Искусство

Illustrations: 198 col

This lavishly illustrated book presents outstanding examples of one-of-a kind jewellery from the 1940s to the present drawn from the collection of the Museum of Arts & Design in New York. The 288 pages guide the reader through a fascinating diversity of materials, technique and approaches that make contemporary jewellery visually exciting and intellectually stimulating. No longer dependent on gold and gemstones, these creations demonstrate that commonplace aluminium, rubber, glass, paper, thumbtacks, and even salvaged gun triggers can be made into dazzling jewellery.

The international nature of today's jewellery is fully represented with established luminaries as well as emerging artists in the field from the United States, Europe, Asia and Australia including Gijs Bakker, Robert Ebendorf, Hermann Jünger, Sam Kramer, Otto Künzli, Linda MacNeil, Margaret DePatta, Bruno Martinazzi, Giò Pomodoro, Wendy Ramshaw, Art Smith, Kiff Slemmons, David Watkins, and Anna Maria Zanella.

The book contains a foreword by Holly Hotchner, Director of the Museum of Arts & Design; essay by Ursula Ilse-Neuman, Jewellery Curator of the Museum of Arts & Design, surveying major trends in contemporary jewellery over the past 75 years; and over 200 full-colour illustrations of works from the Museum's Permanent Collection.

Ursula Ilse-Neuman is Jewellery Curator at the Museum of Arts & Design, New York. She joined the Museum in 1992 and has curated numerous exhibitions in all media. Ms. Ilse-Neuman is the author of numerous publications and has juried many competitions and lectured widely both in the United States and abroad. She is currently a Ph.D. candidate at the Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture. She is a member of the Editorial Board of Directors of Metalsmith magazine.

A narrative chronology of the dealers, artists and spaces that have defined modern art – lavishly illustrated throughout with photographs of artists, dealers and art world personalities.

Art galleries are enormously influential in the aesthetic discourse of the modern age. They have launched the careers of the era’s most important artists, and breathed life into some of its most important artistic movements.

International Art Galleries is the first book to examine the modern gallery phenomenon, offering more than seventy-five portraits of art galleries from around the world, all of whom have represented the finest artists of the last sixty years, and all of whom have had a key role in defining the artistic zeitgeist.

Organized decade-by-decade, each chapter is introduced by a brief historical sketch that summarizes the social background of the decade in question. The galleries are introduced by a brief factual section that details their date of foundation, proprietor, addresses and artists represented, followed by a lively illustrated essay.

World’s fairs were the most important vehicles for debuting advancements in modern living. These renowned international expositions were showcases for design on a national and global level, and they democratized design, unlike any previous forum.

Inventing the Modern World is lavishly illustrated with two hundred examples of woodwork, metalwork, ceramics, glass, jewellery, and textiles from private and public collections, primarily in America and Europe, many never before published or seen outside of their respective collections. Incredibly diverse but all representing the pinnacle of scientific and artistic achievements of their time, these extraordinary creations range from a monumental 1850s Gothic Revival cabinet to a streamlined glass chair from 1939, to masterpieces of jewelry and objects in glass, silver, and porcelain by Baccarat, Tiffany, Gorham, Cartier, Sèvres, and Herman Miller.

This unprecedented volume, edited by Jason Busch and Catherine Futter, and with contributions by them and many other specialists and scholars, breaks new ground in the study of decorative arts.

Formed in east London in 1975, Iron Maiden went on to become one of the most successful rock acts in history. With more than 85 million album sales to their credit, the legendary metal band remains hugely popular worldwide: Their 2010 album, The Final Frontier, debuted at No. 1 in 30 countries and received unanimous critical praise.

In this, the first complete illustrated treatment of Iron Maiden, a roster of respected heavy metal journalists including Ian Christe, Martin Popoff, Mick Wall, Daniel Bukszpan, and more relate the band’s history, analyze their recordings, and provide a complete discography. The stories behind the band’s formation, recordings, and tours, are complemented with more than 400 images, including live performance and candid off-stage photographs, as well as memorabilia, gig posters, T-shirts, backstage passes, buttons, and tickets. Exclusive cover art was created by Derek Riggs, the man behind Iron Maiden's iconic mascot, Eddie.

