Мистецтво

A beautifully produced literary art book that restores a collection of drawings and pastels to the heart of the life story of one of the great artists of the 19th century

Edgar Degas (1834 - 1917) was described as 'the most intelligent, the most demanding, the most merciless draughtsman in the world' by the poet and critic Paul Valery and today Degas is considered one of the outstanding draughtsman of the late nineteenth century. His powerful drawings and the pastles, which he himself characterized as 'orgies of colour', are some of the most compelling works in western art.

Drawing was not only the central tenet of Degas's art but also virtually a daily activity. Through an examination of the artist's drawings and pastels, which exist in great number and variety, Christopher Lloyd examines the development of Degas's style and outlines the story of his life in the contexts of Impressionism and Post-Impressionism.

Following a broadly chronological approach, Lloyd discusses the wide range of Degas's work: the images of ballet dancers (which form over half of the artist's oeuvre), jockeys, laundresses, milliners and female nudes, as well as the less well-known landscape drawings. With over 200 illustrations that capture the most fleeting of subtleties and shades, this book provides a comprehensive and engaging account of the artist as draughtsman.

Contents List:

Introduction • 1. Beginnings 1853–1855 • 2. Italy 1856–1859 • 3. History Paintings 1860–1865 • 4. Changing Directions 1865–1870 • 5. Confronting the Modern World 1870–1879 • 6. Retreat into the Studio 1880–1890 • 7. Landscape Drawings • 8. ‘The Dying of the Light’ 1890–c. 1912

About the Author:

Christopher Lloyd worked in the Department of Western Art of the Ashmolean Museum in Oxford from 1968 to 1988, combining curatorial duties with teaching. During that time he was appointed by Harvard University to a Fellowship at Villa I Tatti in Florence and was Visiting Research Curator of Early Italian Painting at the Art Institute of Chicago. He was appointed Surveyor of The Queen’s Pictures in the British Royal Collection in 1988 and retired from that post in 2005. He is now engaged in writing and organizing exhibitions on a wide variety of subjects. His publications include monographs on painters, catalogues of museum collections and surveys of the Royal Collection, as well as In Search of a Masterpiece: An Art Lover’s Guide to Great Britain and Ireland, Edgar Degas: Drawings and Pastels and Paul Cézanne: Drawings and Watercolours, all published by Thames & Hudson.

In dialogue with Edward Munch — discover the many ways the expressionist painter’s work has influenced modern and contemporary artists.

While Munch’s pessimistic, melancholy worldview crucially defines our understanding of his work, many important postwar and contemporary artists have drawn inspiration from several aspects of his oeuvre. This richly illustrated book explores how nine such artists — Francis Bacon, Georg Baselitz, Louise Bourgeois, Miriam Cahn, Peter Doig, Marlene Dumas, Tracey Emin, Jasper Johns and Andy Warhol—engaged with Munch’s work at different points in, or throughout, their careers. It features elaborate reproductions of sixty works by Munch juxtaposed with those inspired by him. Readers discover how Baselitz cunningly pays tribute to his artistic hero; how Tracey Emin’s practice, like Munch’s, is autobiographical, both drawing from their personal torment to create their unnerving works; how Marlene Dumas was drawn to the expressiveness of Munch’s portraits; how Louise Bourgeois’ works are illustrative of Munch’s fixation on fear and isolation; how Francis Bacon modeled “Screaming Pope” after Munch’s most renowned painting; and how Peter Doig draws on Munch’s radical treatment of pigments and materiality. Essays by leading scholars detail each artist’s unique preoccupation with Munch and offer a focused exploration of the ways women artists in particular were inspired by his examinations of loneliness, fear, and trauma.

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Пролистать книгу Munch In Dialogue

Живописні світи Мунка – початковий поштовх до модернізму

Радикальна модерність Едварда Мунка в живописі була викликом для його сучасників. Це стосувалося, зокрема, художньої сцени Берліна приблизно 1900 року, на яку норвезький художник-символіст глибоко вплинув. Натомість він отримав там підтримку та зміг продовжувати розвивати свою творчість. Видання щедро ілюстроване та майстерно описує історію Мунка та Берліна.

