Capturing the details is what makes wildlife painting come alive. Getting the fur; facial features and anatomy right with subjects that refuse to stand still adds to the challenge.Artists Photo Reference: Wildlife saves the day by allowing you to concentrate on whats important - creating great art.Artist and photographer Bart Rulon provides hundreds of gorgeous full-color images showcasing nearly four dozen animals from a variety of angles. Each one has been taken with the needs of the artist in mind; ensuring that you save time; effort; money and worry. Stop wasting hours combing through endless magazines and books. Youll find all the high-quality reference photos you need right here!Rulon also provides guidelines for taking your own reference photos; plus five demonstrations in a variety of media; that illustrate how professional wildlife artists create extraordinary works of art by painting from photographs.Wildlife is the perfect addition to your reference library! Use it to save time; get inspired and create beautiful art of your own.
#3835322 in eBooks 2003-04-15 2003-04-15File Name: B005T5O5NY
Review
7 of 7 people found the following review helpful. The Artist and Model Conundrum explored by a MasterBy Grady HarpJames Lord has been an important essayist. writer. critic and observor of fine art since WW II. An American by birth he has expatriated to France where he has been a frequent and eloquent commentator on painting and drawing gathered largely from first hand experience not only with the art works but with the artists themselves. Well known for his definitive book on Alberto Giacometti and his books on Picasso. Lord is first and foremost a man of the pen and his writing reflects the grandeur of the craft as practiced a hundred years ago. A first perusing of Lords pages (in the Forward) may grant the importance of a dictionary/encyclopedia/thesaurus in order to proceed. but if the reader summons the patience of approaching the works of. say. Henry James. Marcel Proust. or Virginia Woolf. then the journey will prove more than worthy.Since his first encounter with Picasso in 1944. Lord has made it a practice to be available for sitting for portraits with artists whose work he admires. This series of essays about these experiences are enlightening. conversational. and profoundly respectful of the concept of drawing from life. Lords book contains examples of portraits of himself as rendered by such luminaries as Picasso. Jean Cocteau. Balthus. Giacometti. Cartier-Bresson (yes. he also was a draughtsman!). Lucian Freud. Theophilus Brown. Alessandro Papetti. and Dora Maar (one of Picassos mistresses). but he also presents works by lesser known (yet very fine) artists such as Anthony Palliser.Thomas Cordell. and Jean-Baptiste Secheret. etc. He even includes a drawing done by a Russian sidewalk artist while Lord was in St. Petersberg - nameless. yet very fine. Each artist is observed with all idiosyncrasies and celebrity (or lack thereof) in tact making each encounter a brief biography of some very fascinating people.In all of his discussions about the some thirty-seven portraits Lord finds the rare space of communication between the artists observing eye and the models pose and is able to describe that intangible experience better than any writer living today. It is of great interest that Lord includes portraits from 1944 to 2001. a span of years that defies the changes in arts history and simutaneously describes with uncanny tenderness the change of the face of a man who has aged to his late seventies. Seeing his last portrait included in this book he notes "the accurate representation of a man inhabiting the shabby suburbs of old age could hardly be condemned as evidence of narcissism." It is this self-effacing wisdom that makes Lords writing so ultimately ingenuous. Perhaps the most tender of these essays with observations is the one he writes about the portrait done by Gilles Roy. his companion of many years. It is in this brief essay that he explores the fact that "Sentiment can. and very often does. determine how a model appears to a portraitist. how the models own sentiment effects the knowledgeable commitment of his appearance. and how the reciprocity of sentiments determines the appearance of a portrait." The mystery of the Artist/Model experience has rarely been stated so eloquently. This is a fine book merely to read for those interested in art history. or for those fascinated by representational art. or for those who enjoy exploring the magic of rendering a likeness. A sophisticated. very enjoyable book.
