Unseen Art

An examination of how ancient Mesoamerican sculpture was experienced by its original audiences.

Alex Ross' ultra-realistic, painted renditions of iconic superheroes have made him a superstar. In the vein of acclaimed and fan-favorite Alex Ross books such as Mythologies and Rough Justice, we are proud to present the ultimate collection of Alex Ross art from his extensive collaboration with Dynamite, The Dynamite Art of Alex Ross. Containing sketches, designs, layouts and pencils, interior work, covers, and a wealth of unpublished art. Collecting all of Alex's Dynamite covers and interior art in digital form, also featuring Marvel pages, along with commentary throughout the book by Alex Ross himself, as well as special bonus material, this is a package not to be missed. A must-buy for Alex Ross' legion of fans!

Comic book and storyboard artist Trevor Goring, together with Joyce Goring, detail the history of film storyboards. This important and long-neglected art is now given its due with this comprehensive history of the art of film storyboards. Featuring a genre-by-genre discussion of over one-hundred great films and their storyboards, this visual tour features a full range of classic and contemporary films with examples of how directors utilize storyboards in the creation of their films.

"This book is not a history of art, or a history of science, or even a history of their interaction. Rather, Martin Kemp, the distinguished art historian, traces certain recurring themes in the imagery of art and science that reflect shared 'structural intuitions' about the seen and unseen worlds of nature."--BOOK JACKET.

Collected articles on Iranian art from the Qajar dynasty. The thirteen articles in this volume were originally given as presentations at the symposium of the same name organized in June 2018 by the Musée du Louvre and the Musée du Louvre-Lens in conjunction with the exhibition The Empire of Roses: Masterpieces of 19th Century Persian Art. The exhibition explored the art of Iran in the nineteenth and early twentieth centuries, while the nation was under the rule of the Qajar dynasty. The symposium set out to present research on previously unknown and unpublished objects from this rich period of art history. This volume, published with the Louvre Museum in France, is divided into four sections. The first, "Transitions and Transmissions," is dedicated to the arts of painting, illumination, and lithography. The focus of the second section, entitled "The Image Revealed," also considers works on paper, looking at new themes and techniques. "The Material World" examines the use of materials such as textiles, carpets, and armor. The articles in the final section discuss the history of two groups of artifacts acquired by their respective museums.

Published to accompany a major exhibition highlighting Quentin Blake's prolific but unknown work. Quentin Blake's illustrations are instantly recognisable to millions of people around the world. A new exhibition to be held at London's House of Illustration will explore an unusual aspect of Blake's work, however, exhibiting for the first time 100 examples of his works of art. 100 Figures, will feature all of the 100 exhibited works - ranging from large-scale oil paintings to drawings and prints, created between the 1950s and today - providing an unprecedented insight into Blake's creative practice. Works included date back to his post-grad years in the 1950s when he struggled to make a living as an illustrator and took life-drawing classes at Chelsea School of Art. It was here that he first engaged with the human figure, but soon, having observed how the human body behaves, he found he was able to draw it from memory in any pose, working from his vivid imagination. 100 Figures will also offer the chance to catch a rare glimpse of early oil paintings by Blake - some painted on hardboard since he was unable to afford canvases at that time and painted using commercial house-painters' brushes. -- Tate Publishing.

In this erudite and profusely illustrated history of perception, Barbara Stafford explores a remarkable set of body metaphors deriving from both aesthetic and medical practices that were developed during the enlightenment for making visible the unseeable aspects of the world. While she focuses on these metaphors as a reflection of the changing attitudes toward the human body during the period of birth of the modern world, she also presents a strong argument for our need to recognize the occurrence of a profound revolution—a radical shift from a textbased to a visually centered culture. Stafford agues, in fact, that modern societies need to develop innovative, nonlinguistic paradigms and to train a broad public in visual aptitude.