Книги по истории искусства

A thoroughly engrossing thematic study of the representation of the face on objects and in works of art from all cultures and throughout history

From sacred totems to playful caricatures, the face is the most revealing subject in the history of art: it defines our human identity. But how have different cultures depicted the face, and why has it been so central to artistic expression all over the world?

Debra N. Mancoff explores the depiction of the human face through the full range of objects and works of art in the collection of the British Museum, and discovers how the face subtly conveys the full spectrum of human emotion. The book is arranged thematically, and each chapter begins with a brief introduction before depicting faces in various visually led pairings and groupings. Some of the juxtapositions speak for themselves; others are explored through brief narrative captions. Many pairings raise a smile; others are surprisingly affecting. This book will both fascinate and delight the reader, offering insights into experiences that we all share as human beings and that our faces inevitably reveal.

Contents List

Introduction • 1. Birth & Childhood • 2. Love & Beauty • 3. Everyday Life • 4. Faith & Ritual • 5. Rulers & Warfare • 6. Identity & Disguise • 7. Death & the Afterlife

About the Author

Debra N. Mancoff is an art historian and a Scholar-in-Residence at the Newberry Library in Chicago. Her publications include Van Gogh’s Flowers, Monet’s Garden in Art, John Everett Millais: Beyond the Pre- Raphaelite Brotherhood, Flora Symbolica: Flowers in Pre-Raphaelite Art, Danger! Women Artists at Work, Fashion in Impressionist Paris and many other titles on the history of art. She lectures regularly at many of the major museums in the US and Great Britain.

Buxom bombshells. Pictures from an age when eroticism was still innocent

They've been exciting generations of men, on calendars and covers, as centrefolds or even on playing cards: pin-ups. What started as an exercise in oils was soon taken up in various media - pin-up mascots graced the fuselages of American fighters, and became an essential feature of the male world of garages and barracks. And the age of political correctness hasn't ended their appeal.

This book tells the tale of a genre as utterly American as the paintings of Edward Hopper, describing its origins and development in detail and showcasing the most important artists. With over 500 illustrations, The Great American Pin-Up is a comprehensive studies of the genre.

The authors:

Charles G. Martignette was an art dealer and collector of original paintings by 20th century American illustrators and artists. His gallery in Hallandale Beach, Florida, housed the world’s largest collection of commercial illustration art. As of 1975 he published numerous articles about magazine, advertising, calendar, pulp, paperback, glamour and pin-up art. Paintings from his collection have been exhibited at the Smithsonian Institution as well as many other American and European museums. Charles G. Martignette died in 2008 in Hallandale, Florida.

Louis K. Meisel, owner-manager of one of the oldest galleries in New York’s Soho, has published several books and articles on contemporary art. In addition to art, he collects pin-up work.

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Посмотреть книгу  1000 Pin-Up Girls

Посмотреть книгу  Gil Elvgren. The Complete Pin-ups

The Book That Changed the World. A complete reprint of the revolutionary Gutenberg Bible “B42”

The printing press has been called the greatest invention of the second millennium. Published in Mainz around 1454, the Gutenberg Bible was the first major Western publication to be printed with movable metal type, ushering in a whole new age of knowledge distribution through mass-produced books.

Before Gutenberg, woodcut printing and early forms of movable type printing had been mastered in Asia, but had yet to reach Europe. Instead, each book had to be copied by hand in a long, labor-intensive process. Not only did Gutenberg’s innovation of mechanical movable type significantly speed up production without sacrificing quality, it irreversibly enriched public knowledge, pioneering mass communication and allowing people to access ideas and participate in discussions like never before. When it comes to radical revolutions in media, the Gutenberg Bible is up there with the Internet.

This facsimile edition derives from one of the very few surviving complete vellum Latin originals worldwide; the Göttingen Library edition, one of the most valuable books in the world, listed in the UNESCO Memory of the World program. All 1,282 pages of this artistic and technological masterwork are included, along with a companion book written by Stephan Füssel, Gutenberg-Chair at Mainz University, introducing Gutenberg, his transformative influence, and two important documents of the time: the Göttingen Model Book which was used to illuminate the Göttingen Library edition and the only surviving notary document by Ulrich Helmasperger, which records the history of this unique invention and its product, the Gutenberg Bible.

The author:

Stephan Füssel is director of the Institute for Book Studies at the Johannes Gutenberg University in Mainz, and holder of the Gutenberg Chair at the same university. He has published prolifically on the early days of printing, the sale and publication of books between the 18th and 20th centuries, and the future of communications.