У 1892 році Асоціація берлінських художників запросила досі невідомого Едварда Мунка (1863–1944) на виставку. Публіка була вражена барвистими, схожими на ескізи картинами. Художник насолодився фурором і переїхав до міста на Шпрее, де неодноразово перебував до 1908 року. Тут він опанував техніку друкованої графіки та вперше представив картини в кількох безперервних серіях, які стали центральними в його творчості. У Берліні незабаром концепція «Магії Півночі» (Стефан Цвейг) перестала асоціюватися з романтичними чи натуралістичними фіордовими пейзажами, а з психологічно концентрованими живописними світами Мунка.

Про авторів:

Томас Келер є директором Берлінської галереї, Державного музею сучасного мистецтва, фотографії та архітектури в Берліні з 2010 року.

Стефані Гекманн очолює колекцію образотворчого мистецтва Берлінської галереї з 2014 року та є куратором виставки.

A fresh look at one of America’s best-known and beloved artists at a pivotal but little-known moment in his life that profoundly shaped both his art and career.

Edward Hopper & Cape Ann tells the largely ignored but significant origin story of Edward Hopper’s years in and around Gloucester, Massachusetts — a period and place that imbued Hopper’s paintings with a clarity and purpose that had eluded his earlier work. This volume focuses on summers Hopper spent there in the 1920s, starting in 1923, when he first embraced watercolor during outdoor painting excursions on Cape Ann and discovered one of his favorite subjects: houses and vernacular architecture. The success of Hopper’s Gloucester watercolors transformed his work in all media and set the stage for his monumental career.

Accompanying a major retrospective at the Cape Ann Museum, including an unprecedented loan of twenty-eight works from the Whitney Museum of American Art, this highly readable and beautifully illustrated volume reveals in great depth the lesser-known story about the influence of a young painter, Josephine Nivison, who became not only Hopper’s wife but also the most trusted force underlying his artistic confidence. Here she is recast as principal producer of Hopper’s distinctive style and his “brand” visionary from the time of their courtship until his death in 1967.

About the Author:

Elliot Bostwick Davis is a former curator at the Metropolitan Museum of Art, the John Moors Cabot Chair at the Museum of Fine Arts, Boston, and director of the Norton Museum. She has published extensively on American art, including Winslow Homer, Edward Hopper, Mary Cassatt, and Jamie Wyeth, as well as on African American artists.

Все, що ви завжди хотіли знати про Гоппера

Ця незрівнянна меланхолія в картинах Едварда Гоппера час від часу спонукає нас поглянути на деталі його життя. Де саме жив і працював цей майстер самотності? Що було найважливішим впливом на нього під час роботи над його чудовими картинами Америки? У цій чудовій, просто структурованій книзі від А до Я Ульф Кюстер досліджує ці теми, які багато говорять про художника та його інтереси, і все ж він ніколи не втрачає з поля зору художника та необхідної дистанції до його неповторних картин.

Таким чином, Кюстер проходить азбукою життя та творчості Гоппера, від «американського пейзажу», «Б'юїка», «Ґете» та «тіні та сонячного світла» до ключового слова «нуль». По дорозі він відкриває багато нових дверей або ідей, збагачуючи погляди на картини Гоппера та даючи змогу інтерпретувати їх по-новому. Цікава та пізнавальна книга.

Едвард Гоппер (1882–1967) – майстер американського реалізму. Його картини відображали життя його епохи. Його метод живопису швидко став стилістичною основою різновиду американського модернізму. Джерелом натхнення для незліченних художників, фотографів та кінематографістів, його творчість продовжує впливати й донині.

Теоретик мистецтва та куратор Ульф Кустер (*1966, Штутгарт) працює у Фонді Бейелера в Рієні з 2004 року. Він проводить багато міжнародно визнаних виставок та публікацій. Гаттьє Канц опублікував низку з них, зокрема своє есе про Луїзу Буржуа в серії Reading Art.

 A lavishly illustrated volume with high-quality presentation

2018 marks the centenary of Egon Schiele’s death. To coincide with this occasion the publication will present the painting collection of the Belvedere Vienna including highlights such as Eduard Kosmack, House Wall, Death and Girl, The Embrace and Four Trees. The book provides an opportunity to study the artist’s work processes in greater detail and to follow the fascinating routes taken by his works before reaching the museum.

