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      • Clare Painter Associates Ltd

        Licensing digital rights can be complicated and time-consuming. For 15 years our digital licensing agency, founded by pioneering digital publisher David Attwooll (as Attwooll Associates), has guided publishers through rapid and complex digital change. Clare and her small team of digital rights experts take a personal approach to each publisher, recommending specific licences and digital business models. We attend the book fairs in London and Frankfurt each year, and deal regularly with over 50 e-vendors across all sectors of the market: professional, academic, educational, and consumer.

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      • Full Bleed Rights

        Full Bleed Rights specializes in selling foreign rights for comics, graphic novels, art journals, magazines, tarot decks, children's books, and other illustrated books.

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      • Trusted Partner
        June 2022

        On Dunhuang Painted Sculptures

        by Chang Shuhong (1904–1994), the author, was a famous artist and researcher on the art of Dunhuang. As the founder of Dunhuang Studies and a pioneer of Dunhuang cultural undertakings, he was honored as "the guardian of Dunhuang."

        On Dunhuang Painted Sculptures is general reading material about the art of Dunhuang painted sculptures, and it’s the ingenious work of Mr. Chang Shuhong, the pioneer of Dunhuang Studies in China.

      • Trusted Partner
        June 2022

        Mogao Grottoes Art in Dunhuang

        by Chang Shuhong (1904–1994), the author, was a famous artist and researcher on the art of Dunhuang. As the founder of Dunhuang Studies and a pioneer of Dunhuang cultural undertakings, he was honored as "the guardian of Dunhuang."

        Mogao Grottoes Art in Dunhuang is general reading material about the art of Dunhuang grottoes, and it’s the ingenious work of Mr. Chang Shuhong, the pioneer of Dunhuang Studies in China.

      • Trusted Partner
      • Trusted Partner
        2017

        Happy Fine Art Class

        by Children's Art Education

        Happy Fine Art Class is a fine art class that "creates happiness"! Here, a “Happy Fine Art Class” is being created. What is happiness? How to get happy? What is a happy fine art class like? Let us lead you to feel the happiness created by the Happy Fine Art Class of the Central Academy of Fine Arts. As an educator, the understanding and love for children is the foundation of art teaching. In this way, we can face every child who is full of ideas with a heart of tolerance and encouragement, and let them feel the warmth of helping and sharing with each other under the collaboration of the group.How to get happy? In fact, happiness is in the process of painting and other artistic creations.

      • Trusted Partner

        Oracle Bone Picture Book

        by Central Academy of Fine Arts Picture Book Creation Studio

        The "Oracle Bone Picture Book" series introduces children aged 5-10 to Chinese characters. It explains the connection between character shapes and meanings of the ancient oracle bone script and showcases their real-life applications, helping children understand Chinese characters from their roots and fostering an appreciation for the script, making learning fun and engaging. It contains 10 books: "A Big Deal", "Amazing Mom", "Lessons from Animals", "The Heart of Plants", "Their Family", "Feast and Song", "Under the Sky, Between Mountains and Seas", "At Your Home, At Mine", "Off to the Hunt", "Face Stories".

      • Trusted Partner
        Art forms
        2022

        T. Shevchenko. Life in art

        by Dmytro Stus, Tetyana Chuiko, Anastasia Morozova, Yulia Shilenko

        Of course, the fate of the artist was formed in a certain way because he realized his vocation - to be a poet. On the other hand, he lived his life as a professional artist. After graduating from the St. Petersburg Academy of Arts, T. Shevchenko worked as an artist in the Temporary Commission for the consideration of ancient acts (Kyiv Archaeographic Commission), applied for the position of drawing teacher at the University of St. Volodymyr in Kyiv. And when his plans were broken by arrest, then in exile, despite the strict imperial ban on writing and drawing, the artist was able to work in his specialty, although not officially. Shevchenko devoted the last years of his life to the development of etching, having received the title of academician in engraving. The publication consists of two parts. The first is devoted to the works of the artist, made in graphic techniques, as well as sepia and watercolor. Given the fact that there are few oil paintings in the artist's works, we singled them out in the second part, trying to break stereotypes about their perception. Each section of the first part is devoted to a separate genre, which was addressed by T. Shevchenko. The largest of the sections are divided into thematic headings, which allows you to see the works of the artist from a new, perhaps unexpected, angle. In turn, the commentary to each work contains a brief history of creation (places, circumstances, relationships, etc.) and artistic characteristics that reveal the performing skills of the author. In addition, an important addition is the part of the commentary "Interesting" and quotes from the novels, Diary, correspondence of the artist, memoirs of his contemporaries. You can start your acquaintance with the publication from any section or even heading. Traveling through Shevchenko's paintings on separate routes you will have a complete rich journey through the original world of the artist.

