Искусство

"Louis Agassiz Fuertes fut jugé par beaucoup comme le meileur artiste ornithologiste que le monde ait connu. Soixante-dix ans après sa disparition, ce jugement demeure fondé à bien des égards, malgré la venue de nouveaux talents remarquables, spécialement dans le domaine qui fut le sien, le portrait intime de l'oiseau pris sur le vif."
Francis Roux

Sélection de 66 aquarelles, reproduites en couleurs, exécutées par Louis Agassiz Fuertes (1874-1927) lors d’expéditions ornithologiques ou de voyages d'exploration scientifique en Floride, en Alaska, au Texas, aux Bahamas, en Californie :
Aigrette neigeuse, Arlequin plongeur, Elanion maucler, Aigle bateleur, Pluvier kildir, Grand-duc d'Amérique, Motmot à sourcils bleus, Pririt à collier, Linotte mélodieuse, Paruline à dos noir...

Portrait de Louis Agassiz Fuertes vers 1920.

.Bibliographie

Avant-propos de Jean DORST de l’Institut

Choix, Introduction et Commentaires de Francis ROUX

"La collection des Vélins de fleurs, témoin de l'art, de l'horticulture et de la société, a suivi l'évolution de la pensée pendant plus de trois siècles. Par sa signification universelle, elle est oeuvre aboutie, par son accroissement qui se poursuit, elle est oeuvre toujours renouvelée."
Alice Raynal

Sélection de 56 fleurs en couleurs, la plupart à pleine page et en belle page, peintes de 1685 à 1823 pour le Muséum d’Histoire Naturelle uniquement sur vélin.
Pierre-Joseph REDOUTE est l'auteur de 26 d'entre elles.

Les autres oeuvres sont de Nicolas ROBERT, Claude AUBRIET, Gérard van SPAENDONCK...

-Fleurs des vélins du Muséum par Alice RAYNAL

.Notices détaillées
.Bibliographie

Les Vélins du Muséum, présentation de Monique DUCREUX, conservateur en chef au Muséum national d’histoire naturelle de Paris (6 illustrations)

Préface de Henry de LUMLEY, directeur du Muséum national d’histoire naturelle de Paris

Choix et Commentaires de Jean-Claude JOLINON et Alice RAYNAL

La fameuse tête de Minerve n’est pas le seul poinçon qui concerne les métaux précieux. Grâce à plus de deux mille dessins reproduisant les détails de chaque poinçon, ce livre permet d’identifier les marques apposées depuis le Moyen-Age jusqu’à nos jours sur les ouvrages d’orfèvrerie et de bijouterie. Emblèmes, symboles, initiales, dates et noms se retrouvent sur ces poinçons et sont soigneusement décryptés par l’auteur.

Pour l’Ancien régime, les poinçons de jurande, de charge et de décharge sont étudiés en détail tant pour Paris que pour la province. Pour le Nouveau régime - après la Révolution -, le dessin, le chiffre, le différent, le contour et la lettre des poinçons de garantie sont passés en revue ainsi que les poinçons de responsabilité, les poinçons doublés ou plaqués, et les poinçons obus, sans oublier la tête de Minerve, le plus célèbre des poinçons de garantie réservés à l’argent.

Les règles à la marque sont ensuite décrites, qui permettent de déterminer l’emplacement du poinçon sur l’objet. De nombreux textes légaux – anciens et récents – sont cités in extenso. Les unités de mesure et la manière de faire des essais qui déterminent le pourcentage de métaux dans un alliage sont ensuite décrits. Un glossaire et une bibliographie terminent le livre.

In the tradition of American painters such as Andrew Wyeth, Thomas Eakins, Winslow Homer, and John Singer Sargent, Mario Andres Robinson shows us how to create beautiful, timeless, classical watercolor paintings through the use of simple, yet sophisticated, contemporary techniques every watercolorist needs to know.

