Книги по истории искусства

At the end of the nineteenth century, Württembergische MetallwarenFabrik, or the Würtemberg Electro Plate Company as the firm was known outside Germany, was the world's largest manufacturer and exporter of household metalware. At its height, over 6,000 workers were employed in Germany, Poland and Austria, and almost 10,000 designs for objects ranging from teaspoons to enormous table centrepieces were produced. Widely known by its initials WMF, the company sometimes employed the services of leading German designers of the day, but for the most part, the wares were in a popular Jugendstil style, the German version of Art Nouveau. These decorative pieces are highly sought after today and are prized by collectors throughout the world.

WMF's domination of the export market is illustrated by the fact that they produced a sumptuous catalogue showing over 3,000 domestic pieces with descriptions in the English language. This catalogue was issued in 1906 by the company's English subsidiary from their showroom in Fore Street, London, and, as each illustration was hand-drawn, it must have represented a considerable investment. Original copies are now virtually unobtainable, and the complete catalogue is reprinted here with a detailed historical introduction by Graham Dry, a noted authority on nineteenth and twentieth-century decorative arts.

For the collector, this revised edition will provide a fascinating insight into the type and style of domestic metalwork that was available at the height of the Art Nouveau period. With details which include size, finish, and cost, the descriptions will be a major source of information.

The rise of the Art Nouveau style across Continental Europe and the US in the decorative arts was remarkable and is explored in this new beautifully illustrated book.

Discussing the movement first as a whole, then from the angle of the graphic arts and finally as manifested in the fine arts, it is a celebration of the style in two dimensions. From the work of well-known figures such as Toulouse-Lautrec, Gaudí and Tiffany to beautiful posters and illustrations advertising everything from coffee to costumes, and even including an exploration of the links to Synthetism and Symbolism among other movements, the book is a treat from start to finish.

At First Light chronicles twenty-six extraordinary artists of the last two hundred years who have lived and worked in Maine.

Published to coincide with the state's bicentennial in 2020, the volume considers the significant contributions artists have made to a deeper and more profound understanding of Maine's history, its land and its peoples. Maine's unique and breathtaking landscape -- from its rugged coastline, quaint harbors, majestic mountains, and verdant forests--continues to have a powerful effect on the artists who are drawn to its shores.

Written and expertly researched by some of the foremost scholars and curators in the field, each chapter focuses on a different artist, featuring the artists' artworks and anchored by breathtaking contemporary photography of their homes, studios, and surroundings. From picturesque bungalows to grander structures with beautiful vistas, the houses and studios featured are as diverse as the artists who have inhabited them. The artists featured include fan favorites to lesser known yet important figures from the eighteenth century to the present day, working in a range of media from painting to photography to sculpture, including: Jonathan Fisher, Winslow Homer, Frank Weston Benson, Charles Herbert Woodbury, John Marin, Marsden Hartley, Rockwell Kent, N. C. Wyeth, Andrew Wyeth, Jamie Wyeth, Marguerite and William Zorach, Rockwell Kent, Marsden Hartley, John Marin, Eliot Porter, Fairfield Porter, Rudy Burckhardt, Yvonne Jacquette, Ashley Bryan, Lois Dodd, Alex Katz, Bernard Langlais, Robert Indiana, David C. Driskell, Molly Neptune Parker, Richard Tuttle, and William Wegman.

About the Author:

Anne Collins Goodyear is codirector of the Bowdoin College Museum of Art. Frank H. Goodyear III is codirector of the Bowdoin College Museum of Art. Michael K. Komanecky is chief curator at the Farnsworth Art Museum, in Rockland, Maine. Stuart Kestenbaum is the Poet Laureate of Maine. Walter Smalling is a photographer based in Washington, D.C.

_____________

Пролистать книгу At First Light: Two Centuries of Maine Artists, Their Homes and Studios

This visually stunning love letter to the art of traditional crafts takes readers inside Europe’s most illustrious — and in many cases endangered — decorative arts workshops to profile how artisans continue to maintain the highest centuries-old standards of workmanship and creativity.

Beginning in the Renaissance, ateliers were established as places for European artists to work and teach their crafts. Centuries later most of these spaces have disappeared, but a select few continue to produce some of the world’s most celebrated and sought-after objects in the areas of crystal, ceramics, wrought iron, fabric, bookbinding, mosaic, wood paneling, and more. John Whelan and Oskar Proctor traveled throughout Europe to document these important spaces, both to celebrate them and to preserve their disappearing ideals. Ranging from the well-known to the obscure, this volume takes readers inside dozens of ateliers from Austria, England, France, Germany, Italy, Spain, and Switzerland. Sumptuous double-page spreads feature alluring photography, and fascinating background texts tell their stories. By shining a light on their collective value as well as their individual expertise, this book offers both a historic evaluation of how ateliers have been shaped by modern forces — and also a clarion call for their preservation.

