Мистецтво

Drawing on George Harrison’s personal archive of photographs, letters, diaries, and memorabilia, Olivia Harrison reveals the arc of his life, from his guitar-obsessed boyhood in Liverpool, to the astonishment of the Beatles years, to his days as an independent musician and bohemian squire. Here too is the record of Harrison’s lifelong commitment to Indian music, and his adventures as a movie producer, Traveling Wilbury, and Formula One racing fan. The book is filled with stories and reminiscences from Harrison’s friends, including Eric Clapton, Terry Gilliam, Eric Idle, Paul McCartney, Ringo Starr, and many, many others. Among its previously unpublished riches are photographs taken by Harrison himself beginning in the mid-1960s. It is a rich tribute to a man who died far too young, but who touched the lives of millions.

Einzige lieferbare Monografie zu Leben und Werk des großen französischen Erneuerers der Kunst des 20. Jahrhunderts auf dem deutschen Buchmarkt.

Das Werk von Georges Braque (1882–1963), dem bedeutenden Wegbereiter der Moderne, ist viel komplexer und aufregender, als dies die bisherige kunstwissenschaftliche Literatur oft vermuten ließ: Die starke Betonung der Verbindung des Künstlers mit Picasso und die Gleichsetzung seines Werkes mit dem Kubismus haben seine Bedeutung nur unzureichend beschrieben, auch wenn seinen bahnbrechenden kubistischen Arbeiten eine außerordentliche Stellung eingeräumt werden muss.
Der retrospektiv angelegte Band bietet eine profunde Neubewertung des gesamten Œuvres von Georges Braque. Mit über 80 Gemälden und zentralen druckgrafischen Arbeiten wird die Einzigartigkeit seines malerischen Abenteuers umfassend veranschaulicht: Braque im Umkreis der Fauves, Braque – der Methodische, Braque als Erfinder des Papier collé , Braques Anleihen bei der Dekorationsmalerei, in der er ausgebildet wurde, Braque als Meister des modernen Stilllebens und nicht zuletzt Braque – der »lyrische Konstrukteur«.

A new, multifaceted examination of Georges Braque’s complete oeuvre, whose complexity has yet to receive its due.

Georges Braque (1882–1963), one of the major pioneers of modernity, produced work that is much more complex and compelling than art historians have often led us to believe: the strong emphasis on his close association with Picasso and the equation of his work with Cubism have not done sufficient justice to his relevance, even though his pioneering Cubist works ought to be accorded extraordinary status.
This retrospective offers a profound re-evaluation of Braque’s complete oeuvre. Featuring about eighty paintings and key prints, this volume takes a comprehensive look at his unique adventures: Braque among the Fauves; Braque, the methodical artist; Braque as the inventor of the papier collé; Braque’s appropriations from decorative painting, in which he was originally trained; Braque as master of the modern still life; and last but not least, Braque, the “lyrical constructor.”

Винахідник пуантилізму, представлений через велику добірку малюнків та картин.

Жорж Сера (1859–1891), людина послідовно доброї вдачі, був названий «нотаріусом» своїми колегами-живописцями, і все ж він був новатором-авангардистом. Жодна інша візуальна тема так добре не ілюструє величезні новаторства в картинах та малюнках Сера, як фокус цієї книги: фігура в просторі. Щільне переплетення мазків олівця художника покриває папір, змушуючи його невизначені, плавні мотиви або виділятися, або зникати, тоді як чіткі світлі та темні контрасти оточують та підкреслюють фігури. У своїх картинах Сера переніс свої сюжети у свою техніку, пуантилізм, а також у свої новаторські композиції. У пізніших роботах він навіть повторював та урізноманітнював людські форми в межах однієї роботи. За свою дедалі геометричнішу візуальну композицію, яка підпорядковує окремі елементи системі, він заслужив захоплення Баугауза.

The catalogue is published on the occasion of the first individual exhibition of Georges Vantongerloo in Spain. The catalogue reveals the grounding of his work in the re-conceptualisation of pictorial and sculptural space that marked the abstract tendencies in art of the early 20th century. In the 1920s an important part of the Vantongerloo´s investigation was centred on colour as physical and perceptive phenomenon. Later, Vantongerloo will conceive his works according to strictly geometric rules, algebraic afterwards, to turn, thus, into the founder of the mathematical thought in art in our epoch. Genuine pioneer in the abstract sculpture field, the artist will continue, after 1945, proposing peculiar versions of that kind of sculpture, abandoning all the reference to a built geometry, and opening to a subjective approach to the universe of cosmology.

