In 1965 Janis Sternbergs made a few playful lines in some sand on his studio table and was struck by the image he had created. A photograph of this confluence of shadows showed what seemed to be a great earth sculpture of vast depth and breadth. So began an art form which united the talents and skills of engraver, sculptor, painter, and photographer. And when Sternbergs added color effects to his images by use of photo-screen process printing, he employed the skills of still another medium -- one in which he is a recognized master.In this book Sternbergs first explains and demonstrates many of the techniques he has developed in producing his dramatic sand "paintings." In a series of illustrations designed to instruct the neophyte sand artist, we see a variety of commonplace tools used to explore the many possibilities of sand as a material for spontaneous work.What one supremely creative mind has done with the medium can be seen in the catalog of Sternbergs's sand images which follows the instructional portion of the book. The 154 black and white photographs not only suggest the range and potential of sand imagery, but attest as well to the imagination and versatility of the artist.

In 1899, a fundraising program for Berea College featured a group of students from the mountains of eastern Kentucky singing traditional songs from their homes. The audience was entranced. That small en-counter at the end of the last century lies near the beginning of an unparalleled national -- and international -- fascination with the indigenous music of a single state. Kentucky has long figured prominently in our national sense of traditional music. Over the years, a diverse group of people -- reformers, enthusiasts, the musically literate and the musically illiterate, radicals, liberals, a British gentleman and his woman companion, amateurs, local residents, and academics -- have been sufficiently captivated by that music to have devoted considerable energy to harvesting it from its fertile ground, studying its various manifestations, and considering its many performers.Kentucky Folkmusic: An Annotated Bibliography is a guide to the literature of this remarkable music. More than seven hundred entries, each with an evaluative annotation, comprise the largest bibliographic resource for the folkmusic of any state or region in North America. Divided into eight sections, the bibliography covers collections and anthologies; fieldworkers and scholars; singers, musicians, and other performers; text-centered studies; studies of history, context, and style; festivals; dance; and discographies, check-lists, and other reference tools. A subject index, an author index, and an index of periodicals provide access to the materials. From early hymnals and songsters to Kentucky performers of traditional music, the bibliography is a comprehensive guide to music which has for many years been one of the major emblems of American traditional music.

Nowhere is the richness and variety of the English Renaissance better shown than in the dramatic works of the period which combined to an unusual degree the arts of poetry, music, acting, and dance. This collection of essays by a number of distinguished scholars offers a series of views of the music of this drama -- ranging from the mystery cycles still performed in the late sixteenth century to the cavalier drama of the early seventeenth.The essays included here are mainly concerned with the minor dramatic forms -- the mystery plays, the "entertainments," the masques, and the works of such playwrights as Marston and Cartwright -- which reveal more extensively the blending of music and drama; and they illustrate a variety of approaches to the dramatic art. The collection as a whole demonstrates the need for an interdisciplinary consideration of this important area of study. Of especial value to musicologists is the bibliography of extant music used in dramatic works of the period.

Jean-Baptiste Lully is perhaps best known in the history of music as the founder of French opera. Although Italian-born himself, he created a form of opera so suited to French tastes and needs that it alone, among the attempts of various other nations at operatic forms of their own, was able to resist domination by Italian opera and to maintain its individual identity during the seventeenth and eighteenth centuries.The impress he made upon French music was enormous, and it affected every musical medium of his day. Evidence of his influence in a field as remote from his own as the literature for the organ is seen in the nine pieces that make up this present collection.Despite their operatic origins, the Lully transcriptions should be useful to the present-day church organist, as the pieces have no secular associations for present-day listeners. The overtures make excellent preludes for festive services, and the marches are suitable both for processionals and postludes. For recital use, several of the pieces could be very successfully grouped together into a suite.

Washington Allston (1779-1843), the first major American artist trained in Europe, produced important paintings, explored sculpture and architecture, and published poetry and art criticism. On his return to America he became influential in the cultural and intellectual life of New England. Allston "knew everyone" and corresponded with many of the leading figures of his day, including Wordsworth, Longfellow, Irving, Sully, and Morse. Nathalia Wright's edition is the most comprehensive work to date on Allston, bringing together all known letters by and to him and describing his principal activities in years for which correspondence is lacking. Allston holds an important place in the history of American culture and European art and has long deserved such a volume, which offers a fascinating view of the world of arts and letters during the early American flowering.

