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Joan Lahor
ID: 2733
Видавництво: Grange Books

This book has chapters on the Origins of Art Nouveau, Art Nouveau at the 1900 Universal Exposition in Paris, Major Artists and a Bibliography

Jean Lahor
ID: 3404
Видавництво: Parkstone
Art of Century is a collection of thirty titles which glide through the most significant cultural movements from the Antiquity to the twenty-first century. Through its first fives titles, Naive Art, the Renaissance, the Russian Avant-Garde, Symbolism and Art Nouveau, this series offers a new didactic approach to the main currents and major artists who moulded our comprehension of the twenty-first century aesthetics.
Klaus-Jurgen Sembach (Tascheh 25 - Special edition)
ID: 5218
Видавництво: Taschen

Art Nouveau, whose emergence at the same time as cinema was no mere coincidence, represents the most remarkable attempt to reconcile the demands of the technical age with the undying wish for beauty and glorification—or to pit them against the other.

Here the reform movement of the turn of the century is not only dealt with as an artistic event, but those economic and political interests which inspired, supported, and handicapped it are also taken into account. In the chapters "Movement," "Unrest", and "Equilibrium," the historical phenomenon as a whole is characterised and is also presented with its own distinct local features. The centres of Brussels, Nancy, Barcelona, Glasgow, Helsinki and Chicago are dealt with in subchapters as are Munich, Darmstadt and Weimar. Finally, Vienna, that city in which the synthesis achieved its culmination, is described separately. The outstanding artists are examined in detail in connection with the respective cities of their greatest activity. The result is a complex picture of the symbiosis of architecture, furniture design, and craftsmanship with their corresponding approaches to artistic revitalization.

About the author:
Klaus-Jürgen Sembach organised the exhibitions "Die Nützlichen Künste" (Useful Arts), 1981 in Berlin, "Zug der Zeit – Zeit der Züge" (The Railway Era), 1985 in Nuremberg, "So viel Anfang war nie – Deutsche Städte 1945–1949" (Never have there been so many beginnings – German cities 1945–1949), in Nuremberg and Berlin 1989, and has numerous publications on architecture, design, photography and film to his name.

Gabriele Fahr-Becker
ID: 5992
Видавництво: Ullmann

The unity of art and life was the expressed goal of the Art Nouveau movement, the prelude to modernity. On the basis of shared ideas its adherents strove for a homogenous style, which nonetheless took on manifold variations in its expression. Dr. Gabriele Fahr-Becker pursues this will to style in architecture, interior decor, furniture design, silver and gold-smithery, ceramics and glasswork, graphic arts and painting. The author leads her readers through the diverse national variations of Art Nouveau in Europe and the United States. The significance of the literary and philosophical as well as cultural and political background is explained by means of many theories and writings by artists and their contemporaries. The countless permutations of Art Nouveau are woven into a complex and yet distinctive picture of this artistic movement at the turn of the twentieth century.

Norbert Wolf
ID: 8287
Видавництво: Prestel

This sumptuous volume explores key aspects of Art Nouveau - decorative arts, architecture, fashion, dance, advertising, and more - with an in-depth approach and stunning illustrations.

The Art Nouveau movement became an international phenomenon at the beginning of the twentieth century that ushered in the era of modernity in almost every aspect of cultural life. For decades critics have argued that Art Nouveau was not an artistic period in its own right, but an amalgam of artists and styles that served as a bridge between neoclassicism and modernism. In this comprehensive, authoritative, and copiously illustrated book, art historian Norbert Wolf explores Art Nouveau as a logical outgrowth of the historic forces in which it arose.

This book focuses on the movement’s wide variety of applications and reclaims its prominence in the pantheon of modern art history. Chapters on aesthetics, spirituality, and the cult of beauty offer luminous examples of works by Mucha, Gaudi, Hoffman, Klimt, Horta, Munch, and Tiffany, among many others.

