Искусство

Charles Saatchi, co-founder of Saatchi & Saatchi advertising agency, has become one of the world’s leading collectors of contemporary art and opened his first gallery in a former paint factory at Boundary Road in 1985. His patronage of the group which became known as the Young British Artists sparked an explosion of controversy, particularly with the Sensation exhibition at the Royal Academy in 1997.

In 2008 he opened the 70,000 square foot Saatchi Gallery on the King’s Road in London, one of the largest and most visited showcases for contemporary art in the world. Advertising and art, however, are not his only concerns.

Charles Saatchi is a man with strong opinions on everything from movies to morals, superstition to suicide, and in this book he answers nearly 300 questions from readers and journalists, offering much for everyone to reflect on.

Beads have been a fascinating method for embellishing fashion since ancient cultures sought personal adornment. The twentieth century has seen some of the most innovative, colorful, and wonderful uses for beading as an enhancement in apparel, and, recently, beads have come into fashion as never before. Both vintage and recent costume are desirable as much, if not more, for their beading as for the overall design. This lavishly illustrated book includes chapters on the history, techniques, preservation, and collecting of beads in the world of fashion. With 534 beautiful color photos, a detailed text, captions, value guide, index, and bibliography, it is the first to cover both vintage and recent costume and accessories in one volume. With clothing by designers, ranging from Fortuny and Mackie to unknowns, this volume will delight anyone in the field of fashion.

85 color and b/w photographs

Taken from the personal collection of Alexandra Adami, which she painstakingly assembled during the last 8 to 10 years, this magnificent selection showcases 68 of the most magical Christmas cards, all distinguished by their originality and creativity and sent by famous, prominent and lesser known families. It’s said that Christmas brings out the child in all of us, so it’s appropriate that many cards feature little ones enjoying this special holiday.

Creatures from the animal kingdom represented in exquisite jewelry by renowned masters Cartier, Bulgari, Tiffany & Co., JAR, Belperron, David Webb, Schlumberger, Boucheron, and many other brilliant jewelers.

Many of the most imaginative designs by the world's great jewelry houses and artisans take inspiration from the animal kingdom. From Cartier's iconic panthers to Bulgari's snakes and JAR's butterflies, these spectacular objects dripping with precious stones are akin to wearable art. Beautiful Creatures depicts some of the most spectacular beasts ever transformed into sparkling treasures and accompanies a forthcoming special exhibition in the American Museum of Natural History's Allison and Roberto Mignone Halls of Gems and Minerals.

The 120 pieces featured date from the mid-1800s to the present, representing species from the realms of land, air, and water. Gorgeous studio photography of the jewelry is complemented by images of iconic personalities, including Elizabeth Taylor, Twiggy, and the Duchess of Windsor wearing famous animal-
inspired jewels. Guest curator Marion Fasel relays the stories behind the individual pieces through entertaining anecdotes and reveals the colorful histories and fascinating symbolism of these remarkable creatures in precious gems and metals that intrigue and delight and that we never tire of wearing.

About the Author:

Marion Fasel is a jewelry historian and author of several books on twentieth-century jewelry. She is the founder of the online jewelry magazine The Adventurine. In 2018 Fasel was the recipient of the GEM Award for Media Excellence and the Jewelry Champion Award from Town & Country magazine.

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Пролистать книгу Beautiful Creatures: Jewelry Inspired by the Animal Kingdom на сайте издательства.

Max Beckmann (1884-1950) found his central theme in the loneliness of twentieth-century man, threatened by catastrophe and torn between materialism and freedom of mind and spirit. His early pictures showed the influence of Impressionism, with a preponderance of biblical, historical, and allegorical themes. The first world war made a deep impression on him: somewhere between Expressionism and Neue Sachlichkeit (New Objectivity), the succinct forms and hard contours in his memorable paintings and graphic works showed man at the limit of physical and mental endurance. Later, the harshness and severity of his style softened and his colours became more radiant, but the monumentality remained. Theatre, circus, and music hall became parables of human existence. Beckmann's work is concerned with the fundamental conditions of human existence and the tragic entanglement of the human being dependant on the whims of gods, sexuality, and society. His relentless search for knowledge, his uncompromising commitment to the picture, and his belief in the power of its form and color give his work its distinctive, fascinating character, and have earned him a high-ranking place among the artists of the twentieth century.