Isaak Levitan (1860-1900) was born into a poor Jewish family in Lithuania and was able to enrol at the Moscow School of Painting in 1873. He made rapid progress, the great merchant collector Pavel Tretyakov buying one of his paintings when he was only nineteen. In 1886 Levitan sketched in the Crimea and from 1887 he spent several summers painting in the Volga region. These years saw the development of his great friendship with the future playwright Anton Chekhov and the creation of his first 'mood landscapes'. Levitan travelled extensively, if briefly, in Europe, visiting Berlin, Paris, the Riviera, Italy, Switzerland, Munich and Vienna. He was thus, unlike many of his contemporaries, well aware of artistic trends in the west, his experience of European art adding to the breadth of his vision. In both his joyful commemorations of the Russian spring and his quiet scenes of fields and forests, lakes and rivers, often seen at twilight, Levitan employed simple, well-loved motifs of the Russian countryside, an expressive brushwork and a subtle tonality. His work was greatly admired by Diaghilev, the revolutionary theatre manager Stanislavsky and the great operatic singer Chaliapin. Towards the end of his short life Levitan, exhibiting with the Wanderers (the Russian association for travelling exhibitions) and the Munich Secession, was responsible for revitalising the teaching of landscape in Moscow. This revised edition of the author's Isaak Levitan Lyrical Landscape (2004 and 2006), also focuses on Levitan's still lifes, portraits and cityscapes. The creative thinking behind some of his most outstanding works is explored and certain parallels are drawn with the landscapes of Monet, who, while Levitan painted on the shores of the Volga, lived and worked near the river Seine. AUTHOR: Averil King is an independent art historian with a particular interest in the art of the late nineteenth and early twentieth centuries. Her previously published books are Isaak Levitan Lyrical Landscape, 2004, re-issued 2006, Newlyn Flowers: the Floral Art of Dod Procter, RA, 2005 (both Philip Wilson Publishers), and Paula Modersohn-Becker, 2009 (Antique Collectors' Club).

Islam, the second largest and the youngest of the major world religions, has changed the world and left its mark on human history since the appearance of the prophet Mohammed in the seventh century.

This book follows the historical development of the Islamic dynasties and regions, showing the variety of their forms of artistic expression from the beginning until today. From decorative elements of buildings to calligraphy and the embellishment of everyday objects, ornamentation, that most characteristic Islamic art form, is displayed in an extraordinary rich range of ways.

The contributions of important scholars bring to life before our very eyes this culture, which belongs next to Greek and Roman antiquity as one of the pillars of our modern society.

The Visual Encyclopaedia series provide up to 300 beautiful photographic and artwork images, illustrating subjects of perennial cultural interest. Images are accompanied by narrative providing background, brief criticism, and details on relevant museums, brief biographies and time lines

An encounter with the artistic heritage of Islam is characterized by two factors that make it very special: the vast dimension of the areas involved, from Spain to Central Asia as far as China - without forgetting the expansion to sub-Saharan Africa - and the continuation of the phenomenon during fourteen centuries of history. Is it possible to treat such a complex and multifaceted phenomenon as a single subject? The images that follow are the answer.

Другие книги серии Visual Encyclopedia of Art:

20th Century Art. Искусство XX века

Art Nouveau. Арт Нуво

Baroque. Барокко

Renaissance. Ренессанс

This gorgeous survey of art from the Islamic world covers three continents and fourteen centuries.