Wolf’s text is both informed and accessible, providing an exciting narrative that brings the Art Nouveau movement into clear focus. Beautifully produced to appeal to a wide range of readers, this new volume gives one of the world’s most popular styles the serious consideration it deserves.

Klaus-Jurgen Sembach
ID: 11528
Видавництво: Taschen

For a fruitful period between the 1880s and the First World War, European and North American culture deferred to nature. With a symphony of flowing lines and organic shapes, Art Nouveau ( New Art ) inflected architecture, design, painting, graphic work, applied arts, and illustration.

Art Nouveau was deliberately nouveau. With a spirit of willful reform, its practitioners sought to distance themselves from the imitative historicism that characterized much 19th-century art and replace it with undulating, decorative qualities. Turning to vine tendrils, flowering buds, and bird feathers as ornamental reference, they pursued not only a linear freedom but also liberation from the weight of artistic tradition and expectation.

At the same time, Art Nouveau followed the example of the earlier English Aesthetic and Arts and Crafts movements to reject established hierarchies of artistic practice, to emphasize a return to handcraftsmanship, and to synthesize artistic media and practices into a Gesamtkunstwerk, or total work of art. In this, as in its turn to nature, Art Nouveau is often seen as an aesthetic response to the Industrial Revolution, a recoil from the mass-produced and mechanic, and an elevation of the human hand and wonders of the great outdoors.

This fresh TASCHEN edition considers Art Nouveau as a broad historical phenomenon with distinct local features. We consider the style s wider artistic, economic, and political circumstances, as well as its particular flavor in such hubs as Vienna, Glasgow, Munich, Weimar, and Chicago. Outstanding proponents such as Victor Horta, Antoni Gaudi, and Charles Rennie Mackintosh are featured in connection with the cities of their greatest activity. The result is a vivid portrait of the age and a movement that is as much entrenched in our imagination of the fin de siecle as it is in the trajectory of modernism.

Klaus-Jürgen Sembach is a writer, curator, and former director of the Museum for Industrial Culture in Nuremberg. He has produced numerous publications on architecture, design, photography, and film.

ID: 2867
Видавництво: Schiffer

Illustrations:  500 color and 275 b/w graphics

This rich treasury of Art Nouveau designs will inspire and enrich your decorative arts projects. The images were originally presented in the 1890s for use in home interiors, ceramics, textiles, stationary, stained glass, and ironwork. Now, even easier to use, they are in both print and digital forms, referenced by page numbers. 775 graphics, 500 in color, are at your fingertips. Specifically created more than a century ago to appeal to an emerging aesthetic called Art Nouveau, or New Art (derived from "La Maison de l'Art Nouveau," a gallery for interior design that opened in Paris in 1896), this style became an international fad by the early 20th-century. Art Nouveau is characterized by organic foliate forms, sinuous lines, and non-geometric, "whiplash" curves that are highly appealing again today. With this wealth of beautiful designs, you can add an authentic antique touch to today's graphics with modern technology.

 

Fritz Falk
ID: 4750
Видавництво: Arnoldsche

Around 1900 the Pforzheim jewellery-making industry, which had been established since 1767, underwent an upturn to flourish as never before. The participation of Pforzheim businesses in the 1900 Paris World Exhibition and the thorough assimilation of a variety of influences from abroad – including the figurative French Art Nouveau style – ensured that Pforzheim Art Nouveau jewellery developed confidently towards aesthetic autonomy.

Collaboration between the jewellery industry and professors at the Pforzheim School for the Applied Arts as well as sharp eyes for new developments outside the jewellery capital shaped Pforzheim jewellery creations around 1900. Other fecund sources of colla-boration were the Darmstadt Mathildenhöhe artists and Wiener Werkstätte. The author has discovered hitherto unpublished contemporary source material and has been able to draw on hundreds of extant original pieces of jewellery – brooches, pendants, collars, hatpins and hair combs that are now in museums, private collections and on the art market – to make a choice selection for this book. Thus a living picture emerges of the diverse formal and technical -possibilities that gave rise to the design, craftsmanship and industrial manufacture characteristic of Pforzheim Art Nouveau jewellery.