Max Liebermann, Lovis Corinth und Max Slevogt, three early 20th-century artists who did not view themselves primarily as landscape painters. On the contrary, they saw themselves as figurative painters who only engaged sporadically in landscape painting. They did so without being commissioned and free of constraints of all kinds, hence with particular dedication. Painted on trips or where they were staying on holiday, their landscapes were not practised to the point of becoming rigidly routine tasks. Consequently, their landscapes represent a high point of their respective painterly œuvres.

Liebermann’s paintings of his garden on Wannsee, Corinth’s Walchensee landscapes and Slevogt’s Palatinate landscapes painted at Godramstein and Neukastel are world-famous. However, exotic or less well known works such as the paintings Slevogt did in Egypt and Corinth’s early landscapes from his Munich days are included in this publication. The catalogue provides a concentrated focus on the landscape paintings of the three great German Impressionists. Accompanying essays elucidate their switch to landscape painting, addressing both their inspiring relationship with French Impressionism and their interest in the Barbizon School as well as the modern Dutch landscape tradition. In addition, an overview of German Impressionism and the development of German landscape painting in the 19th century introduce the subject matter in depth.

This comprehensive survey of the work of the Swiss-born modern master Alberto Giacometti offers a fresh and incisive account of his creative output. Published on the occasion of Giacometti’s first major museum presentation in the US in over a decade, the volume brings together nearly 200 sculptures, paintings, and drawings to trace the artist’s wide-ranging and hugely innovative engagement with the human form across various mediums.

While Giacometti may be best known for his distinct figurative sculptures that emerged after World War II, including a series of elongated standing women, striding men, and expressive busts, this volume devotes equal attention to the artist’s early and midcareer development. It explores his lesser-known engagement with Cubism and Surrealism as well as African, Oceanic, and Cycladic art, while also highlighting his remarkable talents as a draftsman and painter alongside his sculptural oeuvre. Of particular focus is Giacometti’s studio practice, which is examined through rarely seen plaster sculptures that highlight the artist’s working process, in addition to historical photographs documenting his relationship with the Solomon R. Guggenheim Museum — which hosted the artist’s first US museum exhibition, in 1955 — and with New York City.

Giacometti: Without End is published on the occasion of an exhibition at Gagosian Gallery, Hong Kong, organized in collaboration with the Fondation Alberto et Annette Giacometti. The catalogue centers on a set of 150 lithographs made by Giacometti that focus on cafés, boulevards, and his own atelier in his beloved Paris. The fully illustrated catalogue provides thorough documentation of the Paris sans fin suite, including artist proofs and carbon transfer papers that document the artist’s process, as well as a selection of related sculptures and paintings. The book also includes two small booklets that fit inside the front and back covers. One is a small facsimile of the book of Paris sans fin prints, 150 total, and the second booklet is a small facsimile of the entire preparatory maquette for the project. Exhibition curator and art historian Véronique Wiesinger has written a substantial text that will appear alongside texts by two Chinese artists: Szeto Lap and Shen Yuan. All text will appear in English as well as Chinese.

About the Authors:

Véronique Wiesinger has been director of the Fondation Alberto et Annette Giacometti since its creation in 2003. Szeto Lap is a Chinese artist living and working in Paris. He has had exhibitions at the Musée National d’Art Moderne at the Centre Pompidou, Paris, and at museums throughout China. In 2004, he was awarded the Chevalier de l’Ordre des Art’s et des Lettres given by the President of the French Republic, an award acknowledging Szeto for his artistic and cultural contribution to France. Shen Yua is a Chinese artist living and working in Paris. Her sculptures and installations have been shown at galleries and museums internationally.