From its birth in the seventh century through modern times, the Islamic religion has inspired glorious works of art. This stunning book includes more than four hundred reproductions of treasures of Islamic art that span the world: from southern Europe, along the entire Mediterranean basin to sub-Saharan Africa through the Middle East, India, and Central Asia. Arranged geographically, the objects include paintings, miniatures, ceramics, calligraphy, textiles, carpets, and metal works. Each region is given a thorough introduction that offers historical context and extensive descriptions of its artifacts. Accompanying essays offer guidance in interpreting the many themes that tie these works together, including typology, calligraphy, and religious beliefs. Despite its wide-ranging history and origins, Islamic art is unified by its devotion to faith and beauty. With its large format, exquisite reproductions and extensive research, this book is a thorough introduction to an artistic tradition

The delicate splendour and fairytale beauty of Islamic art

The art which arose from the 7th century in the Islamic empires reached from Spain and Morocco to the borders of China. It bore the stamp above all of Arabs, Persians and Turks, but outstanding contributions also came from Egypt and India. "Islamic Art" presents prominent examples: luxury ceramics, prayer mats, goldsmithery, as well as witnesses to the decorative arts and calligraphy – and above all the masterpieces of the splendidly colourful courtly book illumination of Persia and the Mughal emperors of India. The book examines the contributions of the different countries and how they influenced each other, and in this way vividly illustrates the unfolding of the delicate splendour and fairytale beauty of Islamic art from its beginnings into the modern era.

About the Series:
Each book in TASCHEN's Basic Genre Series features:

• a detailed illustrated introduction plus a timeline of the most important political, cultural and social events that took place during that period
• a selection of the most important works of the epoch, each of which is presented on a 2-page spread with a full-page image and with an interpretation of the respective work, plus a portrait and brief biography of the artist
• approximately 100 colour illustrations with explanatory captions

The author:
Annette Hagedorn studied the history of oriental art, German literature, and art history at the universities of Bonn and Mainz. She has held part-time teaching posts at the universities of Bonn, Mainz and Utrecht. In 1991 she was awarded the Alice-Boner-Memorial Prize from the Alice Boner Foundation in Zurich for her dissertation on Islamic metalwork in the 13th and 14th centuries. Since 2000 she has been co-editor, responsible for art history and archaeology, of the journal Zeitschrift der Deutschen Morgenländischen Gesellschaft.

Its geographical location, its rampant urban development and its complex socio-political fabric make Istanbul an ideal backdrop for many artists, not only Turkish and Istanbul artists, but also artists from the diaspora or artists from abroad who have come to Istanbul as artists in residence. Through the selected works and the varied backgrounds of the artists, this publication attempts to show how city-dwellers face their reality and their history, and how, depending on their cultural, social and political background, they show their resistance to it and participation in it. In recent years, the number of artistic projects has increased, inviting dialogue and historical introspection. These artists accompany the movement of contemporary history. The publication will trace these developments.

Italian Frescoes: The Age of Giotto presents twenty-two outstanding fresco cycles. Created during the late thirteenth and early fourteenth centuries, these cycles set new standards for painting and an innovative vision of man, paving the way for the monumental achievements of the Renaissance. It was at this time that fresco painting was not only commissioned for churches and chapels, but also for such secular places as town halls and royal residences with humanist in addition to religious themes. The fresco cycles featured here include brilliant works by Giotto in Assisi, Padua, and Florence; dramatic paintings by Cimabue, thought to be Giotto’s teacher; Pietro Cavillini in Rome; and the Sienese artists Simone Martini and Pietro and Ambrogio Lorenzetti — all of these works still visible on walls and ceilings of palaces and churches spanning Italy from the Veneto to Rome.

The authors describe and illustrate such celebrated sites as the Church of Saint Francis in Assisi, the Chapel of the Scrovegni in Padua, the Public Palace in Siena, and the papal chapel, the Sancta Sanctorum, in Rome. Each of the twenty-two chapters is concise and authoritative, offering a descriptive and interpretive essay on all aspects of fresco painting, covering the artists and their patrons in the context of their cultural and political history. Each essay concludes with a diagram of the site, followed by a series of full- and double-page color plates showing the entire cycle, many reproduced from new photographs of recently restored frescoes.

No publisher until now has attempted to gather together and document all the important fresco cycles of Italian art from the late thirteenth to the seventeenth centuries. While this volume is the predecessor to the previous books, Italian Frescoes: The Age of Giotto easily stands alone as a masterpiece of art and scholarship which will be welcomed by art historians and art lovers alike.

