Искусство

Volume 1:  288 pages, 325 illustrations.
Volume 2:  416 pages, 900 illustrations in colour and 342 signatures.

The Japanese belt accessories for men known as netsuke aroused great interest in Europe already at the end of the 19th century. Today they have become special, highly-prized collector’s items all over the world.

The main subjects are mythical creatures, gods of popular religion, and exotic animals and also depictions of Europeans, particularly Dutchmen, who fascinated the Japanese in the 18th and 19th century. The craftsmanship is of incomparable perfection, and the materials include boxwood, ivory, horn, coral, tortoise-shell and much else. Famous artists like Yoshimura Shûzan (1700–1773) and Ohara Mitsuhiro (1810–1878) created masterpieces which strongly influenced this art form.

The two volumes present more than 850 objects from the collection of Anne and Christian Trumpf, one of the most important netsuke collections worldwide, with in-depth commentary and lavish illustrations. The author, Dr. Patrizia Jirka-Schmitz, is a well-known scholar in this field. A new standard work on netsuke – an area of collecting that over the last few years has grown immensely on an international scale.

New Brooches focuses on brooches within an exploration of current trends in contemporary jewellery. With a selection of over 400 jewellery artists' creations from all over the world, this volume is the most comprehensive compilation on the subject. A must-have for any professional or student of jewellery or fashion design, this work shows the versatile and dynamic nature of brooches and the many and varied materials and forms that they involve. Needing only a pin to secure it to the wearer's garment, this ornament is essentially a jewellery artist's blank canvas that invites endless creativity and offers more freedom of expression than any other form of jewellery.

The brooch has continued to evolve and be reinterpreted, and it is playing a critical role in the development of new jewellery as a platform for artistic expression.

Following the success of Promopress's New Rings, New Earrings, and New Necklaces, New Brooches represents a valuable contribution to this series. It is an inspirational compendium of the most innovative creations in today's jewellery design.

New Directions in Jewellery II is an astonishing collection of the most exciting jewellery today, exploring the increasingly varied ways in which the boundaries of design are being extended and challenged by contemporary makers.

New Directions in Jewellery II showcases an international array of makers and designers. From established jewellers like Karl Fritsch, Ted Noten and Monika Brugger, to exciting emerging talents like Madeleine Furness and Carla Nuis, the captivating works shown here, each in their own way challenge and engage with traditional conceptions of adornment. Focusing on jewellery as an experimental practice that engages with fine art, craft, design, fashion and popular culture, this book is an essential document of an ever-broadening discipline.

This rich visual survey profiles over 40 designers and also features an essay by prominent maker and academic Lin Cheung. From innovative uses of form and material, to conceptual pieces that critique the cultural and social meanings that have built up around the wearing and manufacture of jewellery— New Directions in Jewellery II is a vibrant study of the contemporary jewellery scene.

Following the success of the acclaimed New Directions in Jewellery, this second volume is as inspired, covetable and beautiful as the jewels it contains. New Directions in Jewellery II is a radical take on this age old art-form.

A new wave of designers and artisans are creating earrings that push the boundaries of jewelry design. Drawing on unique sources of inspiration to incorporate symbol and meaning, they are redefining the earring as more than a mere ornamental piece.

This book showcases innovative work by jewelry designers from around the world, exploring new trends in design and craftsmanship through style, form and concept. The earrings range from the traditional to more complex, cutting-edge pieces.

All the jewelry featured is notable for its exuberance, the choice of materials or its boldness, whether in terms of dimension, colour or composition. Whatever the materials chosen, it is the imaginative design that shines through.

TASCHEN 25—Special edition!

The avant-garde in an age of digital communication

Artists have always been early adopters of emerging media technologies, from Albrecht Dürer and his use of the printing press in the 16th century to Nam June Paik's experiments with video in the 1960s. The advent of the internet as a popular medium catalyzed a global art movement that began to explore the cultural, social, and aesthetic possibilities of such new communication technologies - the web, CCTV surveillance cameras, cell phones, hand-held computers, and GPS devices. Focusing on New Media art as a specific art historical movement, this book explores its technologies, thematic content and conceptual strategies. New Media art often involves appropriation, collaboration, and the sharing of ideas and expressions, and frequently addresses issues of identity, commercialization, privacy, and the public domain. Many New Media artists are profoundly aware of their art historical antecedents, making reference to Dada, Pop Art, Conceptual art, Performance art, and Fluxus.

