Colorful compilation features bouquets by the masters, including van Gogh, Cézanne, Renoir, Degas, Monet, Cassatt, and many other artists. Each painting can be printed at poster size and you can play a slideshow of the images on your TV or computer.

Comprising more than 500 years of printed botanical illustrations, this stunning compendium of black-and-white and color images includes medieval illuminated manuscripts, early woodcuts, hand-colored lithographs, Art Nouveau florals, and much more. Detailed bibliographies and artist biographies.

This book shows you how to paint close-focus flowers in watercolour by providing easy-to-learn techniques for mingling colours and manipulating light, advice on designing your composition, choosing materials and more.

A complete guide to painting flowers and plants in watercolour, by a bestselling author and experienced, inspirational artist.Janet Whittle's vibrant and evocative compositions capture all the glory and beauty of flowers. In this beautiful book, you can learn Janet's creative techniques and approach for capturing the beauty of flowers in her paintings. Detailed sections on materials, drawing, composition and techniques are followed by clear, step-by-step projects, and with numerous examples of Janet's gorgeous artwork to inspire you, this is a unique and invaluable resource for anyone who enjoys painting flowers, or wishes to learn how to.

Lady Herringham arrived on the Edwardian art scene with a translation of Il Libro dell' Arte o Trattato della Pittura, Cennini's fifteenth-century handbook on fresco and tempera. It aroused new interest in those techniques and led to the founding of the Society of Painters in Tempera in 1901. To preserve Britain's art heritage from buyers abroad, she provided the money that launched the National Art Collections Fund in 1903, creating what is still a vital and authoritative voice in Britain's cultural life. Her work as the only woman on the NACF's first executive committee prepared her to assist in founding the India Society, which urged respect for indigenous Indian traditions of the fine arts and encouraged appreciation for them in England.

Over the past years, studies have begun not only to identify the factors that impeded the full participation of women artists in French cultural life, such as women’s limited access to professional art education, but also to bring to light the considerable artistic accomplishments of women occluded by historians for over a century. A similar effort at historical revision has been under way for French women writers. Works of fiction that enjoyed many editions in the nineteenth-century receded from our field of vision for almost a century before being rediscovered and reissued during the last decades of the twentieth century. Such efforts have resulted in scholarship that has helped revise the history of both artistic and literary expression in nineteenth-century France. Similarly, many women in nineteenth-century France had their art criticism published both in journal reviews and in book form, often for decades, in a number of the most influential venues of their day. However, it is perplexing that they remain almost totally invisible in histories of French culture. Women Art Critics in Nineteenth-Century France: Vanishing Acts is the first sustained effort to bring these prolific and influential critics out from the shadows. Although each of the chapters in this volume results from an interdisciplinary approach, the fact that they are written by scholars in art history and in literature means that there will be inevitable differences in approach and methodology. Thus, we study the women’s reception of specific artworks and aesthetic movements, discuss intersections of aesthetics and politics in their essays and the literary styles and rhetorical strategies of individual critics, explore the social conditions that allowed or impeded their successes, and suggest reasons for their all but disappearance in the twentieth century. In bringing to light for twenty-first-century readers the “vanished” writings of heretofore unrecognized or underrecognized women art critics, the authors hope to contribute to the ongoing revision of women’s role in cultural history. The multifaceted approaches to word/image studies modeled in this book, and the many avenues for further research it identifies, will inspire scholars in a number of disciplines to continue the work of reinscribing women in the history of cultural life.