Thomas Canty (1952-) is an illustrator and book designer in the field of fantasy literature, credited with pioneering a "New Romantic" style of painting, influenced by such 19th century artists as Alphonse Mucha, Gustav Klimt, and the Pre-Raphaelites. His paintings are featured each year on the cover of the award-winning Year's Best Fantasy and Horror volumes, as well as on numerous other books in the fantasy field and beyond, including: Michael Moorcock's Elric series and Louise Cooper's Time Master and Indigo series. He has worked an as art director and designer for Donald M. Grant Publisher, and collaborated on many projects with editor/author Terri Windling, such as the Fairy Tales series (Ace Books and Tor Books) and the Snow White, Blood Red series (Avon). His poem, A Monster at Christmas was published by Grant in 1985. Canty has won two World Fantasy Awards, among other honors. His work has been exhibited at the Society of Illustrators gallery in New York, as well as in museums and galleries across the United States. He is a member of The Endicott Studio

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Родилась в 1983 году в Ростове-на-Дону, закончила Южно-Российский Государственный Технический Университет по специальностям "дизайнер" и "переводчик с немецкого языка". В 2001 году приняла участие в выставке "Молодые художники Дона" в Ростове-на-Дону, получила диплом 3й степени. Занималась батиком с 2002 года. В 2006 переехала в Москву. В декабре 2007 года состоялась первая персональная выставка "Шёлковый путь" в клубе "Свой Круг". C 2008 года является членом Творческого Союза Профессиональных Художников (ТСПХ). Принимала участие в юбилейной выставке товаров и ремёсел в Монако, а также в выставке "Золотой Глобус-2008" в "Крокус-Экспо". Работает на заказ, создаёт шёлковые картины, платки, галстуки, зонты и другие аксессуары ручной работы. Работы находятся в частных коллекциях городов России, а также Кишинёва, Тбилиси, Тель-Авива, Иерусалима, Мельбурна, Оттавы, Торонто, Лондона, Нью-Йорка и других.

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?Вази, Джузеппе (Vasi, Giuseppe) 1710, (?) — 1782, Рим. Итальянский рисовальщик, гравер, Один из первых учителей Дж. Б. Пиранези. Родом из Сицилии, работал в Риме. Прославился как иллюстратор к путеводителям по Риму — "чичероне" (от ит. cicerone — гид, путеводитель), которые пользовались большой популярностью у путешествующих по Вечному городу. Наиболее известные работы: De Magnificenza di Roma (1736) и Itinerario istruttivo di Roma (1794, 3 изд.). Большую известность приобрел и созданный Вази Вид Рима (Лос-Анджелес, фонд П. Гетти), получивший название Prospetto. На нем изображена в духе ведуты XVIII в. широкая панорама Рима от собора Св. Петра — слева, до Аква Паола — справа, очень хорошо различимы все архитектурные постройки, сады, фонтаны. Подобные виды, имевшие, однако, в большей степени характер карт, создавали в гравюре раньше Дж. Б. Фальда (Nuova pianta ed alzata della citt? di Roma, 1676) и А. Темпеста (1593). Вази развил их приемы, соединив эти достижения с традициями ведуты.