The fifth and final volume of the only comprehensive survey in modern times of the surviving Italian frescoes from the Baroque era, 1600 to 1800, this groundbreaking work is an achievement in scholarship and publishing of the same magnitude as Abbeville's Art of Florence and Art and Spirit of Paris.

Following the success of the previous volumes in this extraordinary Italian Frescoes series - The Age of Giotto, The Early Renaissance, The Flowering of the Renaissance, and The High Renaissance and Mannerism - this new publication features twenty-five fresco cycles, each representing a notable achievement in the history of art. The fresco cycles presented include brilliant works by Domenichino, Sebastiano Ricci, Guercino, and Tiepolo—all of them still visible on walls and ceilings of palaces and churches spanning Italy from Venice to Naples.

The authors present such celebrated sites as the Barberini Palace in Rome and the Pitti Palace in Florence, as well as lesser-known gems. Each of the chapters is concise and authoritative, offering a descriptive and interpretive essay on all aspects of the fresco cycle, covering the artists and their patrons in the context of their cultural and political history. Each essay concludes with a diagram of the site, followed by a series of full- and double-page color plates showing the entire cycle, many reproduced from new photographs of recently restored frescoes.

No publisher until now has attempted to gather together and document all the important fresco cycles of Italian art from the late thirteenth to the eighteenth century. While this volume is a continuation of the previous books, Italian Frescoes: The Baroque Era certainly stands alone as an incredible treasury of art and scholarship that will be eagerly collected by art historians and art lovers alike.

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Italian Frescoes: The Baroque Era features twenty-five fresco cycles, each representing a notable achievement in the history of art. The fresco cycles presented include brilliant works by Domenichino, Sebastiano Ricci, Guercino, and Tiepolo — all of them still visible on walls and ceilings of palaces and churches spanning Italy from Venice to Naples.

The authors present such celebrated sites as the Barberini Palace in Rome and the Pitti Palace in Florence, as well as lesser-known gems. Each of the chapters is concise and authoritative, offering a descriptive and interpretive essay on all aspects of the fresco cycle, covering the artists and their patrons in the context of their cultural and political history. Each essay concludes with a diagram of the site, followed by a series of full- and double-page color plates showing the entire cycle, many reproduced from new photographs of recently restored frescoes.

No publisher until now has attempted to gather together and document all the important fresco cycles of Italian art from the late thirteenth to the eighteenth century. While this volume is a continuation of the previous books, Italian Frescoes: The Baroque Era certainly stands alone as an incredible treasury of art and scholarship that will be eagerly collected by art historians and art lovers alike.

Certain Italian fresco cycles, notably the Brancacci Chapel in Florence by Masaccio, Masolino, and Filippino Lippi, are well known. Others, such as Piero della Francescas work in Arezzo and Benozzo Gozzolis Chapel of the Magi in Florence, have been reproduced countless times. Yet no publisher — until now — has attempted to gather together and document in extensive photographs the essential fresco cycles of the early Italian Renaissance. The list of works covers the regions of Italy, from the Alpine mountain areas to Puglia, with an emphasis on Tuscany and Florence, the artistic center that gave life to the Renaissance.

Italian Frescoes: The Early Renaissance opens with a concise introductory text discussing various aspects of fifteenth-century fresco painting: artists, patronage, cultural and historical conditions, technical methods, and questions of local tradition. The central section of the book examines twenty-one fresco cycles, each representing a crowning achievement in this field. A descriptive and interpretive essay introduces each cycle and is followed by a series of full-page and double-page color plates-many of them new photography of recently restored frescoes-covering the entire work. This parade of colorful masterpieces, paired with Steffi Roettgens authoritative text, makes a brilliant volume that will be treasured by scholars and art lovers alike.

The artists of the renaissance were the first to use the term "Gothic", clearly intended in a derogatory way in reference to the style initialy known as opus francigenum, meaning "made in French style": the term was used as a synonymum for "barbarian" by those who considered themselves to be the upholders of the aesthetic and technical perfection of the classical era.