Before the Renaissance and Reformation, holy images were treated not as "art" but as objects of veneration which possessed the tangible presence of the Holy. the faithful believed that these images served as relics and were able to work miracles, deliver oracles, and bring victory to the battlefield. In this magisterial book, Hans Belting traces the long history of the sacral image and its changing role--from surrogate for the represented image to an original work of art--in European culture. Likeness and Presence looks at the beliefs, superstitions, hopes, and fears that come into play as people handle and respond to sacred images, and presents a compelling interpretation of the place of the image in Western history. -- Back cover

From 1802, when the young artist William Edward West began painting portraits on a downriver trip to New Orleans, to 1918, when John Alberts, the last of Frank Duveneck's students, worked in Louisville, a wide variety of portrait artists were active in Kentucky and the Ohio River Valley. Lessons in Likeness: Portrait Painters in Kentucky and the Ohio River Valley, 1802–1920 charts the course of those artists as they painted the mighty and the lowly, statesmen and business magnates as well as country folk living far from urban centers. Paintings by each artist are illustrated, when possible, from The Filson Historical Society collection of some 400 portraits representing one of the most extensive holdings available for study in the region. This volume begins with a cultural chronology—a backdrop of critical events that shaped the taste and times of both artist and sitter. The chronology is followed by brief biographies of the artists, both legends and recent discoveries, illustrated by their work. Matthew Harris Jouett, who studied with Gilbert Stuart, William Edward West, who painted Lord Byron, and Frank Duveneck are well-known; far less so are James T. Poindexter, who painted charming children's portraits in western Kentucky, Reason Croft, a recently discovered itinerant in the Louisville area, and Oliver Frazer, the last resident portrait artist in Lexington during the romantic era. Pennington's study offers a captivating history of portraiture not only as a cherished possession but also representing a period of cultural and artistic transitions in the history of the Ohio River Valley region.

A follow-up to In the Woods finds a traumatized detective Cassie Maddox struggling in her career and relationship with Sam O'Neill while investigating the unsettling murder of a young woman whose name matches an alias Cassie once had used as an undercover officer. 50,000 first printing.

When You Can't Go Home tells the story refugees and their families alongside breath-taking portraits by artist, Karisa Keasey. For every book sold, Karisa will donate 50% of the profits to World Relief to help in their efforts with refugees. In addition to raising funds, awareness and compassion for refugees, Karisa hopes that this book will inspire readers to use their own unique gifts to make a positive impact for others in their own communities.

Described by his contemporaries as Daguerre's most dedicated follower, Thomas M. Easterly did most of his work in the relative obscurity of St. Louis. This lavishly illustrated account of his twenty-seven-year career established him as a new master in the ranks of nineteenth-century photographers. It will be an essential addition to the libraries of scholars and collectors. Easterly's subjects range far beyond the traditional daguerrean portrait. Of his surviving inventory of over 600 plates in the collection of the Missouri Historical Society, over 140 are views of St. Louis, his native New England, and the Niagara Falls region of New York. Three series of American Indian portraits constitute the earliest dated photographic record of Plains tribal members. A series of studio portraits of ordinary people and celebrities demonstrate a remarkable mastery of technique placing Easterly decades ahead of his time.

More Than a Likeness: The Enduring Art of Mary Whyte is the first comprehensive book on the life and work of one of today's most renowned watercolorists. From Whyte's earliest paintings in rural Ohio and Pennsylvania, to the riveting portraits of her southern neighbors, historian Martha R. Severens provides us with an intimate look into the artist's private world. With more than two hundred full-color images of Whyte's paintings and sketches, as well as comparison works by masters such as Winslow Homer, Andrew Wyeth, and John Singer Sargent, Severens clearly illustrates how Whyte's art has been shaped and how the artist forged her own place in the world today. Though Whyte's academic training in Philadelphia was in oil painting, she learned the art of watercolor on her own—by studying masterworks in museums. Today Whyte's style of watercolor painting is a unique blend of classical realism and contemporary vision, as seen in her intimate portraits of Southern blue-collar workers and elderly African American women in the South Carolina lowcountry. "For me ideas are more plentiful than the hours to paint them, and I worry that I cannot get to all of my thoughts before they are forgotten or are pushed aside by more pressing concerns," explains Whyte. "Some works take time to evolve. Like small seeds the paintings might not come to fruition until several years later, after there has been ample time for germination." Using broad sweeping washes as well as miniscule brushstrokes, Whyte directs the viewer's attention to the areas in her paintings she deems most important. Murky passages of neutral colors often give way to areas of intense detail and color, giving the works a variety of edges and poetic focus. Several paintings included in the book are accompanied by enlarged areas of detail, showcasing Whyte's technical mastery. More Than a Likeness is replete with engaging artwork and inspiring text that mark the mid-point in Whyte's artistry. Of what she will paint in the future, the artist says, "I have always believed that as artists we don't choose our vocation, style, or subject matter. Art chooses us."

The human body is a likeness of God, its design revealing insights into the church, the “body of Christ” For bestselling author Philip Yancey, the late Dr. Paul Brand—the brilliant hand surgeon who devoted his life to the poorest people of India and Louisiana—was also a likeness of God, living the kind of Christian life that exemplified what God must have had in mind. In the Likeness of God combines the complete texts of Fearfully and Wonderfully Made and In His Image—both Gold Medallion Award–winners which together have sold more than half a million copies—into one volume. Also included for the first time are eight beautiful litanies of praise on the human body by Dr. Brand. In Fearfully and Wonderfully Made, Dr. Paul Brand and bestselling writer Philip Yancey explore the wonder of the human body and uncover the eternal statements that God has made in the very structure of our bodies. Their remarkable journey through inner space—the world of cells, systems, and chemistry—points to a still deeper unseen reality of God’s work in our lives. In His Image takes up where the first book leaves off. In five sections—Image, Blood, Head, Spirit, and Pain—the authors unlock the remarkable living lessons contained in our physical makeup.

Reprint of the original, first published in 1875.

Real Likenesses presents a radical new approach to the philosophy of artistic representation. Through a close analysis of paintings, photographs, and novels it reconsiders the relationship between medium and content, and proposes a new understanding of the 'real likenesses' that we encounter in representational art.

'A Likeness' is a wonderful, rich, absorbing historical novel following the fortunes of a struggling artist around the courtly world of Elizabethan London.