The Artist And The Book In France

A boy recounts how he took on the attitude of the adults around him and bullied an eccentric painter in 1880's France, before discovering that there is more than one way to see the world.

Drawing activities, art instruction, and advice for artists and non-artists alike. Urban sketching--the process of drawing on the go as a regular practice--is a hot trend in the drawing world. It's also a practical necessity for creatively minded people in a busy world. In this aspirational guide, self-taught French artist France Belleville-Van Stone emboldens readers to craft a ritual of their own and devote more time to art, even if it's just 10 minutes a day. She offers motivation to move beyond the comfort zone, as well as instruction on turning rough sketches into finished work. Belleville Van-Stone learned how to draw through her own daily practice and knows first-hand how hard it is to find time to incorporate creativity into a busy life. She encourages and teaches us how to do it with advice and guidance such as: · An A-to-Z list of daily sketch prompts, from airports to bananas, faces to hands, meetings and workplaces · Tips on what drawing supplies you can and should have--and how to carry them around · Sections on accepting mistakes, drawing with limited resources, and redefining completion · Plusses and minuses of going digital, including apps, styluses, and brushes For those of us who dream of drawing in the minutes between school and work, bathtime and bedtime, and waking and walking out the door, the practical advice in Sketch! is a revelation. By sharing her own creative process, Belleville-Van Stone Sketch inspires artists both established and aspiring to rethink their daily practice, sketch for the pure joy of it, and document their lives and the world around them.

A comparative study of the French Revolution's most famous artist and a little-known illustrator.

As women entered the field of cultural production in unprecedented numbers in nineteenth-century France and Britain, they gradually forged a place for themselves, however tenuous, in artistic movements and exhibitions, in academies and salons, and finally in the public imagination. Portraits of the Artist as a Young Woman: Painting and the Novel in France and Britain, 1800-1860 focuses on a decisive period in that process of professional self-invention and maps out the concrete and symbolic roles played by women painters, real and fictional, in the construction of female artistic identity in the aesthetic and the public spheres. Alexandra K. Wettlaufer examines the diverse and complex ways canonical and non-canonical women painters and novelists--including Anne Brontë, Sydney Owenson, Margaret Gillies, Marceline Desbordes-Valmore, George Sand, and Hortense Haudebourt-Lescot--figured and brought forth the radical image of a female subject representing the world. Wettlaufer brings to light a rich and nearly forgotten culture of women's artistic production, allowing us to understand the nineteenth-century in more complex and nuanced ways across the borders of gender, genre, and nation. In her close readings of paintings by women and novels about women painting, she charts the political and cultural resonances of this artistic self-representation, tracing its evolution through themes of "The Studio" (Part I), "Cosmopolitan Visions" (Part II), and "The Portrait" (Part III). By pairing painting and literature in a single study that also considers works from two distinct but closely related cultures, Portraits of the Artist as a Young Woman locates the interpretation of these works in the dialogic context in which they were created and consumed, highlighting aesthetic and political intersections between nineteenth-century British and French art, literature, and feminism that are too often elided by the disciplinary boundaries of scholarship.

Part art, part science, part anthropology, this ambitious project presents an early Canadian perspective on natural history that is as much artistic and fantastical as it is encyclopedic. Edited and introduced by François-Marc Gagnon, The Codex Canadensis and the Writings of Louis Nicolas showcases an intriguing attempt to document the life of the new world - flora, fauna, and aboriginal. The book brings together for the first time the illustrated Codex Canadensis and The Natural History of the New World, following Gagnon's argument that both can be attributed to Louis Nicolas, a French Jesuit priest who travelled throughout Canada between 1664 and 1675. Histoire Naturelle des Indes Occidentales, originally written in classical French, has been put in modern French by Réal Ouellet and translated into English by Nancy Senior. The Natural History presents a pre-Linnaean botany and pre-Darwinian account of living things, including hundreds of species of plants and vivid descriptions of wildlife. It is thoroughly annotated, focusing on the contemporary identification of species, as the result of a pan-Canadian collaboration of experts in fields from linguistics to biology and botany. The Codex Canadensis, currently in the collection of the Gilcrease Museum in Tulsa, Oklahoma, is reproduced in full and provides both a fascinating visual account of wildlife as Nicolas saw it and a rare example of early Canadian art. Gagnon's introduction profiles Louis Nicolas and analyses connections between his work and European examples of natural illustration from the period. The Codex Canadensis and the Writings of Louis Nicolas shows how the wildlife and native inhabitants of the new world were understood and documented by a seventeenth-century European and makes available fundamental documents in the history and visual culture of early North America.