Many artists find watercolor difficult to control and are often disappointed with the results. The water meanders across the surface of the paper and, given the proper nuance by the artist’s brush, it will reluctantly settle. Robinson’s approach to the medium of watercolor is primarily traditional but his methods are unconventional. Robinson simplifies the process and teaches artists to layer colors from light to dark and to focus on the highlighted areas first. He teaches that the values should be established in the beginning stages of the painting, using a monochromatic block-in that allows you to glaze pure layers of color over a muted gray underpainting. The results produce more sophisticated, subtle paintings. Further, his “live in the moment” approach embraces watercolor’s unpredictability as part of the process, the end result being a painting with intensity, spontaneity, and beauty.

Inspiring, concise, and practical, Mario Andres Robinson gives watercolorists of every skill level — from beginner to advanced to professional — encouraging advice and the must-have materials and techniques information they need to take their realistic painting to the next level, such as:

Essential Studio Practices • Materials and Tools • Exploring Your Subject • The Importance of Drawing • Watercolor Techniques • Considering Value • Incorporating Color • Overcoming Watercolor Challenges • An Artist’s Life

Richly illustrated, the book features over 100 of Robinson’s luminous, emotive watercolors; works by past and present watercolor masters, including John James Audubon, Henry Casselli, Thomas Eakins, Winslow Homer, Michael Lowery, John Singer Sargent, and Stephen Scott Young; 8 in-depth step-by-step painting demonstrations; color charts; product illustrations; and diagrams.

About the Author:

Mario Andres Robinson studied fine art at Pratt Institute in Brooklyn, New York, and received his BFA in 1993. He is a regular contributor to The Artist’s Magazine, Watercolor Magazine, Fine Art Connoisseur, and several others. Mario is a Brand Ambassador for Winsor & Newton art materials. He conducts workshops nationally and internationally throughout the year. His affiliations include The Salmagundi Club (New York), The Pastel Society of America (New York), and the National Arts Club and he’s been named a Living Master by the Art Renewal Center. Robinson’s work can be seen at Arcadia Contemporary and Ann Long Fine Art or on his website. His public collections include The Arkansas Arts Center (Little Rock, AR), Bank of America, and Museo Arte Contemporanea Sicilia (Sicily, Italy). Robinson's work is widely collected by private and public collectors. He lives in Point Pleasant, NJ.

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Пролистать книгу Lessons in Realistic Watercolor: A Contemporary Approach to Painting People and Places in the Classical Tradition

Au travers de mises en scène entre trompe-l'oeil et comic strip, Levalet s'amuse à surprendre les passants en réinventant l'histoire des lieux. Dans un langage plus inspiré du théâtre que du graffiti, le street-artiste donne vie à des personnages se livrant à des actions décalées, voire incongrues. Ses oeuvres, empreintes d'humour, d'espièglerie et de poésie, incitent le spectateur à mieux observer les espaces urbains délaissés et à prendre du recul sur les travers de son quotidien. À Paris, Barcelone ou Bologne, la rue devient la scène de compositions dessinées dont le réalisme feint alterne entre mise en abîme de la vie de l'homme moderne et fable jubilatoire.

Comic genius

One of the most important exponents of Pop Art

In the late 50s and 60s, American painter Roy Lichtenstein (1923-1997) became one of the most important exponents of Pop Art - that movement which transformed products of mass consumption and the entertainment industry into subjects for art. This apotheosis of banal, everyday objects simultaneously constituted a criticism of the traditional elitist understanding of art.

Almost alone among artists, Lichtenstein pursued the question of how an image becomes a work of art. Wholly in keeping with the spirit of the Classical Modern, he held that it was not the "rank" of the picture’s subject that lends the picture its artistic character, but rather the artist’s formal treatment of it. To Lichtenstein, however, this position seemed far too broad to be seriously pursued.

Developed in the early 60s, Lichtenstein’s grid technique, with its allusion to the mass-production of graphic art, allowed the painter to give vent to his own artistic scepticism. In the 60s and 70s, Lichtenstein expanded his formal repertoire of techniques for creating distance and irony by means of an idiosyncratic process of abstraction and especially by his use of his numerous art quotations.

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

From the funny pages to the canvas, comics recontextualized

In the late 50s and 60s, American painter Roy Lichtenstein (1923-1997) became one of the most important exponents of Pop Art - that movement which transformed products of mass consumption and the entertainment industry into subjects for art. This apotheosis of banal, everyday objects simultaneously constituted a criticism of the traditional elitist understanding of art.