Many important designers worked for the Pforzheim jewellery industry around 1900. This is the first wide-ranging survey – informative on both artists and firms and lavishly illustrated.
Artists (a selection): Franz Böres | Max Gradl | Patriz Huber | Georg Kleemann | Ferdinand Morawe | Otto Prutscher | Emil Riester | Fritz Wolber
Firms (a selection): Theodor Fahrner | Gebr. Falk | Hermann & Speck | Kollmar & Jourdan | Lauer & Wiedmann | Levinger & Bissinger | Victor -Mayer | Meyle & Mayer | A. Odenwald | Rodi & Wienenberger | F. Zerrenner

Vivienne Becker
ID: 2679
Видавництво: Thames & Hudson

Jewelry was one of the purest, and most successful, expressions of Art Nouveau style, using sensuous organic forms to create a vast range of objects of exceptional beauty and inventiveness. Leading expert Vivienne Becker provides an account of the movement that spread through Europe and the United States, acquiring different decorative characteristics in England, Germany, Austria, Belgium, Russia and Spain.

For the collector, comprehensive biographies on more than 300 designers are included, followed by a guide to identification, with over 200 makers’ marks and signatures. Each part of the book is richly illustrated with plate sections of dramatic illustrations, from the sinuous elegance of the French masters - Vever, Lalique and Fouquet - to the linear, geometric designs of the Viennese - Josef Hoffmann and Koloman Moser.

456 illustrations, 156 in colour, 214 makers' marks

B.Grotkamp-Schepers, R. Sanger, B. Grotkamp-Schepers
ID: 1957
Видавництво: Arnoldsche

The basic tenet of Jugendstil (German Art Nouveau) was to "suffuse all areas of life with art". This also applied to objects in everyday use.

The German Blade Museum boasts the world's biggest cutlery collection. Vol. I of the Museum catalogue presents "Jugendstil Cutlery" in all its diversity. Silver, silver-plate and other materials were used for this cutlery, most of it made in Germany. The collection comprises more than 300 patterns, which are arranged here by purely formal criteria to reveal the enormous variety of forms and decoration. No other era produced such a diversity of decorative designs and this is the first ever publication to deal with it. All known makers and designers, as well as anonymous factory designs for patterns, are represented in this collection.

 
The Deutsches Klingenmuseum in Solingen has one of the world's largest cutlery collections. The present book is devoted to "Jugendstil cutlery" in all its diversity of design, shape and form. These knives, forks, spoons and serving pieces are made of silver, silver plate and a great variety of other materials. More than 300 patterns are represented, classified here according to visual criteria. The reader has an overview of all aspects of form and decoration. The book is furnished with an exhaustive list of marks covering all cutlery illustrated. The definitive handbook for cutlery collectors and designers.
ID: 3140
Видавництво: Grange Books

This book has over 300 stunning photographs covering the late 1880's to the early 1900's. It features buildings, furniture, metalwork, jewellery, glass etc

Michael Robinson
ID: 12452
Видавництво: Flame Tree Publishing

Part of a new series of beautiful gift art books, Art Nouveau Posters is as vivacious and optimistic as the period from which it derives its power to appeal, the Fin de Siècle. 

Combining advertising and art, by artists such as Henri de Toulouse-Lautrec, Alphonse Mucha and Jules Chéret, these beautiful posters offer an intriguing view of a society reveling in its new-found sophistication. 

With a fresh and thoughtful introduction to the movement and its posters, the book goes on to showcase the key works in all their glory.

