Сборники работ по искусству

Goddess of the Automobile Age

The changing aspects of femininity and masculinity

Tamara de Lempicka (1898-1980) stood at the center of the sophisticated Paris art world of the 1920s and 30s. Her love for beautiful women, elegant automobiles, and the modern metropolis provided not only motifs for her pictures, but also influenced her artistic style.

Simultaneously with her career as artist, Tamara de Lempicka pioneered a new image of life on the screen, evident in the new, self-confident woman and the changing aspects of femininity and masculinity. The same sense of style was reflected in a futuristic cult of speed, domestic design forms promulgated by the Bauhaus, and the dandyism of a George Brummell. Tamara de Lempicka’s best-known painting, "Self-Portrait, or Tamara in a Green Bugatti", presents the artist as a female dandy brimming with cool elegance.

Whether as an Art-Déco artist, a post-Cubist or a Neoclasissist, de Lempicka struck the taste of a cosmopolitan (and wealthy) public that found its own image reflected in her work.

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

Capturing fleeting moments. Degas’s mastery in the depiction of movement

"No art could be less spontaneous than mine. Inspiration, spontaneity, temperament are unknown to me. One has to do the same subject ten times, even a hundred times over. In art, nothing should look like chance, not even movement."  - Edgar Degas

In terms of both theme and technique, the key to understanding the early work of Edgar Degas (1834–1917) is classical painting. Although he was eventually associated with the Impressionists and even participated in their joint exhibitions, Degas never adopted a purely Impressionist approach.

Degas’s work, reflecting an extremely personal and psychological perspective, emphasizes the scenic or concentrates on the detail. Thus, Degas’s painting is often discussed with reference to the rise of short-exposure photography. Thematically, nature proved less interesting to the artist than the life and inhabitants of the modern metropolis. Degas primarily sought his motifs at the race track or circus, in bedrooms, or in ballet salons - and dancers always remained his favorite theme.

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

“I was aware of Diego Rivera, the Mexican muralist, long before I encountered the many other “Diego Riveras” that roamed the world between the beginning of the twentieth century and the late 1950s. […] While his easel paintings and drawings constitute a large body of both his early and late work, his unique murals explode off walls in virtuoso performances of mind-staggering organisation. On those walls the man, his legend and myths, his technical talent, his intense story-telling focus and self-indulgent ideological convictions all come together.”
(Gerry Souter)

Gerry Souter, the author of the remarkable Frida Kahlo, overcomes his huge admiration for Diego Rivera to give the artist a human dimension, found in his political choices, his love affairs and his belief that “this truth was Mexico, the language of his thoughts, the blood in his veins, the azure sky above his resting place.”

About the author
Gerry Souter earned his degree at The Art Institute of Chicago and then went on to do further studies in art at the University of Chicago. Himself an artist, Souter has exhibited his paintings and photographs at The Art Institute of Chicago, the Phoenix Art Museum and a number of other galleries. A professional author, he has written more than twenty books since 1997, with great success. His continuing studies in Art History and Architecture, the sharpness of his writing, and his visual experience add a dynamic aspect to the study of the lives of artists and the description of their works, keeping the reader captivated, page after page.

Diego in Detail. The most comprehensive study of Rivera’s work ever realized

Latin American folk hero, husband of Frida Kahlo, devout Communist, and Mexico’s most important artist: the oeuvre of Diego Rivera is finally done justice in this monograph constituting the most comprehensive study of his work ever made. More than a half-century after his death, Rivera’s story, complete mural works, and recently discovered pieces are brought to life alongside private photos and drawings.

A veritable folk hero in Latin America and Mexico’s most important artist — along with his wife, painter Frida Kahlo — Diego Rivera (1886–1957) led a passionate life devoted to art and communism. After spending the 1910s in Europe, where he surrounded himself with other artists and embraced the Cubist movement, he returned to Mexico and began to paint the large-scale murals for which he is most famous. In his murals, he addressed social and political issues relating to the working class, earning him prophetic status among the peasants of Mexico. He was invited to create works abroad, most notably in the United States, where he stirred up controversy by depicting Lenin in his mural for the Rockefeller Center in New York City (the mural was destroyed before it was finished). Rivera’s most remarkable work is his 1932 Detroit Industry, a group of 27 frescos at the Detroit Institute of Art in Michigan.

This volume features numerous large-scale details of the murals, allowing their various components and subtleties to be closely examined. In addition to the murals is a vast selection of paintings, vintage photos, documents, and drawings from public and private collections around the world, many of which the whereabouts were previously unknown to scholars and whose inclusion here is thanks to the most intense research performed on Rivera’s work since his death. Texts include an illustrated biography and essays by prominent art historians offering interpretations of each mural. One could not ask for a more comprehensive study of Rivera’s oeuvre; finally, his work is the subject of the sweeping retrospective it deserves.