      • Trusted Partner
        Picture books

        The Lilac Girl

        by Ibtisam Barakat (author), Sinan Hallak (illustrator)

        Inspired by the life story of Palestinian artist, Tamam Al-Akhal, The Lilac Girl is the sixth book for younger readers by award-winning author, Ibtisam Barakat.   The Lilac Girl is a beautifully illustrated short story relating the departure of Palestinian artist and educator, Tamam Al-Akhal, from her homeland, Jaffa. It portrays Tamam as a young girl who dreams about returning to her home, which she has been away from for 70 years, since the Palestinian exodus. Tamam discovers that she is talented in drawing, so she uses her imagination to draw her house in her mind. She decides one night to visit it, only to find another girl there, who won’t allow her inside and shuts the door in her face. Engulfed in sadness, Tamam sits outside and starts drawing her house on a piece of paper. As she does so, she notices that the colors of her house have escaped and followed her; the girl attempts to return the colors but in vain. Soon the house becomes pale and dull, like the nondescript hues of bare trees in the winter. Upon Tamam’s departure, she leaves the entire place drenched in the color of lilac.   As a children’s story, The Lilac Girl works on multiple levels, educating with its heart-rending narrative but without preaching, accurately expressing the way Palestinians must have felt by not being allowed to return to their homeland. As the story’s central character, Tamam succeeds on certain levels in defeating the occupying forces and intruders through her yearning, which is made manifest through the power of imaginary artistic expression. In her mind she draws and paints a picture of hope, with colors escaping the physical realm of her former family abode, showing that they belong, not to the invaders, but the rightful occupiers of that dwelling. Far from being the only person to have lost their home and endured tremendous suffering, Tamam’s plight is representative of millions of people both then and now, emphasizing the notion that memories of our homeland live with us for eternity, no matter how far we are from them in a physical sense. The yearning to return home never subsides, never lessens with the passing of time but, with artistic expression, it is possible to find freedom and create beauty out of pain.

      • Trusted Partner
        Children's & YA

        Big Big Banana Rides a Dog

        by Mei Zihan

        An argument happens in the kindergarten: Big Banana said that he dares to ride a puppy down the street. Meanwhile, teacher kitty said that he once rode a tiger on the street. However, all this happens in their dreams. As a result, kids begin talking about all of their dreams…These lovely “nonsenses” are not lies, but really fairy tales in the eyes of a person who loves kids a lot. The book is written by famous children’s literature writer-Mei Zihan, and its stories are humorous and slightly naughty, and full of vivid illustrations. The book is painted by youthful painter-Bu Jiamei, and she deftly uses color to distinguish reality from imagination, which makes the book colorful and strongly expressive.

      • Trusted Partner
        2006

        The Complete Works Of Wu Guanzhong

        by Shui Tianzhong, Wang Hua

        Owing to the spirit of exploration and experimentation in artistic practice, Mr. Wu Guanzhong has become an influencing and outstanding artist in the circle of Chinese fine arts. Mr. Wu Guanzhong has been diligent at creation. Excluding those work pieces lost or damaged deliberately by himself, nearly 5,000 paintings made by Mr. Wu Guanzhong have gone round in the world, including 500 oil paintings, about 3,000 wash paintings and around 1,500 sketches, watercolor paintings and drafts. The book consists of 9 volumes, ingathering 2,200 paintings and 1,500 thousand words. These paintings are his magnum opuses of all the periods of his creation, exhibiting his exploration and originality in art. His essays written in nearly 1,000 thousand words reflect his viewpoints and thoughts. The book exhibits his works vividly and demonstrates tridimensionally what Mr. Wu Guanzhong thought about and what he pondered on.