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Myles and I met, appropriately enough, through an art contest when we were both in the seventh grade. We each had our partisan friends who thought we were "the best artist in school", but rather than becoming fierce competitors, we became fast friends, spending lunch hours discussing perspective, philosophy, and favorite artists. While the seventh grade contest was never decided, a year later, Myles won first place in the school art show. Over the years Myles has gone on to win innumerable awards, but I know that the opinions of friends, family, and those who enjoy his work are more important to him. An 'A' student who finished up the entire math program well before high school graduation, Myles only took a single art class. Few know that Myles also has an acting background, (though if you study his paintings, you will see that his characters have a definite sense of inner life to them). We went to different high schools (a good thing since at the time he was getting leads in his school plays, I was getting leads in mine) but we remained good friends and went to the same college...for a year. Even in college, few of his courses were art related. He has always preferred to rely upon his own ability to observe and invent, which led to the development of his unique technique and style. Acting overtook art in my life, and while I remained in school and got my acting degree, Myles went on to become a husband and father. After college graduation, I hit the road as a stand-up comic. Myles pursued that which he was destined to pursue.Myles' studio Myles considered other career paths--mathematics, acting, languages, religion--but as was clear way back in seventh grade, Myles was meant to be an artist. When he did decide to take a couple of art classes, he was only in class a few weeks before one of his instructors offered him a job in his agency. He learned much of the technical aspects of an art career there, and in 1986 embarked upon the life of a freelancer. His artwork was soon sought after by high-tech firms, book and magazine publishers, television production companies, art publishers, and collectible marketers. Today there are hundreds of thousands of Myles Pinkney's prints hanging in homes all over the world. His work also appears as puzzles, cards, book and magazine covers, life-sized stand-ups, figurines and collector plates. In 1994, work began on the first of his fantasy calendars. Produced by Portal Publications, these have been popular from their inception, and have won awards every year of publication.The Contraption Looking at a Myles Pinkney painting is like seeing an entire movie in a single frame. First the image catches your eye, then you notice additional nuances as you travel around- and within- each painting. It's not unusual for someone to have a print for years, and then to suddenly see some new detail that had somehow previously escaped their detection. Myles Pinkney's paintings also depict a larger universe. The shape of it becomes more apparent with each new painting you see. Twisted logic, incredible detail, and a quirky sense of humor all combine to create a world of infinite impossibilities into which the viewer is drawn again and again. - Reno Goodale.

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Sir William Jardine, 7th Baronet Born 23 February 1800(1800-02-23) Edinburgh, Scotland Died 21 November 1874(1874-11-21) (aged 74) Sandown, Isle of Wight, England Citizenship United Kingdom of Great Britain and Ireland Nationality Scottish Alma mater Edinburgh University Known for Natural history Painting by Sir William Jardine, 1833 Sir William Jardine, 7th Baronet of Applegirth, Dumfriesshire (23 February 1800, Edinburgh to 21 November 1874, Sandown, Isle of Wight) was a Scottish naturalist.[1][2] Jardine made natural history available to all levels of Victorian society by editing and issuing the hugely popular forty volumes of The Naturalist's Library (1833-1843). The 40 volumes is divided into four main sections: Ornithology (14 volumes), Mammalia (13 volumes), Entomology (7 volumes), and Ichthyology (6 volumes); each prepared by a leading naturalist. James Duncan wrote the insect volumes. The artists responsible for the illustrations included Edward Lear. The work was published in Edinburgh by W.H Lizars. The frontispiece is a portrait of Latreille Jardine's other publications included an edition of Gilbert White's Natural History of Selborne which re-established White's reputation, Illustrations of Ornithology (1825-43), and an affordable edition of Alexander Wilson's Birds of America. Jardine was the author of a number of bird species, alone or in conjunction with his friend Prideaux John Selby

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Jessie Willcox Smith in 1917 Born September 6, 1863(1863-09-06) Philadelphia, Pennsylvania, U.S. Died May 3, 1935(1935-05-03) (aged 71) Philadelphia, Pennsylvania, U.S. Field Illustration Jessie Willcox Smith (September 6, 1863 – May 3, 1935) was a United States illustrator famous for her work in magazines such as Ladies Home Journal and for her illustrations for children's books. Born in the Mount Airy neighborhood of Philadelphia, Pennsylvania, in 1884 Smith attended the School of Design for Women (which is now Moore College of Art & Design)[1] and later studied at the Pennsylvania Academy of the Fine Arts under Thomas Eakins in Philadelphia, graduating in 1888. A year later, she started working in the production department of the Ladies' Home Journal, for five years. She left to take classes under Howard Pyle, first at Drexel and then at the Brandywine School. She was a prolific contributor to books and magazines during the late nineteenth and early twentieth centuries, illustrating stories and articles for clients such as Century, Collier's Weekly, Leslie's Weekly, Harper's, McClure's, Scribners, and the Ladies' Home Journal. Smith may be most well known for her covers on Good Housekeeping, which she painted from December 1917 through March 1933. She also painted posters and portraits. Her twelve illustrations for Charles Kingsley's The Water-Babies (1916) are also well known. On Smith's death, she bequeathed the original works to the Library of Congress' "Cabinet of American Illustration" collection. (A thirteenth illustration remains in a private collection.) Smith was close friends with the artists Elizabeth Shippen Green and Violet Oakley, who also studied with Pyle. Her papers are deposited in the collection of the Pennsylvania Academy of the Fine Arts. [edit]

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