledge of the methods and the background of the art. His work is invaluable for the absolute beginner as well as for more advanced etchers, who will find it a matchless survey of various techniques and a major sourcebook for the history of their art.