Сборники работ по искусству

George Condo’s unconventional paintings are illuminated in context with his vast range of artistic influences — from Tiepolo to Picasso to Basquiat, and from psychedelic to new wave.

George Condo is renowned for his eclectic mix of artistic influences — from the Old Masters to cubism to pop art. The artist who coined the term “artificial realism” blends imagery and styles from various movements in works that critique contemporary Western culture and its excesses. His paintings and sculptures feature Humanoids — figures that are metaphors of our humanity, magnifying our emotions and revealing our high and low points. For the first time in his own words, Condo reveals the genesis and significance of his distorted creations and unveils previously unseen paintings created during the pandemic and the political turmoil in the United States.

Didier Ottinger examines the career, influences, and works of this unconventional artist who is at once rewriting the history of art and caricaturing the immoderation of the modern world. An exhibition of Condo’s Humanoids at the Nouveau Musée National de Monaco opens nearly a quarter century after he created set and costume designs for Les Ballets de Monte-Carlo.

About the Authors:

Didier Ottinger, general curator of heritage and specialist in modern and contemporary painting, is assistant director of cultural programming at the Centre Pompidou where he curated exhibitions on Edward Hopper (2013), David Hockney (2017), and Georgia O’Keeffe (2022). American artist George Condo’s work is in the permanent collections of the Met, MoMA, Broad Foundation in Los Angeles, Tate, and Centre Pompidou. Exhibitions of his work have been shown in New York, London, Rotterdam, Berlin, Venice, Shanghai, and more. H.R.H. the Princess of Hanover is a philanthropist.

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The definitive monograph on the iconoclastic painter George Condo

With his arresting, unsettling style, George Condo emerged out of the dynamism of the New York art scene in the early 1980s, and he has been restlessly painting, drawing and sculpting – bringing forms into the world in one way or another – ever since. Condo’s originality lies in his transformation of references and inspirations, in both style and content, which include the canon of Western art history; from his journey through Greek classical sculpture to an unlimited and free exchange of painterly languages ranging from Rembrandt and Velasquez to Picasso and Warhol, and a unique vision of literary and popular culture.

With his ‘fake’ Old Masters, reconfigured Manets, impossibly intricate paintings that seem abstract only from a distance, fractured and multifaceted ‘psychologically Cubist’ portraits, and the orgiastic misdemeanours of a host of butlers, bankers and priests, Condo has invented, mastered and expanded not just one painterly language but an entire lexicon.

Working closely with Condo, Simon Baker has combined biographical, chronological and thematic approaches to survey the artist’s work and career to date. An introductory essay on Condo’s contradictory nature and a chapter exploring his phenomenal early career are followed by three thematic chapters that look at the years from 1984 to the present, tracing Condo’s systematic reconstruction of the techniques of painting, exploring his relationship to the concept of abstraction, and probing the darker side of his psychological iconography in drawing, painting, sculpture and writing.

George Condo is the definitive monograph on this unique artist. It will appeal to artists, art students and those with a general interest in art.

About the Author:

Simon Baker is Director of Maison Européenne de la Photographie, Paris (MEP). He was formerly Senior Curator, Photography and International Art, Tate. Prior to becoming Tate’s first curator of photography, he was Associate Professor of Art History at the University of Nottingham. He has written widely on surrealism, photography and contemporary art.

Accompanied by a traveling exhibition, this book on the Bahamian artist’s textile portraits serves as a love letter to Black women: their style, strength, vulnerabilities, and beauty.

This debut of the 29-year-old Bahamian-born artist aims to redefine the often-politicized Black body, with portraits made in a range of textile-based techniques, such as embroidery and appliqué, celebrating Black women.

Gio Swaby’s intimate portraits are unique, highly personal figurative works made from an array of colorful fabrics and intricate, freehand lines of thread on canvas that explore the intersections of Blackness and womanhood. Illustrated with 80 works in full color that span from 2017 to 2021, this is the first book on this contemporary feminist artist who is a rising star in the world of textiles and portraiture. According to Swaby, “I wanted to create a space where we could see ourselves reflected in a moment of joy, celebrated without expectations, without connected stereotypes.”

Writers and scholars with multiple points of view take on Swaby’s work and delve into her place within contemporary Black art.

About the Author:

Katherine Pill is curator of contemporary art at the Museum of Fine Arts, St. Petersburg, Florida. Melinda Watt is Chair and Christa C. Mayer Thurman Curator of Textiles at the Art Institute of Chicago. Nikole Hannah-Jones is a Pulitzer Prize–winning reporter for the New York Times Magazine.

