This sequel to the best-selling Masterpieces Up Close is another fun, interactive book that introduces works of art from museums around the world across different eras and styles, including an ancient Egyptian papyrus, a Byzantine mosaic, Renaissance frescoes, a medieval European tapestry, Arabic and Aztec manuscripts, Japanese woodblock prints, and impressionist, surrealist, and cubist paintings. Full-color reproductions of twenty-three famous works of art provide a colorful hunting ground for over two hundred close-up details. Lift-the-flap keys at the end of the book provide intriguing facts about the works and the artists who created them. Young readers will learn how artistic expression has developed through the centuries and discover how looking at familiar images up close reveals new insights into the world of art.

A huge array of contemporary artists are studied and illustrated in this book on installation and environmental art.

ART UpCLOSE World Edition 2017 presents diverse work of 37 international artists working in various mediums and disciplines.This collection includes paintings, sculptures, photographs, digital and mixed media art. Thus, it is a unique opportunity for the public to experience global art trends in one source. Featured work reveals a unique approach to art by each artist, as well as artists' ambition to frame esthetical, philosophical and social issues which compel them. The result is an immersion in the dynamics of form, color, structure and gesture. Its primary claim to authenticity is the effortless, seemingly casual sense of inevitability that greets the viewer in remarkable images included in ART UpCLOSE World Edition 2017.

Color Theory for the Make-up Artist: Understanding Color and Light for Beauty and Special Effects (Second Edition) analyzes and explains traditional color theory for fine artists and applies it to make-up artistry. This beautifully illustrated guide begins with the basics of color theory – why we see color, how to categorize and identify color, and relationships between colors – and relates these concepts to beauty and special effects make-up. The book provides a wealth of information, including how to mix flesh tones by using only primary colors, how these colors in paints and make-up are sourced and created, the reason for variations in skin colors and undertones, and how to identify and match these using make-up while choosing flattering colors for the eyes, lips, and cheeks. Colors found inside the body are explained for special effects make-up, like why we bruise, bleed, or appear sick. Ideas and techniques are also described for painting prosthetics, in addition to using color as inspiration in make-up designs. The book also discusses how lighting affects color on film, television, theater, and photography sets, and how to properly light a workspace for successful applications. The second edition features: A brand-new chapter on color inspiration in make-up and design Additional and updated diagrams More real-life application photos and demonstrations, including new examples of tattoo covering and prosthetic painting using optical mixtures, airbrush, and stippling Expanded discussion on undertones, skin variations, color correction, pigments, colored gels, and more Filled with stunning photography and practical information, Color Theory for the Make-up Artist provides guidance and inspiration for both professionals and beginners who wish to train their eye further to understand and recognize distinctions in color.

Henry Fuseli (1741 – 1825) was a Swiss painter, draughtsman, and writer on art, who worked and spent most of his life in Britain. As a painter, Fuseli favored the supernatural. He pitched everything on an ideal scale, believing a certain amount of exaggeration necessary in the higher branches of historical painting. In this theory he was confirmed by the study of Michelangelo's works and the marble statues of the Monte Cavallo, which, when at Rome, he liked to contemplate in the evening, relieved against a murky sky or illuminated by lightning. The violent and intemperate action which he often displays, in the conventional wisdom, destroys the grand effect of many of his pieces. Fuseli painted more than 200 pictures, but he exhibited only a small number of them.