A sumptuously illustrated history of the Eternal City — the capital of Italy and world art — as captured by painters from Antiquity through the twentieth century.

Traditionally founded by its namesake Romulus in 753 BC, Rome began modestly, as a little village of thatched huts on the Palatine Hill. By the third century BC, it controlled the entire Italian peninsula, and by the first century BC, much of the known world. Rome’s fortunes have stumbled more than once since then — indeed, there have famously been times when cows grazed on the Forum — but it has always reemerged as a leading city, thanks to its status as the seat of Christendom. Through the centuries, artists from all over Europe have been drawn to Rome, both to work in the service of the Church and to learn from the accumulated masterpieces.

This luxuriously oversized book uses Rome’s artistic riches to chronicle the eventful history of the city itself. We are shown the customs and beliefs of the ancient Romans through their own frescoes and mosaics, and their greatest deeds in the history paintings of later masters such as Poussin and David. We follow the fitful rise of Rome, which eventually blossoms forth into the supreme achievements of Michelangelo and Raphael. With eyes uplifted to frescoed vaults, we watch the great decorators of the Baroque add to the city’s store of monuments, which are then deftly — and sometimes quite imaginatively — recorded by the vedutisti of the eighteenth century. Finally, in canvases by a surprising range of nineteenth- and twentieth-century artists — from Sargent to de Chirico, and even de Kooning — we see Rome in its role as the capital of a unified Italy, and of the modern Western imagination.

With its more than three hundred full-color illustrations, including four spectacular gatefolds; its insightful text, written by leading art historians; and its valuable apparatus, including capsule biographies of 175 artists; The History of Rome in Painting is an important achievement in scholarship and publishing and a fitting tribute to the Eternal City.

A richly illustrated and extremely enjoyable reference book on the historical evolution of the nude.

From the Palaeolithic Great Mothers to the Greek athletes, from the Venus of Urbino by Titian to Leonardos Virtuvian Man, from the Odalisque by Boucher to those by Ingres, to the amazons of Helmut Newton and the desolate lifeless bodies of Andres Serrano, the nude is the theme of artistic representation par excellence.

The nude body as the incarnation of perfect beauty and the suspicions concerning its sensuality imposed by Christian culture; the renewed triumph of ancient beauty in the Renaissance and the study of anatomy; the visual licentiousness of the 18th century and the photographic nude; ideal beauty, eroticism, pornography; the nude also as a representation of the ugly and its flaunted truthfulness in the art of the 20th century; the nude that itself becomes a work of art in the avant-garde of the post-WWII period, with performance, body art and experimental theatre.

These are the threads of the narration all conducted around a rich apparatus of images.

After Art of the Twentieth Century, published by Skira in four languages in 2009, Flaminio Gualdoni has now created a richly illustrated new reference book that is also extremely enjoyable to read.

This is your A to Z guide to art!

From cave paintings to pop art and modern masterpieces, this absorbing and beautiful art encyclopedia explores the development of art in spectacular detail.

Here's what you'll find inside the pages of this visually stunning art book:

- Covers every major movement in art from prehistory to the present day
- Each movement is tracked in a visual timeline that showcases its key paintings and notable artists and explains its context - the major events in its evolution
- Each section ends with a stunning image of a masterwork and a curator's analysis that encapsulates its values, style, composition, and subject matter
- Glossary of technical terms and a comprehensive index

Get ready to embark on a unique guided tour throughout the history of art. Get to know more than 700 of the greatest artists, from Michelangelo and Monet to Damien Hirst and Picasso. Discover 2500 of the world's most iconic artworks, paintings and sculptures that have shaken the art world through centuries and across continents.

Truly comprehensive in scope, The Illustrated Story of Art presents the most remarkable art movements throughout history in chronological order and explains the social and cultural background of each period. Turning-point paintings that triggered or epitomised each artistic movement are identified and explained, against a backdrop of influences - from admired techniques of an earlier artist to the changes in society that enabled new directions in art.

A must-have for your bookshelf, this is an indispensable art reference book for art-lovers everywhere!