In 1918 the Österreichische Galerie under Director Franz M. Haberditzl was the first Austrian museum to acquire an oil painting by Schiele during his lifetime. Today the museum owns one of the top collections of paintings from the years 1907–1918 by the artist. The publication will examine each work separately and will answer questions with regard to their acquisition and subject as well as related works. At the same time, the results of the investigations into painting technique which the works have undergone since 2016 will be presented for the first time. Complementary essays explain the history of the collection and the changes to the stocks of Schiele’s works which are taking place as a result of museum reforms, the exchange of pictures or the restitution of individual works.

  - Presentation of the outstanding works of Egon Schiele
  - Many fascinating contributions relating to the collection history, provenance research and restoration

The monograph on Egon Schiele edited by Rudolf Leopold in 1972 forms the basis for Egon Schiele’s world fame. This important document of art-historical literature has long been out of print, but it is now available once more in a revised edition with an updated catalogue raisonné. At the same time this magnificent volume provides an insight into the artist’s life through letters, sketches and documents.

Rudolf Leopold recognised back in the 1950s Schiele’s outstanding significance for art. He was largely responsible for ensuring that the artist received the place he deserved in art history and public awareness. The monograph presented Schiele’s paintings, watercolours and drawings chronologically in large-format colour plates. It is complemented by a profound examination of his motifs, studies, sketches and documents and provides a comprehensive overview. The current edition pays tribute to Leopold’s achievement.

_includes 228 full-page colour plates

About the Authors:

Rudolf Leopold (1925-2010) was an Austrian collector who developed his attention to the work of Egon Schiele, assembling the world's largest collection of Schiele's work.
Elisabeth Leopold is an Austrian art collector. With Rudolf Leopold, she cofounded the Leopold Museum and the Leopold Museum Private Foundation.

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Пролистать книгу Egon Schiele: Catalogue raisonné: Paintings, Watercolours, Drawings. Revised 2nd edition

У цій захоплюючій новій книзі розповідається про те, як Егон Шіле заново винайшов мистецтво портрета, блискуче захоплюючи внутрішнє життя своїх численних об’єктів — включно з ним самим.

У цій книзі простежується розвиток Шіле як портретиста через чотири основні хронологічні фази, з 1906 по 1918 рік. Починаючи з ретельного навчання художника у Віденській академії, у ній розповідається про остаточний розрив Шіле з академічним середовищем і появу його стилю експресіонізму. Коли Шіле відточував свої технічні здібності, він зібрав коло меценатів — багатьох із яких він увічнив на полотні — і розвинув тенденцію до реалізму та самоаналізу. Протягом усієї своєї кар'єри Шіле перевіряв межі традиційного портрета. Конфронтаційні, відверто еротичні та здебільшого позбавлені реквізиту чи декорацій, портрети Шіле є основоположними творами оригінальності та глибокого співпереживання людському стану.

Цей том також пропонує ретельний аналіз автопортретів Шіле та його стосунків із Густавом Клімтом, жестикуляційну мову Шіле в контексті сучасної фотографії та німого кіно, а також короткі біографії предметів Шіле та транскрипції яскравих листів, що стосуються його життя та творчості.

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Погортати книгу Egon Schiele: Self-Portraits and Portraits

El Greco and Nordic Modernism

At the birth of modernism in the late 19th century, artists across Europe rediscovered the almost three centuries old artwork of the Greek painter known as El Greco (1541–1614). In the Nordic countries as well, his characteristic rapturous and expressive style was perceived as speaking directly to the rule-breaking forms of expression with which a new generation of artists were experimenting. His hailing as a cult figure was based as much on the story of his life, though, including the 300 years of rejection and obscurity that made him an outsider idol for young artists. This catalogue traces the inspiration that leading Nordic artists such as Edvard Munch, Helene Schjerfbeck, Nils Dardel, Harald Giersing, and Jens Ferdinand Willumsen took from the works of El Greco, and for the first time specifically explores his Nordic reception in the decades between 1885–1945, adding a hitherto undiscovered piece to the mosaic of El Greco’s multifaceted and multinational rediscovery.

In December of 2006, an unlikely group of nearly 100 street artists from all over the world came together to participate in an art show celebrating Eleven Spring Street, long a premiere destination on the international Street Art map. The New York Times wrote, "One of the best shows of the season flamed past just before Christmas: a weekend-long display of graffiti created by artists from around the world at, and in honor of, 11 Spring Street."

