Artists are always in search of new subjects to paint, and this guide provides what they need to kick-start their creativity. Part art instruction, part inspiration, Painting Landscapes from Your Imagination features step-by-step techniques coupled with imaginative exercises for brainstorming, executing and completing dynamic compositions. Using found objects such as twigs, rocks, photos, doodles, etc. artists will learn to compose engaging landscapes as they practice basic watercolor methods, including dry brushing, charging, mingling and working wet-in-wet. Each chapter focuses on a different aspect of painting watercolor landscapes, enabling more advanced artists to skip to the sections they need. This guide also includes a unique fold out and follow me guide which allows artists to juxtapose a large print of three separate compositions with accompanying step-by-step demonstrations. Selling points: A liberating cure for blank paper syndrome; Packed with dozens of techniques, ideas and demonstrations; Features a unique fold out follow me approach.

Central Park is "one of the greatest works of art in America" and it has inspired many of America's greatest painters. Among the major figures who have depicted the park's landscapes and activities are Bellows, Chase, Glackens, Hassam, Henri, Hopper, Prendergast, and Sloan, as well as living artists like Christo and Estes. Their work shows early views of the park in construction, its major landmarks, the evolving vistas of the cityscape, and the park's human element--scenes of crowds at play and people in solitary contemplation. Painting Central Park provides a rich and varied visual history of this urban oasis, reflecting much of the American social experience in the quintessential American park.

It is in the wilderness of cities rather than in nature that the imagination of these landscape drawings comes to life. Without any heroic emphasis, these drawings result from the observation of traces, evident or discreet, in the urban landscape, and the process to collect and memorize traces is the way to consider memory as a primary medium for creativity. This selected collection of over 150 drawings, thought and imagined over many years, delineates a personal city experience, without any intention of building a new city theory. No single drawing in this book is a representation of cities in-situ; all of them are interpretations, translations, and combinations of traces collected and selected while teaching, working, meeting cultures, and eating food in many different cities around the world. These drawings are a different form of communication than the beautiful renderings produced in endless numbers.

A visionary new approach to the Americas during the age of colonization, made by engaging with the aural aspects of supposedly “silent” images Colonial depictions of the North and South American landscape and its indigenous inhabitants fundamentally transformed the European imagination—but how did those images reach Europe, and how did they make their impact? In Sound, Image, Silence, noted art historian Michael Gaudio provides a groundbreaking examination of the colonial Americas by exploring the special role that aural imagination played in visible representations of the New World. Considering a diverse body of images that cover four hundred years of Atlantic history, Sound, Image, Silence addresses an important need within art history: to give hearing its due as a sense that can inform our understanding of images. Gaudio locates the noise of the pagan dance, the discord of battle, the din of revivalist religion, and the sublime sounds of nature in the Americas, such as lightning, thunder, and the waterfall. He invites readers to listen to visual media that seem deceptively couched in silence, offering bold new ideas on how art historians can engage with sound in inherently “mute” media. Sound, Image, Silence includes readings of Brazilian landscapes by the Dutch painter Frans Post, a London portrait of Benjamin Franklin, Thomas Edison’s early Kinetoscope film Sioux Ghost Dance, and the work of Thomas Cole, founder of the Hudson River School of American landscape painting. It masterfully fuses a diversity of work across vast social, cultural, and spatial distances, giving us both a new way of understanding sound in art and a powerful new vision of the New World.

Christopher Neves classic book is a journey into the imagination through the English landscape. How is it that artists, by thinking in paint, have come to regard the landscape as representing states of mind? Painting, says Neve, is a process of finding out, and landscape can be its thesis. What he is writing is not precisely art history: it is about pictures, about landscape and about thought. Over the years, he was able to have discussions with many of the thirty or so artists he focuses on, the inspiration for the book having come from his talks with Ben Nicholson; and he has immersed himself in their work, their countryside, their ideas. Because he is a painter himself, and an expert on 20th-century art, Neve is well equipped for such a journey. Few writers have conveyed more vividly the mixture of motives, emotions, unconscious forces and contradictions which culminate in the creative act of painting. Each of the thirteen chapters has a theme and explores its significance for one or more of the artists. The problem of time, for instance, is considered in relation to Paul Nash, God in relation to David Jones, music to Ivon Hitchens, hysteria to Edward Burra, abstraction to Ben Nicholson, the spirit in the mass to David Bomberg. There are also chapters about painters ideas on specific types of country: about Eric Ravilious and the chalk landscape, Joan Eardley and the sea, and Cedric Morris and the garden.

This study identifies and analyzes the different types of landscape painting that dominated the Scandinavian countries in the 19th century. The author shows how the wilderness became a symbol of Nordic strength, as well as a counter-image to industrialization and European urban culture.

"The Landscape Painter's Workbook takes a modern approach to the time-honored techniques and essential elements of landscape painting, from accomplished artist, veteran art instructor, and established author Mitchell Albala"--

Evocative photographs celebrating the rich culture and dramatic landscapes of the Laguna Pueblo, the native people of the U.S. Southwest. Lee Marmon is America's most renowned Native American photographer and yet this is the first book to showcase his breathtaking photography. This book combined Mr. Marmon's award-winning photographs celebrating the Laguna Pueblo - their distinctive landscapes, their traditions and history - with equally gorgeous prose and poetry by three of our most celebrated Native American writers: Lee's daughter, the novelist Leslie Marmon Silko, and the poets Joy Harpo and Simon Ortiz. With each flash of the camera, Lee Marmon captured a piece of Native American history; this book preserves that precious legacy.The Pueblo Imagination will be lavishly produced, with the highest quality reproductions, including some seventy black-and-white photos printed in duotone and eight pages of arresting color photographps. The text will flow in prose and verse from the images, setting the stage and capturing in words the history preserved in Lee Marmon's unforgettable images.

Over the past two decades, James Corner has reinvented the field of landscape architecture. His highly influential writings of the 1990s—included in our bestselling Recovering Landscape—together with a post-millennial series of built projects, such as New York's celebrated High Line, prove that the best way to address the problems facing our cities is to embrace their industrial past. Collecting Corner's written scholarship from the early 1990s through 2010, The Landscape Imagination addresses critical issues in landscape architecture and reflects on how his writings have informed the built work of his thriving New York– based practice, Field Operations.