Pietro Antonio Domenico Trapassi (1698--1782) was an Italian poet and librettist, considered the most important writer of opera seria libretti. In this volume, Pietro Metastasio presents new translations of Dido Abandoned, Demetrius, and The Olympiad that stay close to the original form and wording. Featuring an introduction that highlights the playwright's life and significant innovations in dramatic technique as well as a short bibliography, Fucilla's translations will be of interest not only to literary scholars, but also to those concerned with the history of music.

In the hauntingly beautiful sculptures of Tilmann Riemenschneider, the Late Gothic art of Germany achieved its highest expression. Now, for the first time in English, the eminent art historian Justus Bier accords Riemenschneider the extended attention he so richly deserves.Riemenschneider ( ca. 1460--1531) holds a pivotal place in the development of German art. Rejecting the anonymous soulfulness of earlier Gothic sculpture, he created a style reflecting the deeply spiritual character of his time, yet one that also anticipated the humanism of the Italian Renaissance so soon to revolutionize European art.Bier crowns a lifelong study with this reconsideration of Reimenschneider's life and work, with emphasis on works in North American museums. More than 140 photographs illustrate 46 of the artist's major sculptures.

During the years before World War II, hundreds of traditional musicians were sought out by commercial record companies, brought to New York or into local -- often makeshift -- studios, to cut recordings that would be marketed as "race" and "hillbilly" music. Virginia was home to scores of these performers, several of whom were to become internationally known. Among them were the Carter Family, the Golden Gate Quartet, Charlie Poole, and the Stoneman Family, whose music has touched millions of listeners far beyond the confines of the Old Dominion. It is this historically important body of recordings from this unique period that forms the focus of Kip Lornell's study. In it he combines biographical sketches and bibliographies of the artists and groups with comprehensive discographies of each, covering not only the original 78-rpm issues but also American and foreign long-play releases. The entries incorporate new primary research and contemporary interviews with veterans of early recording sessions. Numerous vintage photographs are also included, some reproduced here for the first time.

Stonlea, a magnificent Colonial Revival, was built in 1890 by the Boston firm of Peabody & Stearns as a summer house overlooking Dublin Lake (New Hampshire) with a view of Mt. Monadnock. A vivid example of 19th century resort architecture, Stonlea bore the telltale patina of many years' of wear and tear when the new owner decided to bring it back not only to its original luster but into the 21st century, including using the latest technology to reduce the impact of the 12,000-square-foot house on the environment. Stonlea: An Old House Remade for Our Times documents the painstaking steps involved in the preservation and renovation of this building, and describes the renovators' techniques. It specifically addresses the renovation of the fabric of the building-the various energy conserving strategies and the mechanical systems-as well as the whys and wherefores of the design, and is intended to serve as a model and inspiration for similar undertakings, regardless of size.

A facsimile edition of Kazimir Malevich, SUPREMATISM 34 Drawings, was published in 1990 by Artists Bookworks accompanied by an introduction to the drawings by Patricia Railing; it is now out-of-print. This 2014 reprint of Malevich’s little book contains a new translation from the Russian and a new introductory text by Patricia Railing, “Reading the 34 Drawings”. The Russian text and plates were scanned from an original copy and the size of this little book conforms to the lithographed Russian edition of 1920.