Max Beckmann (1884-1950) found his central theme in the loneliness of the twentieth century man, threatened by catastrophe and torn between materialism and freedom of mind and spirit. His early pictures showed the influence of Impressionism, with a preponderance of biblical, historical, and allegorical themes. World War I made a deep impression on him: somewhere between Expressionism and Neue Sachlichkeit (New Objectivity), the succinct forms and hard contours in his memorable paintings and graphic works showed man at the limit of physical and mental endurance. Later, the harshness and severity of his style softened and his colors became more radiant, but the monumentality remained. Theater, circus, and music hall became parables of human existence.

Beckmann’s work is concerned with the fundamental conditions of human existence and the tragic entanglement of the human being dependant on the whims of gods, sexuality, and society. His relentless search for knowledge, his uncompromising commitment to the picture, and his belief in the power of its form and color give his work its distinctive, fascinating character, and have earned him a high-ranking place among the artists of the twentieth century.

This monograph features more than 180 images of works from 1907 to 1950, including many of Beckmann’s famous self-portraits and triptychs (such as Temptation of 1936/1937). Biographical essays cover his war years, the twenties in Frankfurt, his exile years in Amsterdam, and his emigration to the United States where he died; additional material includes photographs on which many of his paintings are based, several exhibition shots, and images from other artists as Pablo Picasso, Eugène Delacroix, Max Ernst, and Edvard Munch that visualize Beckmann’s inspirations and context.

Victoire de Castellane, the designer of Dior Joaillerie, presents her collection of Fine Jewellery on the Belladone Island – an imaginary island conducive to the growth of Belladonna, a toxic plant whose essence was used as eye drops by Italian women during the Renaissance to dilate their pupils – dilated pupils being one of the signs of sexual arousal. The plant kingdom inspired the names of the jewels in their collection, plants which were part of the imaginary ancestral herbarium and reminiscent of the magic formulas of bewitching elixirs – Reina Magnifica Sangria, Poisono Misterius Spinella, Fleuro Poisonus Spinella, Paradisea Coeur Secretus, Carnivora Fluora Eternita, Dracula Spinella Devorus, Grani Opalia Devorus, Carnivo Papidevorus, Ancolia Veneinosa Pop. Each one of the 17 pieces describes the world in its own fashion, recounts a story, which secretly imbibes itself with that of the person wearing it.

In this collection, the imagination of Victoire de Castellane, freed from the shackles of convention, unleashes itself and proves its audacity. The first part of the book, designed to represent the extravagant nature of this collection as accurately as possible, is generously illustrated by Guido Mocafico’s photographs. The second part also shows the various phases involved in unveiling this collection, starting from the building of a lotus-like structure in the virtual sphere on Second Life, until the actual presentation in the hall Nymphéas de Monet at the musée de l’Orangerie.

A sumptuous feast of a book, Frida allows the reader to enter this revered artist's world, both literally and metaphorically.

Through a series of consecutive die-cut pages, one is drawn in - passing through aspects of her life, art and creative process while exploring the themes that inspired her most, such as love, death and maternity.

Excerpts from Frida Kahlo's personal diaries alternate with Sebastian Perez's poetic musings to give fresh insight and emotional depth, while Benjamin Lacombe's stunning artwork masterfully conveys the symbolism and surrealism of her art.

Zeitgeist. The roaring twenties in Berlin

It was the decade of daring Expressionist canvases, the Bauhaus total work of art, drag balls, Metropolis, and Marlene Dietrich. From cutting-edge kino to crowded jazz bars, come and roam the daring, freewheeling spirit of 1920s Berlin with this vivid cultural portrait of the age through painting, design, fashion, film, and more.

It was the decade of daring Expressionist canvases, of brilliant book design, of the Bauhaus total work of art, of pioneering psychology, of drag balls, cabaret, Metropolis, and Marlene Dietrich’s rising star in theater and silent film. Between the paroxysms of two world wars, Berlin in the 1920s was a carpe diem cultural heyday, replete with groundbreaking art, invention, and thought.

This book immerses readers in the freewheeling spirit of Berlin’s Weimar age. Through exemplary works in painting, sculpture, architecture, graphic design, photography, and film, we uncover the innovations, ideas, and precious dreams that characterized this unique cultural window. We take in the jazz bars and dance halls; the crowded kinos and flapper fashion; the advances in technology and transport; the radio towers and rumbling trams and trains; the soaring buildings; the cinematic masterworks; and the newly independent women who smoked cigarettes, wore their hair short, and earned their own money.