The art critic and historian Carl Einstein (1885-1940) was one of the most important and multifaceted personalities of the 20th-century artistic avant-garde. His books, articles and essays were fundamental pieces for the critical study of the avant-garde movements; in them he introduced the West to African art and ratified Cubism as a movement in its own right. His intellectual oeuvre, rediscovered in recent decades, is now paid tribute at the MNCARS. This is the first international exhibition to offer a visual description of the work of Einstein, a key figure in visual arts as well as literature, theatre, film and political action.The Invention of the 20th Century shows significant works by the most important artists of the avant-garde movements, whom Einstein knew and on whose careers he reflected and wrote. The one hundred and twenty pieces on display are signed by names like Braque, Dalí, Grosz, Léger, Miró, Picasso, Rousseau, Paul Klee and Otto Dix, to name a few.

В этой книге широко представлена одна из самых ярких страниц истории мирового искусства - The Italian Renaissance. Итальянский Ренессанс - это эпоха безмерного взлета творческой фантазии, невиданной прежде свободы человеческого гения, равно гармонично покорявшего все области доступной ему деятельности - архитектуру, скульптуру, живопись.

В период раннего Возрождения сосредоточившиеся и вскормленные во Флоренции и Италии искусство и культура претерпели радикальное обновление, которое постепенно распространилось по всей Европе различными средствами и стилистическими проявлениями. Возрождение основывалось на обновленном интересе к Древнему миру - от философии до литературы, от мифологии до изобразительного искусства, - неоплатонической философии и гуманизму. Научные интересы включали познание природы и человека, в том числе, его анатомии, и поиск новых технологий. Гармоничное сочетание основных искусств вырастало над уровнем механического воспроизведения, чтобы превратиться в свободное выражение теперь уже консолидированных интеллектуальных прерогатив мастера. Перечень великих имен, которые сделали этот художественный период таким плодотворным включает Мазаччо, Брунеллески, Леонардо, Микеланджело и Рафаэля.

Содержание:

Архитектура во Флоренции и Тоскане ........................4
Архитектура в Северной Италии................................50
Архитектура в Центральной и Южной Италии.........108
Скульптура во Флоренции и Тоскане .......................144
Скульптура в Северной Италии.................................224
Скульптура в Центральной и Южной Италии...........260
Живопись во Флоренции и Тоскане...........................292
Живопись в Северной Италии...................................388
Живопись в Центральной и Южной Италии..............502

Bible Stories. Martin Luther’s revolutionary publication

Martin Luther’s Bible, first printed in 1534, was not only a milestone in publishing but also a seismic moment in world history, democratizing Christianity like never before, and providing printed reference for a whole new branch of faith: Protestantism. This splendid facsimile reveals the multilayered beauty of this UNESCO world heritage masterpiece, showcasing its exquisite script and woodcuts and ornaments from the workshop of Lucas Cranach.

Martin Luther’s Bible, first printed in 1534, was not only a milestone for the printing press, but also a momentous event in world history. A UNESCO world heritage masterpiece, Luther’s translation from Hebrew and ancient Greek into German made the Bible accessible to laypeople and gave printed reference to a whole new branch of Christian faith: Protestantism.

In this meticulous two-volume reprint, TASCHEN presents a complete facsimile of the Luther Bible. Based on a precious copy of the original and printed in colour, it reveals the multilayered splendour of this publication, showcasing the meticulous script, elaborate initials, and exquisite colour woodcuts from the workshop of Lucas Cranach.

In an accompanying booklet, Stephan Füssel, director of the Institute for Book Sciences at the Johannes Gutenberg University in Mainz, adds his expertise to the publication with detailed descriptions of the illustrations, as well as an introduction exploring Luther’s life and the seismic significance of his bible.

246 color ills.

There seems to be an endless number of deceptively real objects depicted in still lifes: dewdrops on fragile flower petals, reflections of light on glass goblets and precious silver dishes, candied sweets in Chinese porcelain, the fine hairs on a peach, the soft feathers of a songbird, the sallow tinge to a skull. However, the details of this genre are not exhausted in the delicate rendering of varying surfaces, because each pictorial element can also symbolize religious or moral content or be a reference to the irretrievability of time gone by - tempus fugit! This volume presents, on large-format plates, a splendid selection of works by some of the principal masters of the still-life genre, such as Jan Brueghel the Elder, Georg Flegel, Sebastian Stoskopff, Jan Davidsz de Heem, Abraham Mignon, and Jean Siméon Chardin. These choice treasures of German, Netherlandish, Flemish, and French still-life painting exemplify nearly all of the different ways of playing with this genre.