About the Author:

John Whelan is a specialist in heritage design and creative direction. His heritage projects include a revival of la brasserie française, France’s most iconic culinary export, and his clients include brands such as Cire Trudon, the oldest candlemaker in France. His work has been profiled by Architectural Digest, Vanity Fair, and The Time (London). He lives in Venice, Italy.

__________

Пролистать книгу Ateliers of Europe: An Atlas of Decorative Arts Workshops

Through examining more than 120 organizations on a global scale, this work shows how almost every human expression involves performing culture.

Atlas of Performing Culture is an illustrated voyage across five continents — Asia, Africa, Europe, Oceania, and the Americas — involving the study of venues and events related to performance, the dynamic and unrepeatable mode of artistic activity capable of uniting the audience — who becomes the protagonist — with artists and works of art, architecture, and nature.

The volume is organized around five thematic sections related to the physical spaces, venues, and typologies of events. The unique experience of performing art can involve an island museum in Japan, the Rio Carnival, a Brussels theatrical debut, a rave party in the British countryside, and a cultural center housed in a former funeral home in the outskirts of Paris. Alongside theaters, concert halls, and festivals, we also find museums, sculpture parks, and hybrid cultural centers that elude any attempt of cataloging.

By breaking down the traditional frontiers between performance art, visual art, and performing arts, this volume takes the reader—whether specialist, practitioner, academic, or simply art aficionado — on a journey to some of the main cultural sites and performative experiences around the world. Each section offers a specific overview into leading cultural organizations, as well as a selection of similar international institutions.

About the Author:

Cristiano Leone is a philologist, university lecturer, artistic director, and cultural entrepreneur. He has worked both in the public and private sectors and has collaborated with La Sorbonne, Villa Médicis- Académie de France à Rome, Electa, the National Roman Museum, the Spanish Embassy in Italy, the Terme di Caracalla, and the Centre des Monuments Nationaux - Cité internationale de la Langue Française. He is based between Rome and Paris.

This 240-page book, Aubrey Beardsley: The Decadent Magician of the Light and the Darkness, reveals the core of the artist Aubrey Beardsley through more than 180 of his artworks, compiled under the supervision of Hiroshi Unno, a critic and a writer who has contributed to many books on the fin-de-siècle.

Aubrey Beardsley was an illustrator who was best known for his drawings in black ink filled with erotic and decadent features. He was born in Brighton, England on August 21, 1872. The Victorian era in which Aubrey lived was gripped by a strict, rigid, conservative morality. The society was male-dominated and forced women to be modest. However, in Brighton, which developed into a seaside resort for the upper classes full of entertainment, people were relieved from such strictness. Brighton was also a breeding ground of a sense of liberty in all things, and sexuality was no exception. In other words, it can be said that the Victorian era was a chaotic era during which open-minded thoughts on sexuality and strict, male-dominated morality coexist. Aubrey's mother, Ellen, was a person who embodied that Brighton atmosphere. Although she worried about raising her son in such an environment, she also taught literature and music to Aubrey. It was lucky for him to spend his youth with Ellen, and Brighton definitely became the basis of his talent for grasping the oddness of society in this era. Aubrey moved to London when he was 15 years old. When the Beardsley family left Brighton, Aubrey lost the feeling of liberty he had been raised with, but at the same time was able to develop his talent by interacting with Edward Burne-Jones, Oscar Wilde, and William Morris, the artists that coloured this period. Aubrey, whose talent blossomed in London, began to offer his illustrations to many literary and theatrical outlets.

The most famous examples are his illustrations for Oscar Wilde's Salome, Sir Thomas Malory's Le Morte d'Arthur, Edgar Allan Poe's Tales of Edgar Allan Poe, "Alibaba and the Forty Thieves" from One Thousand and One Nights, the French magazine Yellow Book, and the play Lysistrata. The illustrations for these literary and theatrical artworks had also been drawn by many other illustrators, but Aubrey's work was totally different from anyone else's. The seductive motifs that he drew, using only black ink, such as a woman with a fearless smile, a gentleman with disdainful contempt, and figures with extremely exaggerated genitals, all express Aubrey's incomparable talent for grasping the chaos and unsettled atmosphere of the period. The rebellious nature and imagery of his illustrations were often controversial. People even called him "the Devil's younger brother". But there is no doubt that he was a star of the age, which is evident from the many influential illustrators who came after him who were influenced by Aubrey's work, such as Harry Clarke, Alastair, John Austin, Kay Nielsen and George Barbier.

