Искусство

Known for always pushing the envelope when it comes to showing sex and violence on screen, Paul Verhoeven has directed controversial films in several genres, including the erotic thriller (Basic Instinct), melodrama (Showgirls) and science fiction (RoboCop, Total Recall, Starship Troopers, Hollow Man). However, even before going to Hollywood, Verhoeven had been a succès de scandale in his native Netherlands, where he directed a war saga (Soldier of Orange), a medieval epic (Flesh+Blood), a psychosexual thriller (The Fourth Man) and a sex comedy (Turkish Delight, which was voted Best Dutch Film of the Century at the Netherlands Film Festival). Verhoeven has shown that visceral thrills can be thought provoking, challenging our received notions of heroism, patriotism, and eroticism. He has created some of the most courageous and contentious films of recent years. Made with full access to Paul Verhoeven’s archives!

Dave and Holly Combs travelled to New York City from Indianapolis, Indiana, to assist with Sept. 11 recovery efforts. While exploring Manhattan during their off hours, they were inspired by the wealth of stickers they saw all over the city. These stickers made such an impact that the Combses started PEEL, the first street-art magazine with a focus on stickers. Evolving from a black and white zine stuffed into plastic bags to a full-size, glossy, internationally distributed magazine, this book documents the development of PEEL and sticker culture, as the two are intimately linked.

Showcasing stickers, interviews and articles from the first eight issues of PEEL, this book celebrates the innovation and diversity of sticker and street art, including interviews with some of the scene’s legendary figures like Shepard Fairey and SEEN, along with profiles of international sticker communities, and sticker designs from artists across the globe. And of course, the book has stickers, 69 of them.

PEEL: The Art of the Sticker demonstrates how the Combses have created a nexus for the sticker and street art community, providing a forum for artists to transcend culture, language and geography by abiding by the PEEL credo: “Take your art and . . . STICK IT!”

In this comprehensive study of the art of drawing with a pen, artist and author Joseph Pennell highlights his opinionated "technical suggestions" with more than 400 illustrations by 250 famous artists, including Titian, Dürer, Rembrandt, Rodin, Manet, Renoir, Beardsley, Pyle, Hiroshige, van Gogh, Rackham, and other masters from around the globe. Each of the high-quality reproductions is accompanied by a critique of its style and execution and occasional comparisons to the artist's other works and those of contemporaries.

Featured images range from landscapes by Titian, Rembrandt, and Corot to figure studies by Dürer, Goya, and Rodin and portraits by Manet and Matisse. The tremendous variety of subjects extends to street scenes by Toulouse Lautrec and van Gogh, episodes from literature envisioned by Rossetti, Burne-Jones, and Millais, and decorations by Crane and Morris. A visual treasure trove and valuable reference, this volume will serve as an enduring source of instruction and inspiration for artists of all skill levels.

Reprint of the Macmillan Company, New York, 1920 edition.

Persian art and architecture have a rich heritage that stretches far beyond the borders of modern-day Iran, from the Abbasid monuments of Baghdad to the splendid Timurid buildings of Samarqand and Bukhara.

In this glorious volume a wealth of photographs capture this profusion in rich detail, creating a vibrant guide that will captivate anyone keen to explore the cultural achievements of this 
great civilization.

When the ancient land of Persia was conquered by the Arabs, its people embraced the coming of 
Islam but strove also to retain their own language and culture, celebrating their history in works of literature such as the epic Shahnama. This merging of influences resulted in a distinctive artistic style that spread through the Middle East, reflected in monumental architecture and in art forms that range from expressive miniature paintings to sumptuous carpets and ceramics.

The book follows a historical path across the Iranian world and examines the artistic legacies of great rulers and their dynasties, from the rebirth of Persian art under the Seljuqs, to the magnificent structures built by Timur-i Lang in Samarqand, to the cultural flowering that occurred under the Safavid dynasty through the patronage of Shah Abbas and his descendants, and beyond.

Palaces, mosques, madrasas and mausoleums display a mesmerizing decorative complexity, with form and ornament combining to create an indivisible whole. Spectacular polychrome tiles, intricate brickwork, curling arabesque motifs and calligraphic inscriptions attain a transcendent beauty, designed to reflect both the temporal power of the rulers who commissioned these works and the heavenly glory of creation

Encounter one of history’s greatest civilisations through miniatures. In Persian Miniatures, the story of the magnificent Persian Empire is told by way of an artistic tradition on a small but vibrant scale. This unique collection of colourful miniatures from Persia in a convenient portable size will make the perfect gift.

