Коллекция мастерски выполненных стереограмм раскрывает пред твоими очами мир смелых поступков, веселых ужимок, шуточных ситуаций и подлинных чудес в изумляющих своей объемностью 3-D изображениях! Динозавры Юрского периода,герои мифов и сказок, египетская мумия, рыцари средневековья и ковбои Дикого Запада, современные спортсмены и артисты... Все эти почти живые стереограммы уводят тебя в виртуальную реальность, где можно от души позабавиться и улыбнуться.

Next to lighting, posing is the most challenging aspect of photography—with so many body parts to capture, the possibilities are endless, and it’s all too easy to make a wrong turn. This illustrated reference provides both amateur shutterbugs and seasoned pros with the perfect place to turn when in need of quick posing strategies and fresh ideas. Containing 500 contemporary images by leading photographers, this indispensable manual explains posing fundamentals as well as how to create a flattering, feature-specific photograph—one that focuses on the head, shoulders, arms, torso, or feet—in different levels of close-ups, from head-shots to full-lengths.

Featuring over 1,500 engravings that originally graced the pages of Webster's dictionaries in the 19th century, this chunky volume is an irresistible treasure trove for art lovers, designers, and anyone with an interest in visual history. Meticulously cleaned and restored by fine-press bookmaker Johnny Carrera, the engravings in Pictorial Webster's have been compiled into an alluring and unusual visual reference guide for the modern day. Images range from the entirely mysterious to the classically iconic. From Acorns to Zebras, Bell Jars to Velocipedes, these alphabetically arranged archetypes and curiosities create enigmatic juxtapositions and illustrate the items deemed important to the Victorian mind. Sure to inspire and delight, Pictorial Webster's is at once a fascinatinghistorical record and a stunning jewel of a book.

Ancient Rome tracks the progress from the legendary founding of Rome by Romulus in 753 BCE, to the heights of the Roman Empire around 117 CE, and on to the death of Theodosius (the last man to rule over a unified Roman Empire) in 395 CE.

In every form of artistic expression there is passion, and a need to tell a story, convey an idea, or project an ideal. To be in a position to express these concepts and have the tools and foresight to communicate parallel to, or beyond one's vision, is the goal of every artist. It is in the drive of the artist where the vision receives a soul, and in the manipulation of materials where it acquires a body. Society is often measured by the level of sophistication captured in its artistic expression, and can serve as the scale from which its path is plotted. This quest to keep moving forward, not content to rest too long in the imagery and visions of those before, is what keeps the wheels of innovation and collective development spinning. It is a course that while fanning and extending outward like the branches of an immense tree always has roots referring back to its origin. The visions of worlds, tools, spaces, and methods of conveyance not yet known, are all part of the internal dialogue of the concept artist. It is this ability to step outside of one's present condition and provide a voice to the hypothetical future that places them in a distinct position; one where their understanding of technology, expression of art and method of communication result in the objects and environments that provide influence on modern societies' daily experience. In the end, art’s role is not to be amusing either for the artist or the audience…it’s to interpret life, in the past, the present — and the future.

Long before computer games were invented, Hieronymus Bosch was painting terrifying yet strangely likable monsters, often with a touch of humour. His works are assertive statements about the mental dangers that befall those who abandon the teachings of Christ. With a life that spanned 1450 to 1516, Bosch was born at the height of the Renaissance and witnessed its religious wars. Medieval traditions and values were crumbling, paving the way for a new universe where faith had lost its power and much of its magic. Bosch set out to warn doubters of the perils awaiting all and any who lost their faith in God. Believing that everyone had to make their own moral choices, he focused on themes of hell, heaven and lust, brilliantly exploiting the symbolism of a wide range of fruits and plants which lent his imagery strong sexual overtones.

Viennese-native Friedrich Stowasser (1928-2000) called himself Hundertwasser Friedensreich Regentag Dunkelbunt. True to the colorful variety of his names, he pursued many activities as a painter, architect and ecologist, and as "one who awakens identities." This presentation of Hundertwasser's work in all of its different facets is guided by the artist's own view of himself and his purpose. And, because his work is virtually inseparable from his personal life and political activity, a vivid portrait of the artist takes shape before the reader's eyes. Excerpts from conversations between the author and the artist lend a sense of immediacy and authenticity to the narration.

All but closed to outside visitors and influence, its public posture guarded and combative, we see almost nothing from inside North Korea. Award-winning photographer Mark Edward Harris has had rare access to this reclusive country, traveling within its borders as well as documenting life along its northern border with China and the highly militarized DMZ dividing North and South Korea. His images are amazing: the monumental architecture and empty streets of the capital; tightly controlled zones of economic and tourist trade with South Korea; mass games featuring 100,000 choreographed participants. Short essays, extended captions, and a foreword by North Korea expert Bruce Cumings further illuminate a country increasingly at the center of international politics.

In this book one can find many artworks created by Picasso between 1881 and 1914. The first style of the artist was influenced by the works of El Greco, Munch and Toulouse-Lautrec, artists that he discovered when he was a student in Barcelona. Picasso, fascinated by the psychological expression during his Blue period (1901-1904), expresses his own mental misery: his genre paintings, still-lifes and portraits were full of melancholy. Later, Picasso began to paint acrobats during his Circus period. After his voyage to Paris, in 1904, his aestheticism evolved considerably. Cezanne’s influence and Spanish culture led him to Cubism, which is characterised by the multiple points of view over the surface of the painting. Apart from a selection of Picasso’s first paintings, this book presents several drawings, sculptures and photographs.