Unfortunately, Aubrey's genius illuminated the end of the nineteenth century, the era of fin-de-siècle decadence, only briefly before fading away, when his tragically short life ended after just twenty-five years. How did the rebellious, yet refined, monochrome artworks were drawn by "the Devil's younger brother" come about? Was his life simply the art itself? This book is a gem that presents the artwork that is most identified with "Beardsley" himself, revealing both the artist and the idea, through his life and his masterpieces.

The Bauhaus, the school of art and design founded in Germany in 1919 and shut down by the Nazis in 1933, brought together artists, architects and designers in an extraordinary conversation about modern art. 

Bauhaus 1919–1933, published to accompany a major multimedia exhibition at MoMA, is the first comprehensive treatment of the subject by MoMA since 1938 and offers a new generational perspective on the 20th century’s most influential experiment in artistic education. It brings together works in a broad range of mediums, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theatre and costume design, and painting and sculpture – many of which have rarely if ever been seen outside of Germany. 

Featuring about 400 colour plates and a rich range of documentary images, this publication includes two overarching images by the exhibition’s curators, Leah Dickerman and Barry Bergdoll, concise interpretive essays on key objects by over twenty leading scholars, and an illustrated, narrative chronology.

A rare and fascinating look at the Bauhaus’s global legacy, and a central publication of the school’s centenary celebrations

From its inception in 1919, the Bauhaus was a truly international institution. Students and teachers travelled from Croatia, Hungary, Japan, Palestine, Russia, Switzerland and the United States to Weimar and later Dessau and Berlin to become part of the school, drawn to the Bauhaus because of its cosmopolitan, avant-garde perspective and hands-on curriculum. This outlook was reflected in the way the school received and interpreted diverse influences, ranging from Arts and Crafts to reform pedagogy, from Eastern spirituality to constructivism, machine production and the Neues Bauen (New Building) movement. Art and design at the Bauhaus also contained a transcultural element, gleaned through exposure to non-western cultures, books and museum collections and interaction with foreign students and visiting lecturers.

Featuring contributions from artists, historians, cultural theorists and others, Bauhaus Imaginista offers a rare opportunity to explore a history of transcultural exchange in the 20th century through the specific lens of the Bauhaus and its reception in different geographies and time periods. Part of the large-scale project marking the school’s centenary, its focus is on the experimental, open-ended character of modernism as well as its inherent cosmopolitanism. As never before, it shows the crucial role the Bauhaus had in reimagining the relationship between art and society.

About the Authors:

Marion von Osten is a curator, researcher and writer based in Berlin. Her previous publications include, as co-editor, Colonial Modern: Aesthetics of the Past, Rebellions for the Future and Transcultural Modernisms. 

Grant Watson is a London-based curator and researcher. Recent projects include How We Behave with If I Cant Dance, Amsterdam, exploring questions of life practice and politics through filmed interviews (2014-present).

More than 1,200 years of Beautiful Book Design, now in one stunning collection.

The Book of Kells (said to be the most beautiful book in the world), Leicester Codex (the most expensive book by Leonardo da Vinci), Decorative Scripture in Middle Ages, Gift Books in the late 19th century, Design Books in the era of Art Nouveau & Art Deco, Penguin Book Covers... 

This is a complete collection of over 100 'Beautiful Books' in the world, printed with high-quality. Although the body text is in Japanese, the title of each book appears in its original language, and the complete book list including the year of publication, country, and the owner is written in English. 

A treasured book for book lovers, printings, and those who love classic culture in the West. 

Following libraries and museum have the books introduced in this book: Pierpont Morgan Library New York, Library of Congress, Washington DC, New York Public Library New York, Museum of Fine Arts Boston, The Wolfsonian FIU Library Florida.

About the Author:

Hiroshi Unno was born in 1939 in Tokyo. Unno writes on art, cinema, music, urbanism, novels, flower arranging and more. Unno recent titles released by PIE International - Avant-Garde Graphics in Russia, The Art of Fantasy, Sci-fi and Steampunk, Harry Clarke, William Morris: Master of Modern Design, The World of Mucha, A Thousand and One Nights - have gained recognition worldwide.