One of the world's foremost artists of Fantastic Realism H. R. Giger is recognized as one of the world's foremost artists of Fantastic Realism. Born in 1940 in Chur, Switzerland, he studied architecture and industrial design at the School of Applied Arts in Zurich. By 1964 he was producing his first artworks, mostly ink drawings and oils, leading to his first solo exhibition in 1966, followed by the worldwide distribution of his first published posters in 1969. Shortly after, he discovered the airbrush and his own signature, freehand, style, and created his most well-known works, which formed the cornerstone of his fame. Giger's first book, Necronomicon, published in 1977, served as the visual inspiration for director Ridley Scott's blockbuster movie Alien, Giger's first film assignment, earning him the 1980 Oscar for "Best Achievement in Visual Effects", for his designs of the film's title character and its otherworldly environment. Giger's album covers for Debbie Harry and the band ELP were voted among the 100 best in music history in a survey of rock journalists. Throughout his career, Giger also worked in sculpture and, in 1992, created his first total environment, the Giger Bar in Chur. The Museum H.R. Giger in Château Saint-Germain was opened in Gruyères in 1998. Today, Giger continues to live and work in Zurich with his companion in life Carmen, where his current projects include the realization of his museum bar in Gruyères. The H.R. Giger portfolio features high-quality prints that beg to be framed. Tucked in the portfolio are 14 large-format reproductions, each with a brief description. Images included: No. 312, Biomechanoid Landscape, No. 358, Illuminatus I, 1978, No. 305, Safari, 1973-76, No. 271, National Parc, 1975, No. 351, Cataract, No. 341, Witches' Dance, No. 292, Dune IV, 1976, No. 256, Minon, 1974, No. 350, Hommage à Böcklin, 1977, No. 272, Baphomet (after Eliphas Lévi), No. 274, A. Crowley (The Beast 666), No. 252, Biomechanoid I, No. 344, Mirror Image, No. 251, Li II, 1974.

Master of Horror. Discover HR Giger’s arsenal of fear

Discover HR Giger’s inimitable universe in this definition introduction to the master that gave expression to the collective horrors and fantasies of our time. From his childhood fears to Alien, Giger personally guides us through his multifaceted career with intimate autobiographical essays, detailed reproductions and designs, and a foreword by Timothy Leary.

Swiss artist HR Giger (1940–2014) is most famous for his creation of the space monster in Ridley Scott’s 1979 horror sci-fi film Alien, which earned him an Oscar. In retrospect, this was just one of the most popular expressions of Giger’s biomechanical arsenal of creatures, which consistently merged hybrids of human and machine into images of haunting power and dark psychedelia.

The visions drew on demons of the past, harking back as far as Giger’s earliest childhood fears as well as evoking mythologies for the future. Above all, they gave expression to the collective fears and fantasies of his age: fear of the atom, of pollution and wasted resources, and of a future in which our bodies depend on machines for survival.

From surrealist dream landscapes created with a spray gun and stencils to album cover designs, from guillotine-like sculptures to self-designed bars, Giger personally guides us through his multi-faceted universe in this definitive introduction to a master of horror. Detailed reproductions and designs and a foreword by Timothy Leary complement Giger’s intimate autobiographical texts.

The artist:

HR Giger (1940–2014) was a Swiss painter, sculptor, and designer, who combined surrealist influences and dark fantasies to create his very own biomechanical universe. He first received acclaim in the 1960s with his airbrushed fantasies of post-apocalyptic creatures and landscapes and rose to fame through high profile movie work, most notably the creation of the monster in Alien, which won the Academy Award for Best Visual Effects. HR Giger was named in the Science Fiction and Fantasy Hall of Fame in 2013.

About the series:

Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. 

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 illustrations with explanatory captions

Taschen 25th Anniversary Series

Post-depression America was in desperate need of a defining iconography that would lift it out of the black and white doldrums, and it came in the form of Gil Elvgren's Technicolor fantasies of the American dream. His technique - which earned him a reputation as "The Norman Rockwell of cheesecake" - involved photographing models and then painting them into gorgeous hyper-reality, with longer legs, more flamboyant hair and gravity-defying busts, and in the process making them the perfect moral-boosting eye-candy for every homesick private.

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Посмотреть книгу  1000 Pin-Up Girls

Посмотреть книгу  The Great American Pin-Up

Throughout his long career, Morandi focused on still lifes and landscapes that captured the simple beauty of light and form. While his contemporaries struggled with the intellectual turmoil and aesthetic experimentation of the twentieth century, Morandi remained faithful to the subjects that fascinated him most: bottles, vases, and jugs, and the view out his studio window in Bologna. This richly illustrated volume brings together more than one hundred of his most important works. Grouped according to technique paintings, watercolors, drawings, and etchings each aspect of his work is given thoughtful consideration by scholars who explore Morandi's genius for composition, his serene palette, and his expertise as a draftsman.

