In Giuseppe Arcimboldo’s most famous paintings, grapes, fish, and even the beaks of birds form human hair. A pear stands in for a man’s chin. Citrus fruits sprout from a tree trunk that doubles as a neck. All sorts of natural phenomena come together on canvas and panel to assemble the strange heads and faces that constitute one of Renaissance art’s most striking oeuvres. The first major study in a generation of the artist behind these remarkable paintings, Arcimboldo tells the singular story of their creation. Drawing on his thirty-five-year engagement with the artist, Thomas DaCosta Kaufmann begins with an overview of Arcimboldo’s life and work, exploring the artist’s early years in sixteenth-century Lombardy, his grounding in Leonardesque traditions, and his tenure as a Habsburg court portraitist in Vienna and Prague. Arcimboldo then trains its focus on the celebrated composite heads, approaching them as visual jokes with serious underpinnings—images that poetically display pictorial wit while conveying an allegorical message. In addition to probing the humanistic, literary, and philosophical dimensions of these pieces, Kaufmann explains that they embody their creator’s continuous engagement with nature painting and natural history. He reveals, in fact, that Arcimboldo painted many more nature studies than scholars have realized—a finding that significantly deepens current interpretations of the composite heads. Demonstrating the previously overlooked importance of these works to natural history and still-life painting, Arcimboldo finally restores the artist’s fantastic visual jokes to their rightful place in the history of both science and art.

This book details Arcimboldo's life, work, pictures and drawings. Also the work he did as a scientist.

Arthur Jeffress was an art dealer and collector from a Virginian family who bequeathed his “subversive little collection” (Derek Hill) to Tate and Southampton City Art Gallery on his suicide in 1961. That suicide, a result of his expulsion from Venice, has been the subject of speculation in many memoirs. Gill Hedley's biography of Jeffress has benefited from access to many hundreds of unpublished letters written between Jeffress and Robert Melville, who ran Jeffress' own gallery from 1955-1961. The letters were written largely while Jeffress was in Venice and reveal a vivid picture of the London gallery world as well as frank details of artists, collectors and the definitive story of his suicide. Previously unpublished research reveals new information about the lives of Jeffress' lover John Deakin, his business partner Erica Brausen, the French photographer André Ostier and Henry Clifford, and the way in which all of them influenced Jeffress' first steps as a collector from the 1930s onwards.

While comedy writers are responsible for creating clever scripts, comedic animators have a much more complicated problem to solve: What makes a physical character funny? Comedy for Animators breaks down the answer by exploring the techniques of those who have used their bodies to make others laugh. Drawing from traditions such as commedia dell’arte, pantomime, Vaudeville, the circus, and silent and modern film, animators will learn not only to create funny characters, but also how to execute gags, create a comic climate, and use environment as a character. Whether you’re creating a comic villain or a bumbling sidekick, this is the one and only guide you need to get your audience laughing! Explanation of comedic archetypes and devices will both inspire and inform your creative choices Exploration of various modes of storytelling allows you to give the right context for your story and characters Tips for creating worlds, scenarios, and casts for your characters to flourish in Companion website includes example videos and further resources to expand your skillset--check it out at www.comedyforanimators.com! Jonathan Lyons delivers simple, fun, illustrated lessons that teach readers to apply the principles of history’s greatest physical comedians to their animated characters. This isn’t stand-up comedy—it’s the falling down and jumping around sort!

Rings of seahorses seem to rotate and butterflies seems to transform into warriors right on the page. Astonishing creations of visual trickery by masters of the art, such as Escher, Dali, and Archimbolo make this breathtaking collection the definitive book of optical illusions. Includes an illuminating Foreword by the Pulitzer Prize-winning author Hofstadter.

If, as the famous saying goes, you really are what you eat, then Giuseppe Arcimboldo (1527-1593) was a consummate painter of the human soul. This artist was a master draftsman whose finely wrought canvases captured the imagination of his generation. In this fascinating book, Liana De Girolami Cheney takes a closer look at the critical history of Arcimboldo's work, from his initial popularity and the tragic obscurity that followed his death, to the ventual triumphant revival of his work and vision by Surrealist admirers of the 1920s.