By John James Audubon
Including the red-winged blackbird, painted bunting, wooden duck, nice blue heron, ruby-throated hummingbird, crimson finch, and blue jay, forty six assorted species of birds from all elements of the U.S. are incorporated during this booklet. the photographs were faithfully redrawn through Paul E. Kennedy from originals via John James Aububon (1785–1851), the main well-known American painter-naturalist.
For each one species, the caption offers the fashionable universal and medical names and the present variety (by normal region). No contrast is made among breeding variety and wintry weather diversity. merely the realm of the U.S., particular of Alaska and Hawaii, is taken into account. The birds proven tend to be males while the caption doesn't supply the knowledge on age and sex.
Audubon's unique plates, numbered to correspond to the pages of the booklet, were reproduced in colour at the covers. in case you keep on with them, you won't purely have loads of coloring excitement, yet additionally, you will the way to determine many very important birds.
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Additional resources for Audubon's Birds of America Coloring Book
In the criticism of the relevant paintings there is rarely a hint of expressive purpose, nor recognition that pictures function in human experience. The painter’s industry is a closed loop. The search for the holistic design is selfjustiﬁed and self-perpetuating. Whether this search is still the exalted Kantian process of self-criticism seems questionable; the claim strikes me rather as a remote intellectual analogy. And other analogies suggest themselves, less intellectual, but closer to home.
It is poor practice, when modern art is under discussion, to present the Old Masters as naively concerned with eye-fooling trickery, while reserving for modern art both the superior honesty of dealing with the ﬂat plane of painting and the maturer intellectual discipline of self-analysis. All important art, at least since the Trecento, is preoccupied with selfcriticism. Whatever else it may be about, all art is about art. All original art searches its limits, and the diﬀerence between the old and the modernist is not in the fact of self-deﬁnition but in the direction which this self-deﬁnition takes.
And I propose to use the word to describe the characteristic picture plane of the 1960s—a pictorial surface whose angulation with respect to the human posture is the precondition of its changed content. It was suggested earlier that the Old Masters had three ways of interpreting the picture plane. But one axiom was common to all three interpretations, and it remained operative in the succeeding centuries, even through Cubism and Abstract Expressionism: the conception of the picture as representing a world, some sort of worldspace which reads on the picture plane in correspondence with the erect human posture.