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The first overview in decades of the eerie allegories of de Chirico, the forefather of surrealism and genius of uncanny connections

An innovative analysis of the artistic poetics of the master of metaphysical painting.

Through a selection of important works made during this master’s career, this volume aims to conduct a critical revision of the artist’s complex practice for the centenary of his so-called volte-face in 1919, the year he was criticised for leaving metaphysical painting (1910-1918) in favour of styles and techniques inspired by Classicism and the grand masters.

Edited by the most important experts of De Chirico, The Face of Metaphysics promotes an innovative interpretation of the artist’s oeuvre (both metaphysical, where the traditional confines of linear time and space are replaced by the doctrine of cyclical coexistence); an arrangement according to themes and not chronology underlines the idea that, despite the many changes in style, technique and subject, composition and colour tone, all of De Chirico’s works may offer tangible visions of the intangible philosophical concept of Metaphysics, advanced by Nietzsche in the late 1800s: constant metaphysics.

Divided into six sections (The Eternal Return; Metaphysical Exteriors; Metaphysical Protagonists; Metaphysical Interiors; Metaphysical nature; Metaphysics Encounters Tradition), this volume gathers around 90 works from some of the most prestigious private museums and collections in Italy and from the Fondazione de Chirico and also offers a rich core of archive documents including letters, period photos and exhibition catalogues.

About the Author:

Victoria Noel-Johnson is an art curator and historian specialised in early 20th-century Italian art. Recognised as one of the greatest experts of Giorgio de Chirico’s painting, from 2008 to 2017 she was the scientific curator at the Fondazione Giorgio e Isa de Chirico, where she managed the art collection and international exhibition programme for the Foundation.

Zorzi da Castelfranco, known as Giorgione: is an artist who has so few confirmed works attributed to him, and about whose life little is known.

Yet, after a career span of just over ten years, Giorgione has achieved a fame that has remained unchanged over the centuries. Starting from Giovanni Bellini’s lessons on spirituality and harmony between man and nature, and from the use of colour by Giovan Battista Cima da Conegliano, the master from Castelfranco offers a very particular synthesis of musical lyricism, connecting bodies and landscape with a soft and dense light.

This tonal painting, set by Cima and Bellini, becomes with Giorgione the language of initiation of the formidable brood protagonist of the great Venetian 16th century, the season of Palma il Vecchio, Sebastiano del Piombo and Tiziano Vecellio.

CHAPTER I
Zorzi’s Hidden Canvases. Visits with an Exceptional Guide

CHAPTER II
Gypsy Women and Philosophers: Giorgione’s Enigmas. Open Work, Context and Readings

CHAPTER III
A Façade and a Frieze. Debut and Early Success amidst Classicism and Astrology

CHAPTER IV
An Altarpiece for Castelfranco. Certain and Uncertain Family Ties: Costanzo and Barbarella

CHAPTER V
“With Time” and in a Hurry. Portraits of the Young and Old

CHAPTER VI
The Competition between the Arts. The Young Man from Castelfranco in the Venetian Melting Pot

CHAPTER VII
Portraits, Self-Portraits, Personalities and Interpreters. Giorgione’s Gallery

CHAPTER VIII
The Legend of the Libidinous Painter. A Myth and its Creators

Bibliographical notes

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A monograph of works dedicated to Giotto with author Francesca Flores d'Arcais drawing on an impressive range of sources, from 14th-century documents to the most recent art-historical investigations

Vasari famously wrote that Giotto "recovered the true method of painting, which had been lost for many years before him," and indeed, he is traditionally considered a founder of the Italian Renaissance.

Producing a series of commissioned works for the church and upper classes in his native Tuscany and surrounding regions, Giotto changed the course of European art by breaking away from the rigid, stereotyped figures of the Byzantine and medieval traditions. His innovation was to give his characters natural movement and expression. His great fresco cycles, such as the lives of the Virgin and Christ in the Scrovegni (or Arena) Chapel, Padua, are populated with realistic depictions of three-dimensional figures; secondary characters, both comic and tragic, display the range of the painter's wit and invention.

And Giotto's treatment of perspective was just as revolutionary as his approach to the human form: the dramatic power of his scenes is heightened by the convincing illusionistic spaces in which he places them. In this authoritative survey of Giotto's life and work, Francesca Flores d'Arcais draws on an impressive range of sources, from 14th-century documents to the most recent art-historical investigations. Her research leads her to important reattributions of Giottesque paintings and to new conclusions regarding the execution and dating of both famous and lesser-known works. In this second edition of her study, d'Arcais also discusses the earthquake of September 26, 1997, that damaged the frescoes of the Upper Basilica of San Francisco in Assisi, some of which are attributed to the young Giotto; she explains not only the extent of the damage, but also the art-historical insights that emerged from the subsequent restoration effort.