Victor Arwas
ID: 543
Видавництво: Papadakis
Rarely has a subject been served by a book of this stature. Five years in the making, it covers all aspects of Art Nouveau in France in 624 authoritative pages and 740 illustrations, mostly in colour. Arwas traces the evolution of the movement as it developed, primarily in Nancy and Paris, with the help of carefully chosen illustrations, many never published before. Ranging from the 1900 Paris Exhibition to Paintings, Graphics and Posters and such collecting fields as Furniture, Jewellery, Glass, Ceramics, Book Bindings and Sculpture, the informative, witty text ranges over Architecture, Haute Couture, and the role of Women in Art Nouveau with a particular look at such Theatrical Ikons as Sarah Bernhardt, Loïe Fuller and the Grandes Horizontales. Art Nouveau achieved its national and international diffusion when it reached Paris, taking its name from the Parisian gallery of Siegfried Bing. The Metro entrances and buildings of Hector Guimard are still witness to its brief but extraordinary heyday in the capital, where the concentrated vituperation with which it was greeted helped propagate it as critics, aesthetes and the purchasing public took opposing sides. Reproduced here are rare examples of the great glass of Gallée and Daum; the stunning jewellery of Lalique, Vever and Fouquet; breathtakingly beautiful bronzes; complex polychrome ceramics; magnificent posters, decorative panels and paintings by Mucha, Berthon and Grasset; and book bindings, silver, pewter, walking sticks, and many other collectible objects that bring to life one of the most creative and exciting periods in the history of design. Destined to become the standard book on the subject, both content and design will appeal widely to the connoisseur, the specialist and the collector as well as to the novice who will be introduced to the magical wonders of the style. Detailed biographies of the artists featured, translations of contemporary texts and the bibliography lead to a full understanding of the period.

About the Author
Victor Arwas is an acknowledged authority on the fine and decorative arts of the late nineteenth and twentieth centuries. In over twenty published books he has explored aspects of various movements, and written exhibition catalogues and monographs on individual artists and groups. Several of his books are the standard works on their subject. He is a lifelong collector of paintings, graphics, books, sculpture and objets d'art, and has exhibited and promoted exhibitions at his Editions Graphiques gallery in London as well as in Japan and the United States. He lectures and broadcasts widely.

ID: 6181
Видавництво: Slovart

В конце XIX – начале XX века движение Арт Нуво привнесло в Европу и США жизненную энергию возрождения искусства и культуры. Этот стиль объединил самые разные имена и направления по всей Европе: в Австрии (стиль «сецессион»), Германии («югендстиль»), Нидерландах («Nieuwe Kunst»), Испании («модернизмо»), Англии и Шотландии («модерн стайл»), Франции и Бельгии (Арт Нуво), Италии (стиль «либерти» или «флореале»). Это повсеместно распространившаяся международная тенденция проникла во все аспекты искусства, от живописи и графики до рекламных плакатов, получив наиболее впечатляющее выражение в архитектуре, дизайне интерьеров и декоративном искусстве. Арт Нуво зародилось в качестве ответа академическому искусству, эклектизму и развитию промышленного производства. Многие приверженцы стиля Арт Нуво, включая Ван де Вельде, Тиффани, Климта, Орта, Бердсли, Гимара и Макинтоша, черпали вдохновение в плавных, элегантных и динамичных линиях и очертаниях цветов, растений и женских тел, включая эти природные формы в свои произведения. В то же самое время они исследовали возможности промышленного дизайна. С помощью таких материалов, как железо, стекло и цемент они пытались добиться естественной гармонии зданий, украшений и предметов мебели. Новаторский подход Арт Нуво пропагандировался посредством журналов, выставок и конференций.

Другие книги серии Visual Encyclopedia of Art:

20th Century Art. Искусство XX века

Baroque. Барокко

Renaissance. Ренессанс

Islam: Visual Encyclopedia of Art

Julian Beecroft
ID: 12454
Видавництво: Flame Tree Publishing

Founded in the 1880s as a response to the art world’s elitist obsession with painted and sculptural arts, ‘New Art’ quickly found enthusiastic support. 

Art Nouveau combined a desire for the complete reflection of art through craft and design, with the flowing lines of nature and Japonisme. 

It remains hugely popular, with the ever-present work of Mucha, Klimt, Toulouse-Lautrec and Mackintosh.

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