This generously illustrated and comprehensive book examines German and Austrian artists in the 1930s as they reacted to a time of crisis and dissent.

The 1930s in Germany and Austria were marked by economic crisis, political disintegration, and social chaos. This beautifully illustrated catalogue surveys the development of the arts in these two countries between the two world wars. Presenting nearly 150 paintings and works on paper, this book reveals artistic developments that foreshadowed, reflected, and accompanied the beginning of World War II. Works by Max Beckmann, Otto Dix, Max Ernst, Oskar Kokoschka, and Alfred Kubin are presented alongside pieces by lesser-known artists such as Friedl Dicker-Brandeis, Albert Paris Gütersloh, Karl Hubbuch, Richard Oelze, Josef Scharl, Franz Sedlacek, and Rudolf Wacker. This book features essays about the appropriation of artistic idioms, the reactions of artists toward their historical circumstances, and major political events that shaped the era.

About the Author:

Olaf Peters is Professor of Modern Art at Martin Luther University in Halle-Wittenberg and the author of Degenerate Art: The Attack on Modern Art in Nazi Germany 1937 and Berlin Metropolis: 1918-1933 (both by Prestel).

This lavishly illustrated book examines Berlin in-depth during a period of explosive growth between the two world wars.

Between 1871 and 1919, the population of Berlin quadrupled, and the city became the political center of Germany, as well as the turbulent crossroads of the modern age. This was reflected in the work of artists, directors, writers, and critics of the time. As an imperial capital, Berlin was the site of violent political revolution and radical aesthetic innovation. After the German defeat in World War I, artists employed collage to challenge traditional concepts of art. Berlin Dadaists reflected upon the horrors of war, and the terrors of revolution and civil war. Between 1924 and 1929 as the spirit of modernity took hold, jazz, posters, magazines, advertisements, and cinema played a central role in the development of Berlin’s urban experience. The concept of the “Neue Frau” — the modern, emancipated woman–helped move the city in a new direction. Finally, Berlin became a stage for political confrontation between the left and the right and was deeply affected by the economic crisis and mass unemployment at the end of the 1920s. This book explores in numerous essays and illustrations the artistic, cultural, and social upheavals in Berlin between 1918 and 1933, and places them in a broader historical framework.

About the Author:

Olaf Peters is Professor of Modern Art at Martin Luther University in Halle-Wittenberg and the author of Degenerate Art: The Attack on Modern Art in Nazi Germany 1937 and Before the Fall: German and Austrian Art in the 1930s (both by Prestel).

Against the Grain

Since its beginnings in Paris in the mid-19th century, the idea of bohemia, an urban community of artists and intellectuals living outside bourgeois norms, has been a potent trope of artistic identity. It was here that the notion of an unconventional, free-spirited life, precarious yet filled with idealism, was codified and romanticized. Bohemia: History of an Idea, 1950 – 2000 shows the continuities and differences between the scenes and subcultures of the second half of the twentieth century, when the mainstream began to appropriate and thereby erode a way of life predicated on its rejection. Nonetheless, as an alternative to conformity the bohemian idea has exerted an enduring fascination. Through works by 39 artists, including Alice Neel, PeterHujar, John Deakin, David Wojnarowicz, Ed van der Elsken, Robert Frank and Alfred Leslie, William Gedney, Libuše Jarcovjáková, Nan Goldin, Zhang Huan and Wolfgang Tillmans, the publication explores the diversity of expressions in various cities in Europe, North America and Asia and shows that the bohemian idea continues to galvanize and inspire.

About the Author:

Russell Ferguson is a research professor at the University of California’s Art Department. During his tenure at the Museum of Contemporary Art and the Hammer Museum in Los Angeles, he curated numerous exhibitions on culture and representation in contemporary art and photography.

The story of the French cashmere shawls of the 19th century and their rise to the heights of fashion. This treasure-trove will not only delight textile scholars and costume historians but is sure to appeal to anyone who loves gorgeous accessories

The delicate beauty of the cashmere shawl was first brought to Europe by the East India Companies and Napoleon’s campaigns. Woven in Kashmir, its fabric was so light that, according to legend, a whole shawl could be passed through a finger-ring. By the 19th century, these shawls were highly sought-after in France; French manufacturers soon saw that there was a market for more accessibly priced versions and started to create their own.