Almost alone among artists, Lichtenstein pursued the question of how an image becomes a work of art. Wholly in keeping with the spirit of the Classical Modern, he held that it was not the "rank" of the picture’s subject that lends the picture its artistic character, but rather the artist’s formal treatment of it. To Lichtenstein, however, this position seemed far too broad to be seriously pursued.

Developed in the early 60s, Lichtenstein’s grid technique, with its allusion to the mass-production of graphic art, allowed the painter to give vent to his own artistic scepticism. In the 60s and 70s, Lichtenstein expanded his formal repertoire of techniques for creating distance and irony by means of an idiosyncratic process of abstraction and especially by his use of his numerous art quotations.

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

The Rolling Stones formed precisely a half century ago (well, maybe not precisely-even Keith Richards, in his recent Number One bestselling autobiography, wasn't sure if the audition was April or May). And they are still at 'work - or, rather, at play, celebrating 50 years of phenomenal music and a journey as raucous as 'Jumpin' Jack Flash. "Life's" cameras were there early and have been there since, capturing all the ragged glory. The same editors who produced a bestselling book on the Beatles as well as individual illustrated biographies of John Lennon and, recently, George Harrison now look at the long history of the Stones: the mysterious death of Brian Jones, the essential push-pull relationship of Jagger and Richards, the '60s signpost that was Altamont, the later glam, and then the welcomed return to roots. There are funny moments (the early Stones with TV host Dean Martin, who just doesn't get it when the band first fails-and fails miserably-to "conquer America") and many thrilling moments.

Mutabor’s practical guide to creating logos for our digital age

Mutabor has developed into one of the most important and creative design agencies in Germany. The company has also made a name for itself internationally with its succinct logos and icons for renowned clients such as the German soccer league, the Bundesliga. Over the years Mutabor has successfully expanded its core expertise into the comprehensive design of interdisciplinary brand presentations. Its award-winning projects for clients such as Audi, Adidas, Deutsche Telekom, and BMW range from printed editorial design to the creation of brand showrooms and large-scale presentations for automobile trade shows. A key aspect of Mutabor's work is optimally showcasing brands in digital media.

In Lingua Digitalis Mutabor demonstrates how to develop effective logos and icons for our digital age including applications for the iPad, apps, and interface design. The book presents over one thousand pieces of work, some of which are published here for the first time. Through these examples, Mutabor explains how designers can unlock even the most complex or abstract logo design assignments across various platforms.

Lingua Digitalis is a practical reference tool that is specifically intended to assist designers in their daily work. On the basis of the broad scope of featured examples this internationally recognized design company reveals its proven approaches and methods for creating digital logos.

This extraordinary three-dimensional package of Live the Art, is a suitable homage to Jeffrey Deitch’s legendary stature and influence as an art dealer and producer of memorable installations and art happenings that robustly transcended the idea of a mere “exhibition.”

More than four years in the making, and divided into chapters devoted to each year between 1996 and 2010, Live the Art explores in detail the astonishing shows and performances the visionary Deitch mounted in a one-story former garage on Grand Street in Soho that would be the primary home of Deitch Projects for fifteen years.

Deitch illuminates the founding concept by stating, “Deitch Projects was not meant to be an art gallery. The concept was simple. We would not operate as a gallery but would become a commercial version of the ‘project room’ that the Museum of Modern Art and a number of other American Museums had established in the ‘70s and ‘80s.”

Deitch’s original guidelines were simple: his intention was to invite artists who had not yet had a solo exhibition to create a “project” rather than a conventional show of work, and he would provide funds for the artist to produce their visions in the space.
The first artist was Vanessa Beecroft who produced “VB16 Piano Americano-Beige, 1996” which consisted of the immediately notorious roomful of models clad in pantyhose, bras, high heels and matching platinum wigs milling languorously around the space. Images in the book of this performance are accompanied by Beecroft’s notes and memories about the project, and this formula is repeated throughout the book with the artist’s own commentary alongside images of over 150 projects mounted in the space, and in other locations including Union Square Park, Woodlawn Cemetery, Miami Beach, Rockefeller Center, Brooklyn, and Deitch’s satellite space in Long Island City.