      • Trusted Partner
        The Arts

        Representative Works of Chinese Woodblock New Year Paintings

        by Feng Jicai

        Woodblock new year painting is an old handicraft of China, going back thousands of years. People celebrate the Spring Festival by posting up woodblock new year paintings, praying for their good wishes. Chief edited by the contemporary Chinese author, artist, and cultural scholar Feng Jicai, the Representative Works of Chinese Woodblock New Year Paintings is a collection of the masterpieces selected out of over ten thousand woodblock new year paintings. It has two volumes, the Northern and the Southern, from which one can see the differences in the custom of the two regions. The book has received support from scholars and institutions worldwide, among which the Japanese museums' collections of Gusu woodblock new year paintings in the early Qing Dynasty and the Russian museums' collections of late Qing and early Republic China are disclosed to the world for the first time. So the book is not only a historical art collection, but also of high cultural heritage significance.

      • Trusted Partner

        Artistic Painted Sculptures in Shanxi Temples

        by Yang Ping

        The art of painted sculptures is a kind of engraving art with distinctive national features in China. According to the statistical data from previous censuses of cultural relics, Shanxi province owns more than 13,000 painted sculptures, of which the majority are in Buddhist and Taoist temples. The painted sculptures in Shanxi temples are unique across the country, with a great variety of themes, a long time span, diversified styles, and exquisite craftsmanship. This book series makes a multi-angle analysis of the themes, styles, allusions, and evolution of the painted sculptures in Shanxi temples with exquisite pictures and concise words. Not only can it be used as a reference for inheriting and developing ancient Chinese painted sculpture techniques, but also a guide for appreciating the beauty of Chinese sculpture art.

      • Trusted Partner
        The Arts
        2011

        Signs of China

        by Project group of Picture

        Nearly fifty symbols of traditional Chinese culture with strong symbolism, high recognition and extensive influence are selected in this book, whose connotation covers the fields like architecture, collection, dress and personal adornment, military affairs, health preservance and folk arts. The symbols are of special postion and meaning in the history of traditional Chinese culture since they are stereo, multidimensional, and full of fresh color and life with profound historical origins and cultural significance; therefore they not only bring people a visional impact and enjoyment, but conform with the Chinese aesthetic ideas and cultural complex in their innermost hearts; furthermore created originally by the Chinese ethnic peoples, they have a very deep brand of traditional Chinese aesthetic sentiment and historical memory, meanwhile they make a great effect on the development of culture and arts of mankind. With a view to make the panoramic scan of “traditional Chinese cultural symbols” this time, the compilers intend to display the essence of the culture of Chinese symbols and record the new growth of traditional Chinese culture truthfully through plentiful exqusite pictures in the lively and concise language on the basis of the principle of respecting history and deep exploration.

      • Trusted Partner
        The Arts
        May 2014

        The Centennial History of Chinese Art (1900-2000)

        by Yin Hong, Ling Yan, etc.

        This book series contain 5 volumes: The Centennial History of Chinese Cinematography (1900-2000) The Centennial History of Chinese Fine Arts (1900-2000) The Centennial History of Chinese Dancing (1900-2000) The Centennial History of Chinese Drama (1900-2000) The Centennial History of Chinese Music (1900-2000) A period historical works of the Chinese Art for the last hundred years (1900-2000),offering a profound analysis of the underlying interaction between the development of the centenial history of fine arts and society, economy, thoughts and cultural vicissitudes through the narration of the conditions of the development of Chinese art.

