A renowned sculptor from China, Professor Wu Weishan stands out in China's art arena ? indeed, in the entire cultural fraternity ? with his unique sculpting styles and original theoretical views. His series of creative works that feature China's historical and cultural celebrities showcase his freehand sculpting technique and his concept of the ?eight major styles of Chinese sculpture?, which directly challenge the phenomenon of contemporary art steeped so heavily in values derived from Western popular art and Russian realism.This book documents the different stages of Wu Weishan's pursuits, struggles, and creations. It records his dealings with eminent figures in the science, cultural, and art arenas, such as Yang Zhenning, Ji Xianlin, Wu Guanzhong, and Xiong Bingming. His art notes, excerpts from his theoretical essays, and images of some selected sculptures are also included. From here, readers can get a glimpse of an artist's inner world during his growing years ? how he devoutly approached life and art against the backdrop of contemporary society and culture.

“Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen.” —Leonardo da Vinci Based on this simple statement by Leonardo, eighteen poets have written new poems inspired by some of the most popular works in the collection of The Metropolitan Museum. The collection represents a wide range of poets and artists, including acclaimed children’s poets Marilyn Singer, Alma Flor Alda, and Carole Boston Weatherford and popular artists such as Mary Cassatt, Fernando Botero, Winslow Homer, and Utagawa Hiroshige. Accompanying the artwork and specially commissioned poems is an introduction, biographies of each poet and artist, and an index.

Poems About Sculpture is a unique anthology of poems from around the world and across the ages about our most enduring art form. Sculpture has the longest memory of the arts: from the Paleolithic era, we find stone carvings and clay figures embedded with human longing. And poets have long been fascinated by the idea of eternity embodied by the monumental temples and fragmented statues of ancient civilizations. From Keats’s Grecian urn and Shelley’s “Ozymandias” to contemporary verse about Maya Lin’s Vietnam Veterans Memorial and Janet Echelman’s wind-borne hovering nets, the pieces in this collection convert the physical materials of the plastic arts—clay, wood, glass, marble, granite, bronze, and more—into lapidary lines of poetry. Whether the sculptures celebrated here commemorate love or war, objects or apparitions, forms human or divine, they have called forth evocative responses from a wide range of poets, including Homer, Ovid, Shakespeare, Baudelaire, Rilke, Dickinson, Yeats, Auden, and Plath. A compendium of dazzling examples of one art form reflecting on another, Poems About Sculpture is a treat for art lovers of all kinds.

Art and Artists: Poems is a sumptuous collection of visions in verse—the work of centuries of poets who have used their own art form to illuminate art created by others. A wide variety of visual art forms have inspired great poetry, from painting, sculpture, and photography to tapestry, folk art, and calligraphy. Included here are poems that celebrate Leonardo da Vinci’s Mona Lisa, Claude Monet’s Water Lilies, and Grant Wood’s American Gothic. Here are such well-known poems as John Keats’s “Ode on a Grecian Urn” and W. H. Auden’s “Musée des Beaux Arts,” Homer’s immortal account of the forging of the shield of Achilles, and Federico García Lorca’s breathtaking ode to the surreal paintings of Salvador Dalí. Allen Ginsberg writes about Cezanne, Anne Sexton about van Gogh, Billy Collins about Hieronymus Bosch, and Kevin Young about Jean-Michel Basquiat. Here too are poems that take on the artists themselves, from Michelangelo and Rembrandt to Frida Kahlo and Georgia O’Keeffe. Altogether, this brilliantly curated anthology proves that a picture can be worth a thousand words—or a few very well-chosen ones.

A renowned sculptor from China, Professor Wu Weishan stands out in China's art arena — indeed, in the entire cultural fraternity — with his unique sculpting styles and original theoretical views. His series of creative works that feature China's historical and cultural celebrities showcase his freehand sculpting technique and his concept of the “eight major styles of Chinese sculpture”, which directly challenge the phenomenon of contemporary art steeped so heavily in values derived from Western popular art and Russian realism.This book documents the different stages of Wu Weishan's pursuits, struggles, and creations. It records his dealings with eminent figures in the science, cultural, and art arenas, such as Yang Zhenning, Ji Xianlin, Wu Guanzhong, and Xiong Bingming. His art notes, excerpts from his theoretical essays, and images of some selected sculptures are also included. From here, readers can get a glimpse of an artist's inner world during his growing years — how he devoutly approached life and art against the backdrop of contemporary society and culture./a

The first study to offer an integral theory of love poetry, examining why it is that poetry, even more than other arts, is so consistently associated with romantic love.

This coffee table art book joins bas-relief sculpture and ekphrastic poetry on a journey into the creative expressions of sculptor Brad Burkhart and poet Cheryl Latif. The collaboration consists of 40 poems by Cheryl Latif inspired by 40 sculptures by Brad Burkhart chosen by the poet. Each pairing tells a unique story that leaves room for the reader to reflect and reflex. Sculpture by Brad Burkhart is Rio Red, high-fired clay. The actual size of the bas-relief panels is approximately 19 inches by 14 inches. The relief ranges from one to three inches in depth, and each piece weighs about 35 pounds. The colors are produced with an iron oxide wash that turns a metallic silvery blue/brown in a reduction kiln. Brad's imagery, although intuitively derived, always seems to have a profound connection with the natural world even though it is not directly representative of its habitats or real-world species.Cheryl Latif's poetry is deeply informed by nature, yet nature is not an end, but a canvas upon which she sketches the common struggles of human existence. From geopolitical concerns to spiritual life to poetry's constant muse--the yearnings of the heart--each poem is a distinct journey, a look into one poet's soul and a mirror in which readers find their own reflection. Jan Carpenter Tucker suggested combining the concept of such reflection (as Cheryl reflected upon and held a mirror to Brad's art) along with the idea that a human response to art and poetry can be most satisfying when we let our natural reflexes roam free. The result of this quirky word play became the title of this book.