Featured artists: Cory Arcangel, Jonah Brucker-Cohen and Katherine Moriwaki, Young-Hae Chang Heavy Industries, Vuk Cosic, Mary Flanagan, Ken Goldberg, Paul Kaiser and Shelly Eshkar, Jennifer and Kevin McCoy, Mouchette, MTAA, Keith and Mendi Obadike, Radical Software Group, Raqs Media Collective, RTMark, John F. Simon Jr.

About the Series:
Every book in TASCHEN's Basic Art Series features:

* a detailed chronological summary of the artist's life and work, covering the cultural and historical importance of the artist
* approximately 100 color illustrations with explanatory captions
* a concise biography

This work is a loveletter to the birthplace of Jazz: New Orleans. It features highlights from William Claxton's "Jazzlife". New Orleans will never again appear as it does in these rare and stunning photographs by William Claxton taken for the book "Jazzlife" in 1960. While traveling around the United States with musicologist Joachim E. Berendt to record America's original art form, Claxton met and photographed the jazz personalities in every major and minor city, capturing these musicians in their natural environment. Among the most poignant and soulful photographs are these from the colorful melting pot of New Orleans, the city where jazz was born.

Rings symbolize many things. They can serve as personal statements, adornments, representations of a commitment, or a sentimental reminder. In the hands of the world’s most creative jewelers they transcend into works of art in endlessly intriguing ways.

This marvelously illustrated survey showcases 591 contemporary rings that have been created by nearly 300 international designers. It is divided into five sections — one for each finger. Aside from being purely decorative, the position of the ring on the hand and the way in which it is worn can denote love, promise, rebellion, compromise, or affiliation.

The rings range from more traditional decorative rings to conceptual and abstract pieces. The featured designers employ a wide variety of techniques, and the materials they use include gold, platinum, precious stones, plastic, bones, fiber, wood, shells, plants, and more.

New Worlds: German and Austrian Art 1890-1940 is the inaugural catalogue for Neue Galerie New York. A distinguished group of international scholars surveys the development of modern art complemented by biographies on the artists represented in the museum's collection. Emphasis is placed upon the American reception to their work, a previously little-explored area in this field. In this context, the role of museums, art dealers, patrons and critics are examined as well.

Gustav Klimt, Egon Schiele, Oskar Kokoschka, and artists of the Wiener Werkstätte are among the featured artists. Leading figures, such as Max Beckmann, Peter Behrens, Otto Dix, Vasily Kandinsky, Paul Klee, and Ludwig Mies van der Rohe are also examined in the context of key movements in Germany such as the Brücke, the Blaue Reiter, Neue Sachlichkeit, and the Bauhaus.

Nigel Henderson (1917–1985) has languished in relative obscurity since the mid-1950s. This is the first monograph on a pivotal artist, whose influence on British art in the 1950s and 1960s was immense.

This superbly illustrated volume provides an in-depth account of the artist’s extraordinary life and work, which included close friendships with a number of the Bloomsbury circle (he married Virginia Woolf’s niece) as well as such literary figures as Dylan Thomas, T. S. Eliot, Bertolt Brecht and W. H. Auden.

Adopted by Peggy Guggenheim in the mid-1930s, Henderson also benefited from friendships with a number of key French Surrealists, such as Marcel Duchamp, Max Ernst, Yves Tanguy, Hans Arp and, later, Fernand Léger, Alberto Giacometti and Jean Dubuffet. Following the war, these friendships and their impact on his work would mark Henderson out from the younger artists with whom he was mixing, among them Eduardo Paolozzi, Francis Bacon, William Turnbull, Richard Hamilton, and architects Colin St. John Wilson and Alison and Peter Smithson, all of whom felt stifled by the post-war British art establishment.

Nigel Henderson: Parallel of Life and Art presents a comprehensive selection of Henderson’s work, including his documentary photographs of the East End (which had a significant impact on contemporary urban planning and architecture), and his experimental work with the photographic medium, collage and design. Many of the images are published here for the first time.

A Legendary Artist Revisited

Unknown to many, Niko Pirosmani is revered as a legend in his native Georgia. Conveying a sense of poignant empathy, his portraits, animal paintings, landscapes and scenes from everyday life painted around 1900 in a flourishing Tbilisi draw on medieval iconography and testify to a deeply felt sense of belonging. At the same time, the avant-garde recognised a novel and radically new form of painting in his work. Like Henri Rousseau or Marc Chagall, Pirosmani is one of the exceptional yet difficult to categorize proponents of early modern art.