About the Authors:

Luis-Martín Lozano is art historian and curator of modern and contemporary art. He is the recipient of a Fulbright scholarship to research Rivera’s and Kahlo’s oeuvre in California. Lozano has taught and lectured extensively on the subject of Mexican art and has written more than 50 essays about Mexican modernism as well as monographic essays about Diego Rivera, María Izquierdo, Frida Kahlo, Remedios Varo and many others. Since 2001 he has been director of the Museo de Arte Moderno de México.

Diego Rivera's grandson Juan Rafael Coronel Rivera has worked as editor of the magazines Punto Cero en Literatura, El Faro revista de literatura y arte and M'hija, together with Carlos Jaurena. He founded Kahlo-Coronel Fotogalería, Mexico’s first private photo-gallery, in 1987. His collection of Mexican popular pottery is the world’s most extensive, including more than 15,000 pieces from the 16th century to the present day. He has curated more than 100 exhibitions for art galleries, museums, and biennials and has written 71 publications.

"It is my wish to come very close, strikingly close, to the times in which we live, without submitting to artistic dogma...I need the connection to the world of senses, the courage to portray ugliness, life as it comes." - Otto Dix

In the 1920s, Otto Dix was the artist of Neue Sachlichkeit, the New Objectivity, par excellence. Painting in a very realistic, almost photographic style, he chose as subjects the poverty, violence, death, and war that he experienced as a soldier in World War I. After this terrible experience, he painted the famous triptych The War.

Dix staged the world as a play, a grotesque farce. But the form he chose to do so was based on the classical canon of beauty. Dix lived his life and served art, for he adhered to the age-old rule that the American painter Ad Reinhardt put in a nutshell: "Life is life, and art is art."

Zerofriends co-founder Alex Pardee returns with a collection of some of the most horrifying and iconic characters of film, video games and comics with Doppelgangers.

The monograph displays a parade of serial killers, demons, aliens and psychopaths, from early Universal monsters in melancholy black and white to modern horrors captured in full bloody colour.

The freaks of cult classics rub shoulders with the slick killers of modern blockbusters, all captured with Pardee's signature deranged style and a sense of childlike delight.

Readymade man. The anticonformist visionary

Marcel Duchamp (1887–1968), revolutionary artist, inventor of readymades, obsessive chess player, and master of the silent statement succeeded at the beginning of the 20th century to query art in its traditional form. His creations, not least his readymades such as the famous Fountain (a "reclaimed" urinal) or the Bottle Rack, are subversive and radical upshots of a critical confrontation with the production and marketing of art in the industrial age. While the young Duchamp still admired Monet, Fauvism, and Cubism, and for a while was quite closely aligned with the Dadaists and Surrealists, before long his work broke new ground and helped redefine art as we know it today.

The fact that Duchamp wanted to ensure that the self-irony and doubt, particularly in his own works, were constructively understood is best shown in one of his few statements on the subject: “I force myself to contradict myself in order to avoid conforming to my own taste.” Duchamp has long been an enigma to art historians while a great source of inspiration to other artists. This study addresses the myth and the reality, revealing a compelling portrait of Marcel Duchamp, the man and the artist.

About the Series:
Each book in TASCHEN’s Basic Art Series features:

- a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance
- a concise biography
- approximately 100 colour illustrations with explanatory captions

The author:

Janis Mink studied art history at Smith College and gained her doctorate in Hamburg under Martin Warnke. She is presently a writer and curator.

Посмотреть издание книги Duchamp в мягкой обложке.

Though most famous for his engravings, Albrecht Dürer (1471-1528) was also a master painter and draftsman whose work exemplified the spirit of German art. Dürer's importance in the German High Renaissance was such that he can be considered to embody the movement entirely. His visits to Italy (where he studied most notably with Giovanni Bellini) had a profound effect on his artistic development and enabled him to combine both German and Italian influences in his work. In his later life, Dürer's passion for knowledge and progress led him to research and write on the subjects of art theory and mathematics, making him not only the greatest Northern European artist of his time but also one of its leading thinkers. This overview of Dürer's entire oeuvre - covering his oil, tempera, and watercolour paintings, copper and wood engravings, and his drawings and sketches - is the perfect introduction to his work.

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

64 aquarelles et dessins classés par ordre chronologique. Détails, gros plans. Biographie, bibliographie.