Musicians make music. Producers make records. In the early days of recorded music, the producer was the "artists-and-repertoire man," or A&R man, for short. A powerful figure, the A&R man chose both who would record and what they would record. His decisions profoundly shaped our musical tastes. Don Law found country bluesman Robert Johnson and honky-tonk crooner Lefty Frizzell. Cowboy Jack Clement took the initiative to record Jerry Lee Lewis (while his boss, Sam Phillips, was away on business). When Ray Charles said he wanted to record a country-and-western album, Sid Feller gathered songs for his consideration. The author's extensive interviews with music makers offer the fullest account ever of the producer's role in creating country music. In its focus on recordings and record production, Producing Country tells the story of country music from its early years to the present day through hit records by Hank Williams, George Jones, Patsy Cline, Buck Owens, Dolly Parton, Johnny Cash, Loretta Lynn, Waylon Jennings, and Merle Haggard, among many others.Includes original interviews with producers Chet Atkins, Pete Anderson, Jimmy Bowen, Bobby Braddock, Harold Bradley, Tony Brown, Blake Chancey, Jack Clement, Scott Hendricks, Bob Johnston, Jerry Kennedy, Blake Mevis, Ken Nelson, Jim Ed Norman, Allen Reynolds, Jim Rooney, James Stroud, Paul Worley, and Reggie Young, among others.

Before the foundation of academies of art in London in 1768 and Philadelphia in 1805, most individuals who were to emerge as artists trained in workshops of varying degrees of relevance. Easel painters began their careers apprenticed to carriage, house, sign or ship painters, whilst a few were placed with those who made pictures. Sculptors emerged from a training as ornamental plasterers or carvers. Of the many other trades in a position to offer an appropriate background were ‘limning’, staining, engraving, surveying, chasing and die-sinking. In addition, plumbers gained the right to use oil painting and, for plasterers, the application of distemper was an extension of their trade. Central to the theme of this book is the notion that, for those who were to become either painters or sculptors, a training in a trade met their practical needs. This ‘training’ was of an altogether different nature to an ‘education’ in an art school. In the past, prospective artists were offered, by means of apprenticeships, an empirical rather than a theoretical understanding of their ultimate vocation. James Ayres provides a lively account of the inter-relationship between art and trade in the late 17th to early 19th centuries, in both Britain and North America. He demonstrates with numerous, illustrated examples, the many cross-overs in the ‘art and mystery’ of artistic training, and, to modern eyes, the sometimes incongruous relationships between the various trades that contributed to the blossoming of many artistic careers, including some of the most illustrious names of the ‘long’ 18th century.

The Courtauld Gallery houses one of the most significant collections of works on paper in Britain, with approimately 7,000 drawings and watercolours and 20,000 prints ranging from the REnaissance to the 20th Century. Accompanying the second Summer Showcase at the Gallery, this book serves as an introduction to the largest but least well-known part of the Gallery's outstanding collection - its holdings of prints. This selection of some thirty particularly remarkable and intriguing exapmles spans more than 500 years and encompasses a variety of printmaking techniques. The catalogue opens with Andrea Mantegna's ambitious engraving of The Flagellation of Christ (around 1465-70), in which the Italian Renaissance artist powerfully reinvents this often-depicted Passion scene. By contrast, the grand scale of a ten-part engraving after Michelangelo's celebrated Last Judgment by French printmaker Nicolas Beatrizet exemplifies the ability of a print to reproduce a monumental work of art in spectacular fashion. Subjects of Christian iconography dominate 15th- and 16th-century printmaking but from early on were complemented by secular topics,w ith printmakers catering for a demand amongst colledctors for new imagery. A superb example is Pieter Bruegel the Elder's Rabbit Hunt (1560), the only print known to be executed by the artist himself and one of a group of master prints bequeathed to the collection by Count Antoine Seilern in 1978. Bruegel chose the etching technique whereby its relative freedom and ease is more closely comparable to drawing, allowing him to render a scene with remarkable naturalism.The possibilities of printmaking greatly expanded in subsequent centuries. Prints could record historical events such as battles or pageants, as in the exquisite etchings of Jacques Callot and Stefano della Bella. Canaletto's views of 18th-century Venice play wilful games wiht the city's geography and are shown alongside the striking architectural inventions of his contemporary Piranesi. The 19th century in France saw avant-garde artists embracing printmaking, with Edouard Manet's homage to Old Masters, Paul Gauguin's revival of the woodcut and Henri Toulouse-Lautrec's brilliant adoption of the newer technique of lithography for his evocative depictions of Parisian entertainment such as his highly dynamic Jockey from Samuel courtauld's collection.In the 20th century Pablo Picasso's and Henri Matisse's tireless experimentation with print techniques helped ensure the vitality of printmaking in the art of their time. The catalogue concludes with prints by Lucian Freud, now widely acknowledged as a modern master of the medium, and by more recent work by Chris Ofili, whose prints, both figurative and abstract, continued to reinvent printmaking in the 21st century.