Artists whose no-holds-barred projects graced Deitch Projects in its fifteen years include Barbara Kruger, Cecily Brown, Malick Sidibé, Tim Noble and Sue Webster, ASFOUR, Liza Lou, a collaboration between Madonna and photographer Steven Klein, Kehinde Wiley, assume astro vivid focus, Yoko Ono, Jeff Koons, film director Michel Gondry, Dan Colen, Vito Acconci, Stefan Sagmeister, Stephen Sprouse, Jules de Balincourt, Shepard Fairey, and Miranda July, among many others.

A Deitch Projects event launch was the place for an art-savvy New Yorker to be, and the street theater of attendees became part of the events themselves.  As Deitch notes in Live the Art, “One of my goals in starting Deitch Projects was to create not just a gallery but a community. It is very rewarding to see that we created not just a community, but an art family.” There is no question that this goal was achieved, and Live the Art is a detailed look back on every event created by Deitch and shared by this “family” of artists and art lovers for fifteen incredible years.

About the Authors:

Deitch Projects created a new model redefining what an art gallery could be. In addition to presenting more than 250 artist projects during the fifteen years of its existence it created a remarkable community of artists, musicians and other creative talents. After closing the gallery Jeffrey Deitch became the director of The Museum of Contemporary Art, Los Angeles. Deitch is now working on bringing his influential Art in the Streets exhibition to New York.  

Stefan Sagmeister is a New York-based graphic designer and typographer. He is co-founder of Sagmeister & Walsh, a design firm that creates identities, commercials, websites, apps, films, books and objects.

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Пролистать книгу Live the Art на сайте издательства.

Great walls in China

Splendid and traditional homes in the People’s Republic

Dating back more than six thousand years, China is the world’s oldest civilization and most populous nation. With its remarkable history, rich culture, and diversity of ethnic groups, China is an endlessly fascinating country. Sneaking a peek at an array of different homes, from ancient to modern, Living in China brings you to places that most will never have a chance to visit. Whether it’s the Bamboo Wall by Kengo Kuma, a 600-year-old round earth house in Fujian, the artsy Shanghai apartment of a celebrated but banned Chinese writer, the Hong Kong residence of the owner of the China Clubs and Shanghai Tan, or an artist studio and home in the largest art community in the world, all of the interiors featured here capture intriguing facets of life in China today.

In recent years a new generation of artists and designers has discovered that garden plants - from moss and grass to fullgrown trees - can become astonishing works of living sculpture. Iconoclast garden designer Paul Cooper has gathered together the best examples of this exciting new art form while overturning many preconceptions about what is possible in the context of both gardening and art, showing that every garden has the potential to include dramatic and lasting sculpture.

The exhibition constitutes an important milestone as the first show on kinetic art, means art with moving parts, to be held in Spain that features works created since the late 19th Century up to those produced in 2006. The museum received loans never before seen in Spain from the most important museums in the world, such as the MoMA/NY, the Centre Georges Pompidou/Paris, the Whitney Museum of American Art/NY, the Metropolitan Museum of Art of New York, the Tate Modern/London and the Galería Nazionale D'Arte Moderna di Roma. Important galleries also loaned pieces, such as the Denise René Gallery, which in 1955 organized the first exhibition dedicated to kinetic artists. The show brings together over 80 works by 45 Spanish and foreign artists. In this exhibition, visitors will be able to view paintings, objects, chronophotographs, calotypes, serigraphs, digital prints and films that all have one thing in common - the implicit concept of movement. Kinetic art is art that contains moving parts or depends on motion for its effect.The moving parts are generally powered by wind, a motor or the observer. The term kinetic sculpture refers to a class of art made primarily from the late 1950s through 1960s. Kinetic art was first recorded by the sculptors Naum Gabo and Antoine Pevsner in their Realist Manifesto issued as part of a manifesto of constructivism in 1920 in Moscow. Bicycle Wheel, of 1913, by Marcel Duchamp, is said to be the first kinetic