This catalogue demonstrates Pirosmani's qualities in numerous illustrations, showing how his rapid brushstrokes on black oilcloth give the sparsely applied colors a glow as if coming from a dark depth. Pirosmani was a master of concentration-and a storyteller. As expertly explained in the catalogue by a selection of Georgian art historians, he was a unique artist, a contradictory figure and an important part of the art scene in Tbilisi, then considered the "Paris of the East."

About the Author:

Born into a peasant family, Niko Pirosmani (1862 – 1918) arrived in Tbilisi in 1870. Painting portraits and tavern signs for room and board, he came to the attention of the Georgian and Russian avant-garde in 1912, who presented him a year later as the “Rousseau of the East” in the Moscow exhibition Mischen alongside works of Natalia Goncharova, Mikhail Larionov, Kazimir Malevich and Marc Chagall. An exhibition in Paris was planned, yet never to happen due to the First World War. Pirosmani died impoverished in 1918. Today he is Georgia’s most celebrated artist.

A wider public discovery of the Georgian painter Niko Pirosmani (1862–1918) is long overdue. Today, the autodidact is known not only as one of the most significant representatives of naïve art, but the story of his special reception is remarkable, as he painted his pictures for inns and pubs. Hardly known outside of Georgia these days, his work was nevertheless displayed alongside works by Natalia Goncharova, Mikhail Larionov, Kazimir Malevich, and Marc Chagall in the legendary 1913 exhibition Mischén (Target) in Moscow, where he was known as the “Rousseau of the East.” Pirosmani’s unique visual vocabulary is based on consistently reduced formal elements: against an always black background, the elementary colors of red, blue, yellow, green, and white developed refined effects, immediately appealing to the viewer.

Now, the Albertina in Vienna is devoting a first large retrospective to Pirosmani in the heart of Europe since a long time ago, examining his paintings in the context of art history.

Exhibition: 26.10.2018–27.1.2019, Albertina, ViennaMarch–October 2019, Fondation Vincent van Gogh Arles

A wider public discovery of the Georgian painter Niko Pirosmani (1862–1918) is long overdue. Today, the autodidact is known not only as one of the most significant representatives of naïve art, but the story of his special reception is remarkable, as he painted his pictures for inns and pubs. Hardly known outside of Georgia these days, his work was nevertheless displayed alongside works by Natalia Goncharova, Mikhail Larionov, Kazimir Malevich, and Marc Chagall in the legendary 1913 exhibition Mischén (Target) in Moscow, where he was known as the “Rousseau of the East.” Pirosmani’s unique visual vocabulary is based on consistently reduced formal elements: against an always black background, the elementary colors of red, blue, yellow, green, and white developed refined effects, immediately appealing to the viewer.

Now, the Albertina in Vienna is devoting a first large retrospective to Pirosmani in the heart of Europe since a long time ago, examining his paintings in the context of art history.

Exhibition: 26.10.2018–27.1.2019, Albertina, ViennaMarch–October 2019, Fondation Vincent van Gogh Arles

Almost twenty years after the creation of the Musee d’Orsay, the 19th century seems more than ever to be the “Golden Age” of French art. It boasts names such as Ingres and Delacroix, Manet and Puvis de Chavannes, Gustave Eiffel and Charles Garnier. French art became a universally accepted benchmark, spreading the discoveries of Impressionism, the Haussmann models, and the daring of art nouveau far beyond its borders, and receiving in return, in the form of the countless artists who flocked to its hub, numerous influences from abroad. Other key movements associated with the19th century include Romanticism; Neo-Classicism, “orientalism,” and japonisme; Realism; the Barbizon School and plein-air painting; Neo-Impression, Cloissonism, and the Nabis; and Symbolism.This complete, chronological history is illustrated by more than 400 illustrations and covers painting, sculpture, and architecture, as well as the advent of photography, its impact on painting, and its emergence as an art form of its own.

Henri Loyrette, president director of the Louvre Museum, was previously director of the Musee d’Orsay (1994). Loyrette has published articles and books on 19-century art and has presided over many exhibitions focusing on the Impressionistst. Sebastien Allard is Heritage Curator in the Painting Department at the Louvre. Allard has also published a book on Paris in 1820. Laurence des Cars is curator at the Musee d’Orsay. A specialist in late 19-century painting, des Cars has published Discoveries: Preraphaelites: Romance and Realism.