THE ART BOOK

We all need to know these artists maan... 

Product Description

This user-friendly book is an alphabetical reference guide to 500 of the world's greatest painters and sculptors, from antiquity to the present. Measuring roughly 5 by 6-1/2 inches and now in paperback, The Art Book is not only affordable, but also light, compact, and extremely portable, completely reforming the concept of an art reference book. It is perfect for the coffee table or for the backpack or pocketbook as well. Each artist is represented by a full-color plate and by explanatory and illuminating information on both the image and the artist. Cross references are provided to other artists in the book, and glossaries of technical terms and artistic movements are also included, making the book a valuable reference tool in the art library. Presented are some of the most famous artists of all time and their greatest masterworks--never before have they been so accessible as they are in this format.

A

Agasse Jacques-Laurent

Born in Geneva in 1767, Agasse was the son of one of the oligarchic families who governed the republic. He experienced a privileged upbringing spending his childhood summers on their estate in Crevin. While at the estate he developed his love for horses and farm animals and spent his days sketching and drawing. He decided to enroll in the Ecole du Calabri and later studied under David in Paris.

After briefly returning to Geneva, he moved to England in 1802 where he lived until his death in 1849. He is often referred to as the Swiss Stubbs because of his ability to re-create the anatomy of animals. His pictures are sensitive to the subjects and are very naturalistic. His work is regarded among the finest of this period.(http://www.globalgallery.com/enlarge/002-12616/)

Albers Josef

The square was the ideal shape for Albers’ "Homage’s," series. Squares were mathematically related to each other in size, perfect for superimposition, shapes that never occur in nature--thus assuring its man-made quality. Albers intended that the colours in his "Homage’s" series react with each other when processed by the human eye, causing optical illusions due to the eye's ability to continually change the colors in ways that echo, support, and oppose one another. He executed these paintings with a deliberate, careful technique using a minimum of tools and paint. He hated chaos and was adamantly opposed to the freedoms of Abstract Expressionism. When working, he applied one base or primary coat to Masonite, a ground he found most durable, and then squeezed unmixed paints directly from the tubes and spread the paint evenly and as thinly as possible with a palette knife.

(more at http://www.articons.co.uk/albers.htm)

...alamak at this rate i will never finish... go check out this book urself la... i borrowed this from the library.