More than three hundred illustrations, most in full colour and some on double gatefold pages, reproduce all of Giotto's significant frescoes in exquisite detail, as well as his moving crucifixes and jewel-like polyptychs. These splendid images and d'Arcais's insightful text, now, for the first time, in an affordable paperback edition, make this the definitive monograph on the greatest of trecento masters.

About the Author:

Francesca Flores d'Arcais is a professor of art history at the University of Verona, Italy. An expert in the field of northern Italian painting, she has made numerous contributions to the study of medieval and Renaissance art over the course of her distinguished teaching career.

"I like my paintings to have one foot in the grave, to be not quite of this world. For me they exist in a dream world, a world that is made up of all the accumulated images stored in our subconscious that coagulate and mutate when we sleep." — Glenn Brown Mining art history and popular culture, Brown has created an artistic language that transcends time and pictorial conventions. He creates a space where the abstract and the visceral, the rational and irrational, the beautiful and grotesque churn in a dizzying amalgamation of reference and form.

In paintings completed over the last three years, including some of his largest works to date, Brown confronts traditional subjects of still life and portraiture. With characteristically fleshy textures beneath remarkably flat and glossy surfaces, the scenes evoke traditional memento mori.

About the Author:

Rudi Fuchs is a Dutch art historian and curator. He has been director of the Van Abbemuseum in Eindhoven, the Gemeentemuseum in The Hague and the Stedelijk Museum in Amsterdam from 1993 to 2003. He is currently a lecturer at the University of Amsterdam and has written extensively on art.

Showcasing the best works by the acclaimed Nordic master of light and solitude, this is the first major book on the artist since 1998.

The paintings of Vilhelm Hammershøi (1864–1916) have become increasingly popular due their almost contemporary aesthetic. Admired and celebrated during his lifetime, Hammershøi gradually fell into oblivion before being rediscovered in the 1990s. He is now recognized as the iconic painter of Nordic light and solitude.

This newly researched monograph presents the artist’s best works, many drawn from rarely seen private collections. Enigmatic and subtle, his paintings feature empty interiors, shades of gray, and the silhouette of a lone figure. Reminiscent of Edward Hopper, Hammershøi has an impassioned following who will appreciate this new volume.

Multiple scholarly texts and an illustrated chronology shed new light on Hammershøi’s art and explore links with contemporary artists highlighting Hammershøi’s singular genius and more radical aesthetic, which still engages and surprises us today.

About the Authors:

Jean-Loup Champion is a sculptor, publisher, art historian, curator, and editor of several books. Frank Claustrat is Associate Professor of Contemporary Art History at Montpellier University in France as well as a noted expert on Nordic art. He has been published in Artnord, L’Œil, Connaissance des Arts, and La Gazette Drouot. Pierre Curie is curator at the Musée Jacquemart-André in Paris. Marianne Saabye is a Danish art historian and author who was the director of the Hirschsprung Collection from 1986 until 2016.

The first monograph on Iraqi artist Hayv Kahraman surveys her figurative work, which mines the marginal space that pertains to diasporic peoples, collective and personal memory, and gender.

The vital practice of Hayv Kahraman produces ethereal figures relating to each other in complex grounds. Their grace belies the brutal history of violence and displacement Kahraman’s subjects endure, creating an oscillating effect that entices the viewer with its seductive order. The artist combines elements of Italian Renaissance painting and twelfth-century Baghdadi illuminated manuscripts to create an evocative, hybrid vocabulary. Her quietly radical shifts — where traditional Iraqi screens’ geometric patterns are replaced with sections of a woman’s body, or a manuscript figure is presented as doll-like parts — convey the artist’s developing exploration of femininity, acculturation, and abstract patterns. Essays by Martin Daughtry, Walter Mignolo, and Octavio Zaya accompany works from all series to date, where graphic patterning attests alternately to violence and to moments of agency, community, and escape.

About the Author:

Martin Daughtry is associate professor of music at New York University. Walter Mignolo is professor of literature at Duke University. Octavio Zaya is an art critic and curator living in New York City since 1978.

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This beautiful book presents the extraordinary work of the iconic American "outsider" artist in a new critical light, locating him as a major figure in the history of contemporary art.

Self-taught and working in isolation until his death in 1973, Henry Darger realized an elaborate fantasy world of remarkable beauty and strangeness through hundreds of paintings and an epic written narrative. Angel-like Blengins with butterfly wings, natural catastrophes, innocent girls, and murderous soldiers all appear in Darger's scenes, which are reproduced in this book in double-page and gatefold illustrations.