Featured works in this vivid cultural portrait include Hannah Höch's The Journalists; Lotte Jacobi’s Hands on Typewriter; Otto Dix's Portrait of the Journalist Sylvia von Harden; Peter Behrens's project of the Alexanderplatz; and Josef von Sternberg’s The Blue Angel, starring Dietrich as cabaret performer Lola Lola. Along the way, we explore both the utopian yearnings and the more ominous economic and political realities which fueled the era's escapist, idealistic, or reactionary masterworks. Behind the bright lights and glitter dresses, we see the inflation, factory labor, and fragile political consensus that lurked beneath this golden era and would eventually spell its savage end with the rise of National Socialism.

The editor

Rainer Metzger studied art history, history, and German literature in Munich and Augsburg. In 1994, he earned his Ph.D. on the subject of Dan Graham, and subsequently worked as a fine arts journalist for the Viennese newspaper Der Standard. He has written numerous books on art, including volumes on van Gogh and Chagall. Since 2004, he has worked as Professor of art history at the Academy of Fine Arts in Karlsruhe.

Berlin is a concept album that represented a brave departure from the familiar sounds and themes of Lou Reed’s earlier solo work, a tragic tale about heartbreak and addiction meant to be played live as a rock opera, in the vein of The Who’s Tommy. But its poor reception meant that plans for a live performance were put on hold until 2007, when, with a renewed confidence in the material, Reed toured with a full orchestra and choir, giving some of the most personal and powerful performances of his career.

The tour was filmed by legendary artist Julian Schnabel, a longtime friend of Reed’s who also designed the spare and beautiful set, and whose daughter Lola contributed moving images projected behind the stage. This immeasurably powerful book draws on stills from Schnabel’s film, photographs of the set design, printed lyrics of Reed’s original verse, and images from Schnabel’s projections to tell the twin stories of Berlin as rock opera and as unique collaboration between two geniuses of contemporary art, music, words, and film.

The book also includes a rare conversation between Reed and Schnabel.

About the Author

Lou Reed is a founding member of the Velvet Underground and an accomplished solo artist, poet, writer, and photographer. He lives in New York. Julian Schnabel is a celebrated artist and filmmaker whose work is in the permanent collections of The Metropolitan Museum and MoMA in New York, and whose film The Diving Bell and the Butterfly was nominated for four Academy Awards. He lives in New York.

Bernini: Art as Theatre forges a new analysis of Baroque illusionism through a study of this artist’s sculptural ensembles.

Gian Lorenzo Bernini (1598–1680) was a sculptor, architect and painter, but also a court scenographer, playwright, actor and director. Bernini’s work in theatre served as a wellspring for his art’s visual effects. Theatre was the dominant cultural paradigm of the Baroque, manifest in the rise of opera and ballet, as well as increasingly magnificent scenographic technologies for the performed rituals of church and court. Bernini drew on a lexicon of theatrical effects, deploying light, movement and a fusion of fictive and physical space to render new forms of artistic illusion in both his sculptural mise-en-scènes and his stage sets. The force of his art’s illusionistic powers lay in a fiction of materials effected through medial exchanges between sculpture, painting and architecture.

This book opens up provocative new frameworks for the analysis of Baroque illusionism extending beyond Bernini to a reconsideration of seventeenth-century visual culture as a whole.

The 1970s: that magical era betwixt the swinging 60s and the decadent 80s, the epoch of leisure suits and Afros, the age of disco music and platform shoes. As war raged on in Vietnam and the cold war continued to escalate, Hollywood began to heat up, recovering from its commercial crisis with box-office successes such as Star Wars, Jaws, The Exorcist, and The Godfather. Thanks to directors like Spielberg and Lucas, American cinema gave birth to a new phenomenon: the blockbuster. Meanwhile, across the Atlantic, while the Nouvelle Vague died out in France, its influence extended to Germany, where the New German Cinema of Fassbinder, Wenders, and Herzog had its heyday. The sexual revolution made its way to the silver screen (cautiously in the US, more freely in Europe) most notably in Bertolucci's steamy, scandalous Last Tango in Paris. Amidst all this came a wave of nostalgic films (The Sting, American Graffiti) and Vietnam pictures (Apocalypse Now, The Deer Hunter), the rise of the anti-hero (Robert De Niro, Al Pacino, Dustin Hoffman), and the prestigious short-lived genre, blaxploitation.

A-Z film entries include:
- Synopsis
- Film stills and production photos
- Cast/crew listings
- Box office figures
- Trivia
- Useful information on technical stuff
- Actor and director bios

Plus: a complete Academy Awards list for the decade