Monique Lévi-Strauss has spent more than thirty years collecting and studying these shawls and gathering rare documents to preserve their history. This completely revised, expanded and redesigned edition of her classic book on the subject illustrates nearly 300 of these beautiful items, superbly photographed to showcase their splendid original designs, alongside a wealth of archive material and contemporary paintings that show them being worn by their elegant owners.

The Cowboy, Reconsidered: the enduring myth of the cowboy is a richer, more diverse story than most understand. In this survey, some of the most important artists working today take up the cowboy through the lens of queer, Black, Asian, and Latinx perspectives.

Perhaps no other figure in the American popular imagination conjures the respect, mystery, and adoration than that of the cowboy. And it’s long been a favorite subject of artists from the early twentieth century to today. In this unique exhibition and accompanying catalogue, the cowboy is explored in depth from diverse perspectives and lived experience, ushering in a new vision for this long-standing pop icon.

Director and co-curator Nora Burnett Abrams considers the cowboy through historical perspectives, breaking down the myth and mystique. In an extended interview, co-curator Miranda Lash talks with queer Latinx artist rafa esparza who considers the vaquero (the Spanish term for cowboy) and the influence of norteño culture in his work. Jongwoo Jeremy Kim provides an in-depth analysis of artist Kenneth Tam’s practice and deeper discussion of Asian American masculinity, sexuality, and how they are represented. Myeshia Babers shares the history of the Black rodeo cowboy, and how this figure performs and functions today, and artist R. Alan Brooks conjures the history of Dearfield, Colorado, one of the earliest Black homesteading communities in the state, through a dream-like short graphic novel.

Artist List: John Baldessari, R. Alan Brooks, Mel Chin, Gregg Deal, Angela Ellsworth, rafa esparza, Fabian Guerrero, Juan Fuentes, Karl Haendel, Luis Jiménez, Kahlil Joseph, Grace Kennison, Deana Lawson, Matthew J. Mahoney, Laurel Nakadate, Richard Prince, Otis Kwame Quaicoe, Akasha Rabut, Lucy Raven, Ken Taylor Reynaga, Yumi Roth in collaboration with Emmanuel David, Ana Segovia, Amy Sherald, Stephanie Syjuco, Kenneth Tam, Andy Warhol, and Nathan Young

About the Author:

Nora Burnett Abrams is the Marc G. Falcone Director of MCA Denver. Miranda Lash is the Ellen Bruss Senior Curator at MCA Denver. Jongwoo Jeremy Kim is Associate Professor of Art History and Theory at Carnegie Mellon University. Myeshia C. Babers is a Cultural Anthropologist and Director at Let's Dialogue, LLC.. R. Alan Brooks is Professor of Graphic Narrative at Regis University.

____________

Пролистать книгу Cowboy на сайте издательства.

The ultimate death compendium, featuring the world's most extraordinary artistic and ethnographic objects concerned with mortality, allied to text by expert contributors

Death is an inevitable fact of life. Throughout the centuries and around the world, humanity has sought to come to terms with this sobering thought through art and ritual.

A volume of unprecedented breadth and sinister beauty, Death: A Graveside Companion examines a staggering range of cultural attitudes to death within seven themed chapters. Nineteen experts contribute thought-provoking essays on specific aspects of humanity’s cultural legacy of ideas concerning death. The essays are followed by gallery pages presenting a breathtaking variety of death-related imagery drawn from every major culture, from Neolithic China and Bronze Age Mexico to medieval Germany, 18th-century Nepal and 20th-century France.

From catacombs, crypts and bone-pits to reliquaries, embalmings and mummies, and from memento mori, vanitas and danse macabre to vernacular tokens, found photography and curios from bygone rituals, this astonishing compendium features more than 1,000 images and incorporates high art, kitsch and all points in between.

With a foreword by Will Self and featuring never-before-published photographs of many of the wide-ranging and eclectic art, artifacts and ephemera found in the Richard Harris Art Collection, Death: A Graveside Companion is a book like no other, packed with morbid inspiration and macabre insights to take to the grave.

Contents List:

1. The Art of Dying • 2. Examining the Dead • 3. Memorialising the Dead • 4. The Personification of Death • 5. Symbolising Death • 6. Death as Amusement • 7. The Dead After Life

About the Author:

Joanna Ebenstein is a multi-disciplinary artist, curator, writer, lecturer and graphic designer. She runs the Morbid Anatomy blog and website, and founded the Morbid Anatomy Museum. Ebenstein photographs, curates and collects artefacts, images and texts relating to curious collections, early museums and cabinets of curiosity, collectors and collecting, medical museums and museums of natural history. She is the author of Death and The Anatomical Venus.