In the volume's introductory essay, Klaus Biesenbach examines the radical originality of Darger's art, including his use of collage, incorporation of religious themes and iconography, and frequent juxtaposition of innocence with violence. An essay by Brooke Davis Anderson illuminates Darger's source materials and techniques, while another by Michael Bonesteel puts Darger's life in the context of his work.

The book also includes Darger's autobiography, “A History of My Life," introduced by Carl Watson. The only book of its kind, Henry Darger offers an authoritative, balanced, and insightful look at an American master.

About the Author:

Klaus Biesenbach is Director of the Museum of Contemporary Art in Los Angeles.

Four hundred little people frolic au naturel with overgrown songbirds and raspberries; a pudgy blue demon serenades a fashionable young couple with a tune piped through his own elongated nose; a knife-wielding set of disembodied ears stalks the damned through hell.

The phantasmagoric imagery of Hieronymus Bosch (d. 1516) has been the source of widespread interest ever since the painter’s lifetime, and is still so enigmatic that scholars have theorized that it contains hidden astrological, alchemical, or even heretical meanings. Yet none of these theories has ever seemed to provide an adequate understanding of Bosch’s work. Moreover, the considerable professional success that the artist enjoyed in his native Hertogenbosch, not to mention his membership in a traditional religious organization, suggests that he pursued not a sinister secret agenda but simply his personal artistic vision.

This intriguing new monograph by noted art historian Larry Silver interprets that artistic vision with admirable lucidity: it explains how Bosch’s understanding of human sin, morality, and punishment, which was conceived in an era of powerful apocalyptic expectation, shaped his dramatic visualizations of hell and of the temptations of even the most steadfast saints. Silver’s account of Bosch’s artistic development is one of the first to benefit from recent technical investigations of the paintings, as well as from the reexamination of the artist’s drawings in relation to his paintings.

Hieronymus Bosch is also unique in how securely it places its subject’s work in the broader history of painting in the Low Countries: Silver identifies sources of Bosch’s iconography in a wide range of fifteenth-century panel paintings, manuscript illuminations, and prints, and describes how, despite their own religiousness, Bosch’s pictures helped inspire the secular landscape and genre scenes of later Netherlandish painters. Augmented by 310 illustrations, most in color, including many dramatic close-ups of Bosch’s intricately imagined nightmare scenes, this is the definitive book on a perennially fascinating artist.

About the Author:

Larry Silver, a historian of Northern Renaissance art, received his Ph.D. from Harvard University and is currently Farquhar Professor of Art History at the University of Pennsylvania. His other books include the general survey Art in History and the recent Landscapes and Peasant Scenes: The Rise of Pictorial Genres in the Antwerp Art Market.

This first English book about Ho Kan, a pioneering Chinese artist who lived in Milan from 1964 to 2014, features exceptional artworks and groundbreaking research.

Ho Kan’s pioneering work is a meeting of many worlds, bringing together ideas and inspiration that are as rooted in notions of East and West as they are in the past and present. Delicately balanced on the cusp of Western geometry, and on the lines, shapes, and forms of Chinese characters, this book traces the artist’s creative trajectory from his co-founding of the radical Ton Fan Group in Taipei to the dynamic cultural milieu of 1960s Milan, the city he lived in until 2014.

Featuring some 200 exceptional illustrations of the artist’s life and work, comprehensive critical research, and personal interviews with Ho Kan, the essays in this book explore the artist’s interactions and experiences in Taipei and Milan alongside those of other Italian and international artists from that period, mapping his artistic journey from surrealism toward abstraction, laying out his extraordinary legacy as a leading transcultural artist.

About the Author:

Flavia Frigeri is an art historian, lecturer, and Chanel Curator for the Collection at the National Portrait Gallery, London. Lesley Ma is the inaugural Ming Chu Hsu and Daniel Xu Associate Curator of Asian Art in the Department of Modern and Contemporary Art at the Metropolitan Museum of Art in New York. Raffaele Bedarida is Associate Professor of Art History at Cooper Union, New York, where he directs the History and Theory of Art program.

This is the first comprehensive overview of the career to date of British-born Jamaican artist Hurvin Anderson (b. 1965). Anderson is known for painting lush and loosely rendered observations of scenes and spaces loaded with personal meaning.

Turner Prize-nominated artist Hurvin Anderson is best known for his brightly painted, densely detailed landscapes and interior scenes — particularly those relating to his upbringing in the Afro-Caribbean community in the Midlands of England, as well as more recent trips to the Caribbean. Anderson’s luscious paintings have hybridity at their heart. A tug-of-war plays out between abstraction and figuration, nature versus the manmade, beauty and menace, and his British and Jamaican heritage.

