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Pen Drawing - An Illustrated Treatise
Originally published in 1924, this early work on Pen Drawing is a highly illustrated and informative look at the subject with much of the information being useful and practical today. Chapters include; Style in Pen drawing, Materials, Technique, Value, Practical problems, Architectural drawings and Decorative drawings. Many of the earliest books, particularly those dating back to the 1900's and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
Pen Drawing, an Illustrated Treatise
This is a relatively short book, published in 1899, showing some exquisite examples of pen drawing, and instructing the reader on how to produce them. Maginnis was a celebrated architect, and his love of buildings comes through in the text. The tone of the book can be a bit dated, but that adds to its historical interest, and the instruction is as true today as it was when the text was written.
Pen drawing
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Pen Drawing
Pen Drawing. An Illustrated Treatise. By Charles D. Maginnis. Art, with its finite means, cannot hope to record the infinite variety and complexity of Nature, and so contents itself with a partial statement, addressing this to the imagination for the full and perfect meaning. This inadequation, and the artificial adjustments which it involves, are tolerated by right of what is known as artistic convention; and as each art has its own particular limitations, so each has its own particular conventions. Sculpture reproduces the forms of Nature, but discards the color without any shock to our ideas of verity; Painting gives us the color, but not the third dimension, and we are satisfied; and Architecture is purely conventional, since it does not even aim at the imitation of natural form.
Arts and Crafts Architecture
This book offers the first full-scale examination of the architecture associated with the Arts and Crafts movement that spread throughout New England at the turn of the twentieth century. Although interest in the Arts and Crafts movement has grown since the 1970s, the literature on New England has focused on craft production. Meister traces the history of the movement from its origins in mid-nineteenth-century England to its arrival in the United States and describes how Boston architects including H. H. Richardson embraced its tenets in the 1870s and 1880s. She then turns to the next generation of designers, examining buildings by twelve of the region's most prominent architects, eleven men...
America's Church
The National Shrine in Washington, DC has been deeply loved, blithely ignored, and passionately criticized. It has been praised as a "dazzling jewel" and dismissed as a "towering Byzantine beach ball." In this intriguing and inventive book, Thomas Tweed shows that the Shrine is also an illuminating site from which to tell the story of twentieth-century Catholicism. He organizes his narrative around six themes that characterize U.S. Catholicism, and he ties these themes to the Shrine's material culture--to images, artifacts, or devotional spaces. Thus he begins with the Basilica's foundation stone, weaving it into a discussion of "brick and mortar" Catholicism, the drive to build institutions. To highlight the Church's inclination to appeal to women, he looks at fund-raising for the Mary Memorial Altar, and he focuses on the Filipino oratory to Our Lady of Antipolo to illustrate the Church's outreach to immigrants. Throughout, he employs painstaking detective work to shine a light on the many facets of American Catholicism reflected in the shrine.
Pen Drawing
Art, with its finite means, cannot hope to record the infinite variety and com-plexity of Nature, and so contents itself with a partial statement, addressing this to the imagination for the full and perfect meaning. This inadequation, and the artificial ad-justments which it involves, are tolerated by right of what is known as artistic convention; and as each art has its own particular limitations, so each has its own particular conventions. Sculpture reproduces the forms of Nature, but discards the color without any shock to our ideas of verity; Painting gives us the color, but not the third dimension, and we are satisfied; and Architecture ispurely conventional, since it does not even aim ...