In light of the popular, “beautiful” paintings of his Impressionist phase, it is easy to lose sight of the complexity of the oeuvre of Edgar Degas (1834–1917). All his life, the artist experimented with printing techniques and drawing as well as photography and sculpture. In his late work (1890–1910/12), the delicate, detailed painting of his mature period yields to a unique pleasure in technical experimentation and an obsessive creativity, which increasingly liberated the means of depiction from its reproductive function. As if in a dreamlike state, the present and past, things seen and remembered, are united, resulting in nude studies, ballet scenes, landscapes, and portraits. This is the first publication to present a comprehensive view of the technical diversity and wide range of themes in Degas’ oeuvre.

For one of the most important pioneers of Expressionism, the famous Norwegian painter Edvard Munch (1863–1944), the pulsating, modern city of Copenhagen was a bridge to Europe and an occasional refuge. In his lively exchanges with Danish artists and authors, Munch not only had intensive encounters with Paul Gauguin’s art, but also with Impressionism, Symbolism, and Synthetism. During a difficult existential crisis, which began around the turn of the century and lasted until 1908, Munch time and again returned to Denmark.

Rich in material, this book is the first to take a comprehensive look at Munch’s relationship to this Scandinavian country. It shows how much his Danish contacts influenced his reception of contemporary French painting as well as his early oeuvre. Generously illustrated, the volume presents some relatively unknown works created in and around Copenhagen and during Munch’s seven-month stay in a psychiatric clinic.

The long-awaited Edvard Munch Catalogue Raisonné has now been published, thanks to the collaboration between Faurschou, Kaare Berntsen and Munch-museet. The catalogue, that has taken five years to complete, offers for the first time ever, a complete survey of Edvard Munch’s paintings.

Edvard Munch is acknowledged globally as one of the greatest artists in the Twentieth Century. During his long artistic career, Edvard Munch created approximately 2000 paintings, more than 1100 of which belong to the Munch-museet. The remaining works are included in museums and private collections all over the world. The catalogue is divided into four volumes and contains a chronologic representation of Edvard Munch’s paintings in colour and with matching details.

The catalogue is based on the knowledge and research that has been gathered at the Munch-museet over the past 40 years and each volume contains essays by Munch experts. The author and editor is Gerd Woll who has previously written numerous articles and exhibition catalogue texts on Edvard Munch. Gerd Woll was the author of the comprehensive catalogue on Munch’s graphic works that was published in 2001.

The Catalogue Raisonné serves as an indispensable tool for international research on Edvard Munch's works at museums and universities globally for both art historians and students alike. The catalogue will simultaneously serve as a platform to expand the knowledge of Munch’s work with art interested people in general.

The early masterpieces of Norwegian artist Edvard Munch, pioneer of modern art, who developed a Nordic variant of modern painting.

274 ills., 247 in color

The prototypical Pre-Raphaelite artist, Edward Burne-Jones (1833–1898) embodied in his art the glamours of Victorian Romantic painting, harking back to an Arthurian Medieval England of chivalry, virtue, Arcadian delight and dreamy sensuality. “I mean by a picture a beautiful, romantic dream of something that never was, never will be,” he once wrote, “in a light better than any light that ever shone - in a land no one can define or remember, only desire.” Burne-Jones' fantasies of an ideal Albion offered solace against the onset of the Industrial Revolution, which had increasingly come to determine urban life in Victorian Britain, and which his close friend William Morris had also critiqued in his bestselling poetry book The Earthly Paradise (1868). This volume explores Burne-Jones' vision of an “Earthly Paradise” as expressed in painting cycles such as Perseus, Amor and Psyche, St George and Briar Rose, and his wonderful Arthurian tapestry sequences and book illustrations. It also opens up the artist's more practical efforts to secure this earthly paradise through the domestic crafts, rejuvenating the Victorian interior through Medieval precedents: carpets, textiles, stained glass windows, furniture and other Arts and Crafts objects. In emphasizing the conceptual unity of Burne-Jones' painting cycles and domestic designs, this monograph reveals his vision to be a coherent expression and longing for a finer world.Edward Burne-Jones was educated at Exeter College, Oxford, where he met his future collaborators, the artist-poets William Morris and Dante Gabriel Rossetti, under whose influence he left Oxford without graduating. From his first major exhibition in 1877, Burne-Jones was a hit with the English public; his 1884 painting “King Cophetua and the Beggar Maid” remains a classic expression of the Pre-Raphaelite Brotherhood sensibility. After his death in 1898, Burne-Jones' legacy became most apparent in the decorative arts.

Illustrated with over 150 oils, watercolours, etchings and drawings with comments on their formal and technical characteristics, this exhibition's catalogue offers an updated critical interpretation of Edward Hopper's work and an alternative view to the extensive literature that already exists on this artist. Perfect for casual perusing or serious study, it is certain to find a wide audience.