Throughout the pages of The Moustache of La Gioconda Arroyo spells out a reflection on the copy, the reinterpretation, the intervention, the appropriation and the other adjacent artistic strategies, which he agglutinates with the appellative pastiche and, as he points out, which counted when he started his career with a new context that couldn't be rejected.

The Northern Renaissance in Europe was a period of rapid social and religious change. This is reflected in much of the art of the period, which is further characterised by a fascinating range of subject-matter, superb technical skill and an interest in capturing likeness with almost psychological precision. The same period also saw a great rise in the importance of works on paper, especially prints.

This book discusses works by Albrecht Dürer and Hans Holbein two of the greatest masters of the Northern Renaissance together with a selection of paintings by Lucas Cranach. Encompassing portraiture, religion, mythology and allegory, these works are examined alongside others by such masters as Francois Clouet, Jan Gossaert and Joos van Cleve.

Holbeins superlative drawings of members of the court of King Henry VIII can be seen side-by-side with finished paintings and miniatures of the same sitters; and this rich survey also includes illuminated manuscripts and early printed books.

A major survey of Pop Art from private collections. 

Published on the occasion of an exhibition of the same title, The Pop Object is the most comprehensive survey of Pop Art to be organized by theme and historical precedents, with such classic works as Andy Warhol’s Brillo Soap Pads, Robert Arneson’s Oreo Cookie Jar, Claes Oldenburg’s Pie à la Mode, Roy Lichtenstein’s Black Flowers, and Wayne Thiebaud’s Gumball Machine. 

With more than ninety color illustrations, this large-format book brings together the most important examples of works by artists Jasper Johns, Jim Dine, Marisol, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Wayne Thiebaud, Andy Warhol, Tom Wesselmann, and many others, from the 1960s to the present. 

The still life has often been the stepchild to landscape, history, and figurative painting. By examining themes like food and drink, household objects, flowers, and body parts, noted art historian John Wilmerding emphasizes Pop’s playfulness and brings the history of the movement right up to date.

About the Author

John Wilmerding is a Sarofim Professor of American art, emeritus, at Princeton University. He is chairman of the board of trustees of the National Gallery of Art in Washington, D.C., and a trustee of the Guggenheim Museum and the Crystal Bridges Museum of American Art. He is the author of many books, including monographs on Wayne Thiebaud, Tom Wesselmann, Richard Estes, and Robert Indiana.

Пролистать книгу The Pop Object: The Still Life Tradition in Pop Art на сайте издательства.

The Purple Book is a luxurious compendium of contemporary illustration that explores fantasy, sensuality and the erotic imagination. It highlights visual art and the written word as media for representing human desire’s relationship with the dream-state, make-believe and symbolism.

Much of the work by illustrators exploring these themes is unpublished, personal work, and many works here appear in print for the first time. As well as a treasury of portfolios by 21 of the very best international contemporary illustrators, a series of specially-commissioned works illustrate five classic literary texts that have inspired the themes of The Purple Book. The personalities behind this commissioned work are revealed through interviews with their creators, exploring the imaginative process behind their visual fantasies and how this translates into the final artwork.

The title of the book is inspired by The Yellow Book, the periodical published in the 1890s and initially art directed by Aubrey Beardsley. While the colour yellow represented the daringly salacious in the 1890s, today the colour purple is synonymous with opulence and sensuality.

The rituals of Siberian shamans, the ancient funerary sculptures from the steppes seen as a crystallised presence of archaic and everlasting forms of worship, Chinese popular prints, Japanese engravings, Theosophic and Anthroposophic theories and Indian philosophy are but some of the elements that inspired the aesthetic and theoretical pursuits of the new Russian artists and writers just before the October 1917 Revolution.

Written to accompany the exhibition in Florence, this book is devoted to the complex relation between Russian art and the East – be it the Russian East or the Far East – with a special focus on the radical artists who shaped the development of modern art a century ago.

Figures such as Léon Bakst, Alexandre Benois, Pavel Filonov, Natal’ia Goncharova, Wassily Kandinsky, Mikhail Larionov and Kazimir Malevich were deeply aware of the significance of the East for their art, and contributed to launching a rich debate that left a deep and permanent mark on their artistic praxis. The catalogue and the exhibition also draw a connection between the chief representatives of the Russian avant-garde and other lesser-known but just as important artists of the period such as Nikolai Kalmakov, Sergei Konenkov and Vasilii Vatagin, some of whose works are being displayed for the first time in the West.