This book combines Robert W. Gill’s two classic volumes – Basic Perspective and Creative Perspective – to provide a complete, clear and simple explanation of the principles of perspective. It demonstrates that an understanding of them – even in our technology-led world – is the key for architects and designers who want to produce great work.

Perspective: From Basic to Creative provides:
• The all-in-one authoritative guide to perspective that all designers, architects and students need on their shelves.
• Accessible text and timeless illustrations giving explanations of visual principles and step-by-step demonstrations of how to create accurate and convincing artwork.
• A complete set of creative tools enabling you to gain a mastery of the illusion of perspective on page or screen.

Art critic and scholar Philippe Dagen approaches Picasso as a subject through a series of questions. What does it mean to be an artist in the twentieth century? What does it mean to be an artist in the time of newspapers and museums, in a time when the art market has expanded to reach the entire western world? Is modern civilization so different that it gives an artist a new attitude and causes him to redefine his role for the public, the market, and, therefore, to invent entirely new artistic practices?

Picasso is considered here in view of this last, and most probable, hypothesis. He is a product of his situation and time, in the broadest sense of the term. Refusing to confine himself to his studio or the small artistic community in Paris, Picasso responded forcefully to world affairs, giving pictorial and sculptural form to the passions and events he witnessed around him. This is a thoroughly modern Picasso, constantly and consciously confronting the modernity of the world.

Dagen's original exploration of his techniques, materials, and images shows how the artist both allowed modernity to infiltrate his work and at the same time to react against it. Picasso moved between acceptance and rejection, a perpetual confrontation that is, perhaps, the most satisfying explanation of his will to create change that drove him to leave the most varied and diverse body of work in the entire history of art.

About the Author:

Philippe Dagen is an art historian, professor at the Sorbonne in Paris, critic for the newspaper Le Monde, curator, and novelist. He has published and contributed to numerous titles on art history, including George Grosz: Berlin-New York, Otto Dix: The War, and Bettina Rheims: Can You Find Happiness.

"I wanted to be a painter, and I became Picasso," declared Pablo Picasso (1881-1973) in an apt survey of a triumphant career.

He had good grounds for the confidence palpable in his statement, for in the history of 20th century art, his name stands out over all the others. In Picasso`s paintings, drawings, lithographs, ceramics, and sculptures, he was tirelessly inventive and innovative, exhibiting an aesthetic bravado that kept him one step ahead of his contemporaries. From subject matter to new forms and techniques to new media, Picasso got there first. The Spanish artist's enormous output, from the eight-year-old's beginnings to the late work of a man of ninety-one, is surely one of the most diverse and creatively energetic in the whole history of art, and it is no exaggeration to see him as the genius of the century.

Carsten-Peter Warncke's study is a thorough review of Picasso's entire oeuvre, from the early Blue and Rose Periods, through the analytic and synthetic cubism and classicist phase all the way up to the art of the old savage Picasso.

"I wanted to be a painter, and I became Picasso," declared Pablo Picasso (1881-1973) in an apt survey of a triumphant career. He had good grounds for the confidence palpable in his statement, for in the history of 20th-century art, his name stands out over all the others. In Picasso`s paintings, drawings, lithographs, ceramics, and sculptures, he was tirelessly inventive and innovative, exhibiting an aesthetic bravado that kept him one step ahead of his contemporaries. From subject matter to new forms and techniques to new media, Picasso got there first. The Spanish artist's enormous output, from the eight-year-old beginnings to the late work of a man of ninety-one, is surely one of the most diverse and creatively energetic in the whole history of art, and it is no exaggeration to see him as the genius of the century. Carsten-Peter Warncke's study is a thorough review of Picasso's entire oeuvre, from the early Blue and Rose Periods, through the analytic and synthetic cubism and classicist phase all the way up to the art of the old savage Picasso.

Our study of Picasso, the most exhaustive record of his work to date, contains almost 1500 illustrations - from his earliest drawings to the master's very last painting.

