Thousands of years after man first recorded his impressions of animals on cave walls; artists are still attempting to reproduce images of these incredibly diverse creatures of land; sea; and air. This book by an award-winning artist is designed to aid painters at all skill levels to draw and paint wildlife with precision and accuracy.Award-winning artist Fredric Sweney begins by using the horse as the basis for understanding the physical structure of animals; while the wild duck serves as the model for the configuration; wing construction; and flight characteristics of birds. More than 260 illustrations; along with step-by-step details; make it easier and more enjoyable than ever to paint a Noahs Ark of dogs; cats; oxen; deer; bears; birds; goats; and more exotic animals--in every size and shape. An invaluable guide to zoological anatomy; ideal for beginners as well as advanced artists; this complete; practical reference will also serve as an excellent resource for resolving commonplace problems of artistic composition.
#3825283 in eBooks 2012-09-24 2012-09-24File Name: B00A73B51S
Review
0 of 0 people found the following review helpful. Art photography coming of ageBy haydee yordanThis is a must read for all fine art photographs; specially does doing experimental contemporary "new Photography". I have read it twice already. Gives an excellent historic perspective. I believe that photography; besides its journalistic endeavor; is finally coming of age with art photography.0 of 0 people found the following review helpful. Incredibly enlighteningBy t-boyAny student interested in understanding contemporary art photography should read this book. For the first time since starting my MFA I feel like I understand my field of study.0 of 0 people found the following review helpful. A book for all photography students and teachersBy REGIS D.Lucy Soutterrsquo;s book "Why Art Photography?" is a slender; but substantial book that every student of photography should read. Along with Geoffrey Batchenrsquo;s "Each Wild Idea"; it is one of the two best books I have read in the past few years. Soutter is erudite; expressing complex concepts in concise language without the conceit of an academic; though clearly; she is one.It the only book I know of which properly contextualizes the various genres in photography and provides intellectual arguments for and against photography as art. In this regard; Soutter quotes not just the usual suspects (Benjamin; Barthes; Adorno; Foucault; Sontag etc.); but also Baudrillard; Debord; Drucker; Ranciegrave;re and Nancy to substantiate her arguments. Even if you are not a fan of French post-structuralism; these authors address issues around the work of art and its relationship to the culture that produces it.In Baudrillardrsquo;s model; the camera is just an extension of the eye; so the means of production of the image is not important. Today; we are exposed to images not just on film; but digitally; online; on video; in 3D animation and so forth. Soutter addresses this new digital age of images deftly and brilliantly; in the context of the spectator and the contemporary spectacle. Soutterrsquo;s discussion on the digital dialogue reminds me of Merleau-Pontyrsquo;s idea that a painter; while he or she is painting; ldquo;practices a magical theory of visionrdquo;. In this age of a ldquo;society of the spectaclerdquo; (made famous by Debord); Soutter succinctly advances Ranciegrave;rersquo;s case for the ldquo;emancipated spectatorrdquo; with a relationship between perception; comprehension and action.The book is meticulously referenced and the bibliography runs over 30 references per chapter. While Sontag engages in a sweeping self-indulgent literary review; Soutter is academically and intellectually more rigorous in her critical analysis of art photography. The one major criticism I have is that despite being well illustrated; the images are of substandard quality. This book will become a classic and Routledge will do well to invest in higher quality reproductions of photographs.