Tom Phillips

"The early work of seven very different visual artists, John Everett Millais, Henri de Toulouse-Lautrec, Picasso, Michael Rothenstein, Gerard Hoffnung, Sarah Raphael and David Downes, is here presented in a series of case studies which investigate historical and contemporary attitudes to the teaching of drawing to young children. In this fascinating study, Sheila Paine, a former President of the National Society for Education in Art and Design, shares the experience of a lifetime's work in art education, to explore the mysteries of drawing fluency, its often precocious beginnings and the personal, social and cultural circumstances which help or hinder its development." "Most children enjoy drawing and use it to express a wide range of experiences and emotions. Drawing can offer an avenue of expression where words fail. So why do so many people stop drawing after the early school years? In Artists Emerging, Sheila Paine investigates how seven artists found ways to sustain and develop their drawing skill and expressive potential. The close study of these drawings reveals the sequences of their progress and their eventual achievement. The example of the successful intuitive strategies of these artists has much to offer everyone teaching drawing or wishing to learn."--Jacket.

128 p. : 29 cm

"After its first publication in book form in 1980, A Humument rapidly became a cult classic. This edition follows its predecessors by incorporating revisions and re-workings: a hundred pages are replaced by new versions. As well as marking Tom Phillips's sixtieth birthday year, it celebrates an enterprise which is now itself thirty years old and still actively a work in progress." "In a unique fiction, word and image are blended with a richness scarcely seen since Blake. The artist writes, "I took a forgotten Victorian novel found by chance. I plundered, mined, and undermined its text to make it yield the ghosts of other possible stories, scenes, poems, erotic incidents and surrealist catastrophes which seemed to lurk within its wall of words. As I worked on it, I replaced the text I'd stripped away with visual images of all kinds. It began to tell and depict, amongst other memories, dreams and reflections, the sad story of Bill Toge, one of love's casualties." "Within this small format Tom Phillips has made the arts connect, bringing Wagner's idea of "a comprehensive work of art" to pocketbook proportions."--Jacket.

"There's been a murder. Allegedly." "William de Worde is the Discworld's first investigative journalist. He didn't mean to be - it was just an accident." "But, as William fills his pages with reports of local club meetings and pictures of humorously-shaped vegetables, dark forces high up in Ankh-Morpork's society are plotting to overthrow the city's ruler, Lord Vetinari. They've employed two Tarantino-esque thugs, Mr Tulip and Mr Pin. They mean business.". "Luckily, William has an informant. He can't be a talking dog because dogs can't talk. He's known only as...Deep Bone."--BOOK JACKET.

The most obvious fact about Jesus today is his seeming disappearance from the lives, lands, and cultures where he was once all dominant. In fact, the sacred words, "Here is my body. Take it. Eat it," have been used obscenely and with impunity in recent theater. At such a moment, Malachi Martin provides in Jesus Now a compelling statement (in some respects a theological breakthrough) of the action of Jesus of Nazareth in the lives of men and women today. - Jacket flap.

Explores the effect of living in today's cities has on the millions of people who already live in metropolises, and those who are daily being drawn into them from the countryside, by the millions. Using 10 cities from around the world as illustrations of different crises that face today's urban poor, this publication seeks to emphasise the urgent needs of many in the city. It is been said that the real battles to achieve the Millennium Development Goals will be fought in the cities.--Publisher's description.

This book is a study both of anachronism in antiquity and of anachronism as a vehicle for understanding antiquity. It explores the post-classical origins and changing meanings of the term 'anachronism' as well as the presence of anachronism in all its forms in classical literature, criticism and material objects. Contrary to the position taken by many modern philosophers of history, this book argues that classical antiquity had a rich and varied understanding of historical difference, which is reflected in sophisticated notions of anachronism. This central hypothesis is tested by an examination of attitudes to temporal errors in ancient literary texts and chronological writings and by analysing notions of anachronistic survival and multitemporality. Rather than seeing a sense of anachronism as something that separates modernity from antiquity, the book suggests that in both ancient writings and their modern receptions chronological rupture can be used as a way of creating a dialogue between past and present. With a selection of case-studies and theoretical discussions presented in a manner suitable for scholars and students both of classical antiquity and of modern history, anthropology, and visual culture, the book's ambition is to offer a new conceptual map of antiquity through the notion of anachronism

Inspired by a landmark exhibition of art on view at the Guggenheim Museum, this book provides an accessible overview to one of the world's great art traditions. Africa is the birthplace of human civilization, and produced some of humankind's earliest art objects. This book presents masterworks organized into seven geographical areas - Ancient Egypt and Nubia, eastern Africa, southern Africa, central Africa, western Africa and the Guinea Coast, Sahel and Savanna, and northern Africa. Spectacular sculptures in wood, bronze, and stone provide stunning proof of the aesthetic strength of African traditions, even in the case of utilitarian works that were not made to be "art". In some cases, the very concept of art was foreign to their makers, as Kwame Anthony Appiah explains in his essay. In an epic overview of Africa's earliest history, Ekpo Eyo makes a strong case for dispensing with the popular misconception that northern Africa - northwestern Africa and Egypt - is somehow not an integral part of the African continent. Peter Mark addresses the religious and cultural interaction between northern and sub-Saharan Africa during the spread of Islam and Christianity. Henry Louis Gates, Jr. explores the reception of African art in the West in the early part of this century, outlining how these works - like most everything from Africa - provoked "a certain anxiety" in the Western imagination. Suzanne Preston Blier elucidates the myths surrounding the art of Africa. And an international team of scholars explores the significance of each of the objects reproduced. The volume is rounded off with a selected bibliography.

Pindar's library' is the first volume to explore how readers during the Hellenistic period encountered Pindar's poetry in book form, analysing in detail the role played by Pindar's literary, cultic, and scholarly reception in affecting readers' engagement with his epinician odes. The volume examines the poet's literary devices of encomiastic techniques, mythical narratives, and paraenetic discourses against the background of the song culture of the fifth century, considering the poems as both material documents and performance pieces. With a particular focus on the poems that begin and end the Olympian and Pythian books, the volume considers the continuities between reading and attending performances, highlighting elements of readers' experiences distinctive to Hellenistic culture. It also investigates the issue of quotations of poets in ancient commentaries, and how such citations influenced readers' understanding of intertextual relationships.0Throughout the volume, the relations between Pindar's epinicians and the contextual factors that influence their reception are seen in dialogic terms: as well as exerting a powerful influence over subsequent literature, the poems are also recontextualized in ways that shift and extend their cultural significance.