      • Trusted Partner
        September 2023

        Being Able to Stop

        Against the delusion of permanent growth

        by Edited by Jean-Pierre Wils

        We moderns were the inhabitants of an age of impetuous forward movement and voracious discontent. Our main virtue was to increase our reach. Increasing our having and accelerating our being were the signposts towards the future. We just could not get enough. Using the blinkers of ignorance and self-anaesthesia, however, we managed to forget the tremendous costs incurred by this intoxication. Now disillusionment has set in. We look to the future with anxiety. We know that we have long since crossed a line and that a revision of our lifestyle is imminent. We have a bad feeling, and doubts about progress often give way to anger and rebellion. Which stocks of the modern narrative should we defend; which would we do better to let go? How will we even "be able to stop"? The path to a different society needs an attractive goal, because without the prospect of a different, better life, we will not move forward. We should start practising immediately. There is no time to lose.

      • Trusted Partner
        Biography & True Stories
        2016

        Kazymyr Malevych. Kyiv Period 1928-1930

        by Tetyana Filevska (compiler)

        This publication presents Kazymyr Malevich’s theoretical legacy, which is first and foremost connected to the time he spent in Kyiv and in Ukraine. When he lived in Kyiv, he taught at the Kyiv Art Institute and published in the journals Nova Generatsiia (New Generation) and Avanhard (Avant-Garde). The book also contains his letters, memoirs, and various publications related to his exhibition at the Kyiv Art Gallery in the 1930. Kazymyr Malevich: The Kyiv Period is unique in that it includes not only the artist’s well-known essays, but also tsome previously unpublished exts of his authorship that were discovered in 2015 in the Kyiv archive of a well known artist Marian Kropyvnytsky. In the late 1920s, Kropyvnytsky was Malevich’s personal assistant at the Kyiv Art Institute.

      • The Arts
        March 1905

        Concerning the Spiritual in Art

        by Wassily Kandinsky

        A pioneering work in the movement to free art from its traditional bonds to material reality, this book is one of the most important documents in the history of modern art. Written by the famous nonobjective painter Wassily Kandinsky (1866–1944), it explains Kandinsky's own theory of painting and crystallizes the ideas that were influencing many other modern artists of the period. Along with his own groundbreaking paintings, this book had a tremendous impact on the development of modern art. Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings. This English translation of Über das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.

      • Trusted Partner
        Humanities & Social Sciences
        June 2011

        Bourgeois consumption

        Food, space and identity in London and Paris, 1850–1914

        by Rachel Rich

        Bourgeois Consumption looks at how the middle classes in late nineteenth-century London and Paris used food and dining as forms of social expression and identity. This engaging treatise about how class and gender informed people's eating habits focuses on the complex interactions between bodies, ritual and identity. Forgoing the traditional food history territory of recipes and ingredients in favor of how people ate in different circles, Bourgeois Consumption explores the role of real and imagined meals in shaping Victorian lives. The perception of the middle classes as rigid and upright, found in the extensive pages of their etiquette books, is contrasted with a more flexible and spontaneous bourgeoisie, gleaned from the pages of their own colorful memoirs, diaries and letters, leading us on a lively journey into eating spaces, mealtimes, manners, and social interactions between diners. Further, contrasting Paris with London reveals some of the ways each city shaped its inhabitants but, more surprisingly, throws up a range of similarities that suggest the middle classes were, in fact, a transnational class. Rachel Rich's work will be of interest to anyone intrigued by the history of food, consumption and leisure, as well as to a broader audience curious about how the Victorian middle classes distinguished themselves through daily life and manners. ;

      • Trusted Partner
        Non-graphic art forms
        May 2012

        The 'do-it-yourself' artwork

        Participation from Fluxus to New Media

        by Edited by Anna Dezeuze

        Viewers of contemporary art are often invited to involve themselves actively in artworks, by entering installations, touching objects, performing instructions or clicking on interactive websites. Why have artists sought to engage spectators in these new forms of participation? In what ways does active participation affect the viewer's experience and the status of the artwork? Spanning a range of practices including kinetic art, happenings, environments, performance, installations, relational and new media art from the 1950s to the present, this critical anthology sheds light on the history and specificity of artworks that only come to life when you - the viewer - are invited to 'do it yourself.' Rather than a specialist topic in the history of twentieth- and twenty-first century art, the 'do-it-yourself' artwork raises broader issues concerning the role of the viewer in art, the status of the artwork and the socio-political relations between art and its contexts.

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