No literary figure of the 18th century was more esteemed than the poet Alexander Pope, and his sculpted portraits exemplify the celebration of literary fame at a period when authorship was being newly conceived and the portrait bust was enjoying new popularity. Accompanying an exhibition at Waddesdon Manor (The Rothschild Collection), this publication explores the convergence between authorship, portraiture, and the sculpted image in particular, by bringing together a wide range of works that foreground Pope's celebrity status.Pope took great pains over how he was represented and carefully fashioned his public persona through images, published letters, and the printed editions of his works. Eaxmined alongside some of the most celebrated painted portraits of the poet, will be a selection of the printed texts which Pope planned with meticulous care. The core of the publication will consist of eight different versions of the same portrait bust by the leading sculptor of the period, Louis François Roubiliac.The marble bust had long been seen as a form appropriate for the celebration of literary fame and Pope's bust in part imitates those of classical authors whose works he both translated and consciously imitated in his own poems. More than any other sculptor, Roubiliac reqorked the conventions of the bust, transforming it into a genre that was considered worthy of close and sustained attention. Nowhere is this seen more tellingly than in his compelling and intense portraits of Pope.Based on a vividly modelled clay original, the variant marble versions were carved with arresting virtuosity, recalling Pope's own phrase, "Marble, soften'd into Life". At the same time, the image was reproduced by both the sculptor himself and by others, in a variety of materials.Multiplied and reproduced throughout the 18th century, Pope's bust was the most familiar and visible sign of his authorial fame. At the same time, it was also used as a way of articulating friendship - a constant theme in Pope's verse - and all the early versions of Roubiliac's bust were probably executed for Pope's closest friends. By bringing together the eight versions thought to have been executed by Roubiliac and his studio, and a number of other copies in marble, plaster, and ceramic, this publication will offer the opportunity to explore not only the complex relationship between these various versions but the hitherto little-understood processes of sculptural production and replication in eighteenth-century Britain.

Patrick Scott is, without a doubt, one of Ireland's most significant exponents of pure abstraction art and now, as he reaches his 87th year, Liberties Press celebrates his career with this stunning retrospective of his life's work. Patrick is most famous for his exquisitely simple abstracts in gold and white on unprimed canvas, and the minimal yet beautiful materials which he uses. These paintings contain a zen-like meditative quality which has attracted international acclaim. In contrast to these quiet paintings are his tapestries which revel in all the colors of the rainbow, and which also feature in the book alongside the paintings, furniture and sculpture. Aidan Dunne – art critic for the Irish Times – has previously written extensively on Scott's work, and this book gives him the opportunity to be involved with a project celebrating one of the High Kings of Irish Art. 'Patrick Scott is best known for his beautifully judged abstract paintings. In a way, his signature image could not be simpler: a disc of shimmering gold leaf applied to bare canvas. But this basic template, and myriad variations of it, have generated an abundance of extraordinarily rich visual statements, demanding our attention and leading us into an imaginative space of profound, meditative clarity'.

Solkattu, the spoken rhythms and patterns of hand-clapping used by all musicians and dancers in the classical traditions of South India, is a subject of worldwide interest - but until now there has not been a textbook for students new to the practice. Designed especially for classroom use in a Western setting, the manual begins with rudimentary lessons in the simplest South Indian tala, or metric cycle, and proceeds step-by-step into more challenging material. The book then provides lessons in the eight-beat adi tala, arranged so that by the end, students will have learned a full percussion piece they can perform as an ensemble. Solkattu Manual includes web links to video featuring performances of all 150 lessons, and full performances of all three of the outlined small-ensemble pieces. Ideal for courses in world music and general musicianship, as well as independent study. Book lies flat for easy use.