A groundbreaking study of Pablo Picasso, it documents all Picasso's major works from 1917 to 1937 including La Suite Voillard from the National Gallery of Canada. The title intends to be a metaphor. Harlequin can be anything you wish, a chameleon who constantly changes look and is never where we expect to find him, and Picasso, who could contemporaneously adopt the styles of cubism, neoclassicism, surrealism and expressionism, had many things in common with this legendary theatre character. Defined by some as a cannibal, a ruthless monster who devoured whatever he came across, Picasso was surprisingly all-inclusive. As a consequence he was, for a long time, an inevitable point of reference for many younger artists.

This lavish edition comes in three striking colour combinations that will be shipped to customers at random.

The Musée Picasso Paris, housed in the magnificent Hôtel Salé since 1985, includes more than 5,000 pieces, constituting the finest public collection of the artist’s works ever assembled. This definitive reference, which features an extensive album showcasing more than 450 of Picasso’s masterpieces, is arranged chronologically and by theme. It traces every stage in the development of his oeuvre, from the Blue Period to his late portrait The Young Painter (1972).

The museum’s authoritative team provides in-depth essays that examine Picasso’s paintings, as well as his proficiency in all artistic forms ― from sculpture or ceramics to photography, drawing, and engraving. His personal art collection and ephemera from his private archives provide insight into the great twentieth-century artist himself, and the comprehensive tome is completed with a detailed chronology.

The greatest works by prolific artist Picasso are reproduced in this massive cloth-bound volume that features a handsome slipcase, ribbon page marker, and is printed on three types of paper to present the diverse artworks to their best advantage.

This publication explores Pablo Picasso’s use of a black-and-white palette throughout his entire career.

Picasso Black and White examines the artist’s lifelong exploration of a black-and-white leitmotif through paintings and a selection of sculptures and works on paper. Picasso continued the tradition of engaging the color black that had been employed throughout a centuries-long history of Spanish painting by fellow artists José de Ribera, Diego Velázquez, Francisco de Zurbarán, and Francisco de Goya. Moreover, he made highly effective use of isolated black, white, and gray hues in a nod to monochromatic grisaille painting and to drawing, line, and form. As this volume attests, the recurrent motif of black and white appears throughout Picasso’s oeuvre, including his blue and rose periods, his investigations into Cubism and Surrealism, his interpretations of historical subject studies for his celebrated painting "Guernica", World War II, and an homage to old masters, as well as the powerful paintings of his last years. Featuring reproductions of more than 150 works, this book examines the extraordinary complexity and power of these expressive artworks, which purge color in order to highlight their formal structure. Including essays by leading Picasso scholars, this book is a unique and coherent perspective on one of the world’s most innovative and influential artists.

A profound reassessment of Picasso’s dynamic later work, which shows the greatest painter of the twentieth century in a race with the time remaining to him.

No other painter has had such a more lasting influence on twentieth-century art than Pablo Picasso. Among the many phases and styles found in his oeuvre, his late period has a special position. His late paintings, featuring close-ups of the kiss and copulation, cling with all their might to sensuality and the embrace; they are marked by a great restlessness whose aim is to exorcise death itself. The “wild” paintings rapidly executed by his masterly hand are contrasts to his detailed, carefully executed drawings, which are dominated by a unique joy in narrative.

This volume, edited by Werner Spies, former director of the Centre Georges Pompidou in Paris and the most important Picasso expert of our day, examines almost two hundred works—paintings, drawings, prints, and sculptures - shedding light on the special work methods and dialectics in Picasso’s later work. In particular, the exciting dialogue between painting and drawing, developed during his years in Mougins, shows that the greatest artist of the twentieth century was engaged in a race against time.

A survey of the fine illustration work that was done in Britain in the 20th century, focusing particularly on the work of staff and students of Central Saint Martins. It looks at not only book illustration for both adults and children but also fashion illustration, comics and cartoons, and commercial illustrations such as the 1930s classic posters for London Transport and Shell.

The Rizzoli Art Classics series brings you Piero della Francesca, Titian, Caravaggio, and Velázquez, all in beautifully illustrated monographs, offering high-quality reproductions in compact, accessible volumes.

These books feature a literary introduction by a renowned art historian, a thoroughly researched essay, and captions describing the artist's most famous canvases. A useful appendix section includes an extensive chronology of the artist's life and important historical events of his time; a compilation of writings by well-known historians, insight into each painter's stylistic development; a geographical table detailing the location of each painting in the book; and a concise bibliography with suggested further readings.

With an authoritative text by leading art historians, these lavishly illustrated editions provide fresh insight into the art and lives of some of the most fascinating artists in the history of painting.