Giorgio Morandi (1890-1964), an Italian painter and printmaker renowned for his simple yet stunning still lifes, is also famous for his legendary reputation as a recluse, an artist who resided in a world bound by the walls of his Bologna studio.

Giorgio Morandi: The Art of Silence is the first and only study in English to cover Morandi's career in its entirety as well as in the sociopolitical and cultural context of Italian art. Janet Abramowicz, Morandi's former teaching assistant, takes the reader through half a century of Italian art history and its most significant movements - Futurism, Pittura Metafisica, Valori Plastici, Strapaese, Novecento - most of which have received scant attention from English-language scholars.

Abramowicz shows how Morandi worked in close proximity to mainstream contemporary European art and tells the story of his relationship to the Fascist politics and patrons of his time, illustrating how his connections to this period were muted after the fall of the regime in post-World War II Italy in an effort to establish the artist as apolitical. Morandi was the only Italian modernist to emerge from Fascism unscathed.

An important new addition to scholarship on twentieth-century Italian art history, this book features many rare and previously unpublished images and will fascinate admirers of Morandi and his quietly transcendent work.

A magnificently illustrated study of the greatest painter of the early Renaissance.

Vasari famously wrote that Giotto "recovered the true method of painting, which 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 Giotto 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, Professor Francesca Flores d'Arcais draws on an impressive range of sources, from fourteenth-century documents to the most recent art - historical investigations. Her research leads her to important re-attributions of Giottesque paintings and to new conclusions regarding the execution and dating of both famous and lesser-known works. This second edition also includes a discussion of the earthquake of September 29, 1997 that damaged the frescoes of the Upper Basilica of San Francesco in Assisi - some of which are attributed to the artist in the early phase of his career - and the restoration effort that followed.

More than three hundred illustrations, most in full color and some on double gatefold pages, reproduce all of Giotto's important frescoes in exquisite detail, as well as his moving crucifixes and jewel-like polyptychs. These illustrations are based on new photography of Giotto's paintings, many of which have recently been restored to their original brilliance, making this the definitive monograph on the greatest of trecento masters.

Giotto di Bodone. A central figure of the Early Renaissance

According to legend, he was discovered by Cimabue as a boy, sketching his father’s sheep. Giotto di Bodone (1266-1337) was the most famous and influential painter of his generation in Italy. As the pioneer of modern painting, his impact was so enormous that his artist colleagues in Florence, however capable, were left struggling to keep up. His services were engaged by numerous high officials and princes, including the Pope and his cardinals, King Robert of Anjou, and the Scaligeri and Visconti. All these works, including the large secular cycles, are lost. Amongst his surviving works, his masterpieces are undoubtedly his decoration, from 1303 to 1305, of the private chapel built by the financier Enrico Scrovegni for his family in a former Roman amphitheatre in Padua, the fresco cycle in the Upper Church of Assisi, and the frescos in side chapels of Santa Croce in Florence. The simplicity and strength of his forms, as well as the humanism he infused in his works, set him apart from his Byzantine contemporaries and at the forefront of Italian painting in the early years of the Renaissance.

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:
Norbert Wolf graduated in art history, linguistics and medieval studies at the universities of Regensburg and Munich, and earned his PhD in 1983. He held visiting professorships in Marburg, Frankfurt, Leipzig, Düsseldorf, Nuremberg-Erlangen, and Innsbruck. His extensive writings on art history include many TASCHEN titles, such as Diego Velázquez, Ernst Ludwig Kirchner, Caspar David Friedrich, Expressionism, Romanesque, Landscape Painting and Symbolism.

Giovanna Garzoni (1600-1670) a exercé ses talents de miniaturiste à Florence, Rome, Turin, Naples, mais aussi à Paris. Ses natures mortes à la manière hollandaise mêlent fleurs, fruits et légumes, insectes et oiseaux. Cet ouvrage présente des compositions conservées principalement au Cabinet des dessins et des estampes des Offices et à la Galerie palatine de Florence.