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Advice, strong opinions, and personal revelations by the world's greatest artists - exclusively researched for this new book

Featuring the most inspirational and insightful collection of quotes by artists through the ages and across the globe, this exquisite keepsake is the ideal book for artists, collectors, and armchair enthusiasts. As painters, sculptors, photographers, and other visual artists see and experience the world through a unique lens, Art Is the Highest Form of Hope & Other Quotes by Artists shows that their life lessons, private revelations, and frank, often irreverent, opinions can guide us all.

This unique and carefully curated book, packed with totally original research, is a go-to resource for revealing thoughts and personal advice on subjects as diverse as beauty, colour, light, sex, chance, discipline, money troubles, originality, fear of failure, danger of success, the creative process, and more – all messages transmitted from the artistic trenches.

550 color photos

Art Jewelry Today. Dona Z. Meilach. Here is a beautiful new look at contemporary art jewelry. This invaluable reference will guide those who buy, wear, collect, and create one-of-a-kind, hand-made jewelry to the newest developments and their artist/innovators. Peek into the minds of today's craftspeople to understand their motives and methods. These are today's top art jewelers whose work is often shown in art galleries and museums. Chapters present contemporary designs in gold, silver, mixed metals, found objects, glass, enamel work, and imaginative jewelry pieces that go beyond tradition. Over 540 color photographs and lots of detailed information give ideas galore to inspire jewelry makers. In the 21st century craftspeople are striving to have their work considered fine art. This book will convince doubters that today's art jeweler is creating serious sculpture regardless of its size. It is sculpture to be worn, enjoyed, and appreciated today. Here are the trend setting artists with masterpieces that will be the collectibles of the future.

This large format, full-color, inspirational book is about how artists use their collections to make artwork. The gallery-style format allows readers to see what artists collect, and the resulting spectacular artwork they make from it. The book will feature the collections and the artwork of thirty-five major mixed-media artists. The artwork will include journals, assemblages, altered books, as well as jewelry pieces, and detailed descriptions of the materials and techniques used, plus tips and insights into using unusual materials and collections.

Mixed-media artists are naturally collectors. They are fascinated by the stuff of life, and they are always looking for the right elements to add to their collages and journals. This book offers a juicy combination -- sort of a walk through an artist-filled flea market, and a gallery of the pieces created using these collections with tips and insights on collecting and creating, and how they go hand in hand.

Features a lineup of 35 contributing artists including: Lynn WhippleGraceann WarnGail RiekeBeryl TaylorKeith LoBueMichael DeMengNina BagleySusan Lenart-Kazmerand more

Art Making, Collections, and Obsessions features a beautiful collection of inspirational artwork. You'll enjoy artist's tips, creative ideas, and advice on working with unusual materials for collage

A glimpse into the personal collections and work of 35 major artists..

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

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.

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.

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.

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.

Illustrations:  500 color and 275 b/w graphics

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

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

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.

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

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.