Born in the United Kingdom as a member of the Jamaican diaspora, Anderson relates to the Caribbean as both insider and outsider, aware of the mythmaking that the idea of lost or future paradise generates. This book, Anderson’s first major monograph, has been carefully curated by the artist himself and includes paintings, sketches, source material and ephemera, and studio shots. The volume also features a foreword by Courtney J. Martin, an in-depth and deeply considered essay by art historian Catherine Lampert, poems by Roger Robinson, and an illustrated chronology.

About the Author:

Courtney J. Martin is Director of the Yale Center for British Art. Catherine Lampert is an independent curator and art historian. She has curated numerous exhibitions at the Hayward Gallery, the Royal Academy of the Arts, and the Whitechapel Gallery, where she was director from 1988 to 2001. Roger Robinson is a British writer, musician, and performer who lives between England and Trinidad. His book A Portable Paradise (Peepal Tree Press) won the prestigious 2019 T. S. Eliot Prize, announced in London in January 2020. He is the second writer of Caribbean heritage to win the prize, the highest-value award in UK poetry, after Derek Walcott won in 2010.

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A lavishly illustrated look at the sources behind the paintings of Francis Bacon

Francis Bacon famously found inspiration in photographs, film-stills and mass-media imagery. In this new, updated edition of In Camera, Martin Harrison reveals how these sources informed some of Bacon’s most important paintings and triggered decisive turning points in the artist’s stylistic development.

Key influences, including the masters Velázquez, Poussin and Rodin, the photographer Eadweard Muybridge and the film director Sergei Eisenstein, are given close consideration. Bacon’s work is examined in relation to the precedents set by other artists working in the tradition of making use of mechanical reproductions, including Pablo Picasso and Walter Sickert, and in the context of his contemporaries Lucian Freud, Mark Rothko, Graham Sutherland and Patrick Heron.

With the aid of over 270 illustrations, including valuable source images and documents, In Camera is a bravura accomplishment of original research, addressing important questions about Bacon’s painting practice and shedding fresh light on his life and work.

Contents List:

Introduction • After Picasso • Michelangelo and Muybridge • Raw Material • In Camera • Skin/Flicks

About the Author:

Martin Harrison is one of the foremost scholars of Francis Bacon, and the editor of Francis Bacon: Catalogue Raisonné.

This is the first international monograph on the French artist Inès Longevial.

Inès Longevial is a French painter based in Paris. She started drawing and painting at a very young age, first showing her work on Instagram, where she had an immediate success in terms of visibility. Since then her career has been growing fast, thanks to the support of the Parisian gallery Ketabi-Bourdet and to solo shows in Paris and New York.

Her oil paintings and drawings focus on two main themes: femininity and nature. Bodies, faces, and skin are shaped by light and color, and different palettes reflect different emotions—sometimes soft and sensual, sometimes intense, strong, and violent. The artist approaches her memories in color and gives form to candid and absorbed faces that embody the nostalgia of seasons, sunsets, shades of light, and caresses.

Originally from the southwest of France but with family in the Basque Country, she’s been close to Spanish culture; Pedro Almodóvar’s colorful world and Pablo Picasso’s lines rank among her main influences. Through large oil portraits on linen canvas and on paper, the artist follows an intimate injunction: “to make the face speak.” Her face—her faces—have always taken on the appearance of a landscape, sculpted by infinite shades of gleam, carved by valleys, traversed by shadows.

The book presents a significant selection of paintings and drawings, and includes pages of her sketchbook, a kind of intimate diary showing her inspiration and her spontaneous approach to painting. It is the first monographic publication on a promising young talent, with great potential.

About the Author:

Lola Kramer is a curator, writer, and producer based in New York City. She is known for her essays, profiles, and interviews with pioneers of creative disciplines. She is the curator of 7 Gardens, a public art exhibition throughout the community gardens in the Lower East Side. She contributes to international journals including Frieze, Interview, L’Officiel Art, CURA, Kaleidoscope, and Apartamento.
Elise Roche is a French curator and contemporary art consultant. Since 2019, she has been the director of projects at Hervé Mikaeloff Agency where she specializes in projects dedicated to emerging creation. She has participated in the curation of various exhibitions such as "L'écume des songes” for Paris Art Fair; “Miss Dior,” a Dior heritage exhibition; and exhibitions for the Noor Festival in Riyadh. She also writes for magazines and galleries.
Line Papin is a French novelist, born in Vietnam and living in Paris. She published her first novel at the age of 21 and has published two successful novels since then.