The methodology was mixed media to the max: Wheatpaste, paper, spray paint, house paint, markers, metal objects, found objects the result was chaotic yet undeniably arresting. Marc and Sara Schiller of the Wooster Collective curated the three-day event, calling the show Wooster on Spring. It featured street art superstars like Shepard Fairey and Swoon as well as emergent talents including JR, Prune, and Doze Green.

The result was a potent mix of artists who brought the street inside by re-claiming the walls for themselves, and a tipping point for what has become an international art world phenomenon. The three-day public viewing session was a landmark downtown event that drew crowds in the thousands, with people waiting up to five hours to get inside.

With an Introduction by Shepard Fairey, an Afterword by JR, and an essay from Randy Kennedy of The New York Times, Eleven Spring captures an important moment in Street Art's history. All the works that were created for the show were subsequently covered up or destroyed by renovation. Eleven Spring allows these vibrant works to live again, ready for a new generation of admirers to enjoy and celebrate."

"Artists covered the interior walls with their latest, most ambitious efforts, transforming a casual auld-lang-syne get-together into a state-of-the-art statement that ranged from classic tagging to new adventures in papering, printing, varnishing, installation and, in one impressive instance, crayon. There were lines around the block."
-- Roberta Smith, The New York Times

This beautiful volume focuses on a five-year period in Elizabeth Peyton’s evolving career to suggest not only a visual chronicle of an age, its heroes, heroines, and interests, but also of an individual’s life — that of Peyton herself.

Elizabeth Peyton’s work has been renowned since the early 1990s, when she began exhibiting her paintings and drawings of artists, musicians, historical figures, and friends. This new volume, prepared by the artist in collaboration with designer Brendan Dugan, founder of Karma bookstore and gallery, presents a concentrated view of a period bookended by two exhibitions in Brussels, one in 2009 and the second in 2014, a time of introspection, and the development of a more personal painterly language.

This phase of Peyton’s work is about a new realism and a considered situating of her interests and passions in relation to her own working practice. We see her range expand to take in lush still lifes composed of books, flowers, and fragmentary interiors; expressive, blooddrenched scenes drawn from Richard Wagner’s operas; and many magnificent and subtle portraits of peers and mentors, historical or present-day. From David Bowie to celebrated tenor Jonas Kaufmann; from Delacroix and Giorgione to Peyton’s artist peers such as Matthew Barney and Klara Liden; from Friday Night Lights actor Taylor Kitsch to tattoo artist Scott Campbell, as well as numerous self-portraits, her work is about narrowing the distance between the self and the object of fascination. “They are people expressing what it is to be human. Most art that’s any good is trying to do that — trying to put a voice to feeling. And in particular, the feeling of their time,” writes Peyton.

About the Author:

Elizabeth Peyton is a celebrated American artist. She is represented by Gladstone Gallery, New York and Brussels; Sadie Coles HQ, London; Regen Projects, Los Angeles; and Neugerriemschneider, Berlin. Kirsty Bell is a Berlin-based art critic and writer.

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Пролистать книгу Elizabeth Peyton: Dark Incandescence

Longtime creative collaborators Tilda Swinton and Olivier Saillard present an illustrated tribute to the costumes of legendary Italian director Pier Paolo Pasolini’s iconic films.

Retracing Pier Paolo Pasolini’s entire cinematography — which continues to fascinate audiences almost half a century after his passing — Embodying Pasolini explores the costumes that brought his films to life. From The Gospel According to St. Matthew (1964), The Canterbury Tales (1972), and Arabian Nights (1974) to Salò, or the 120 Days of Sodom (1975), Pasolini’s movies are known for their provocative flair — making them staples of art cinema’s golden age. Styled by Danilo Donati, the costumes — garments, coats, and hats — enlivened the films with their rich textures, volume, color, and embellishments. 

This exquisite volume documents the eponymous performance that took place in Rome on July 25, 2021, in Solomeo on April 30, 2022, and which will be presented in Paris on December 3 through 10, 2022. Conceived by Olivier Saillard and poetically interpreted by Tilda Swinton, the sold-out event — an ephemeral artwork in itself — showcased thirty of the most influential costumes of Pasolini’s films. With fascinating texts by Swinton, Saillard, and Clara Tosi Pamphili and evocative photographs by Ruediger Glatz, this publication — part art object, part catalog — is an extraordinary tribute to cinematic fashion and the sole record of the critically acclaimed production.

About the Authors:

Tilda Swinton is a performer and filmmaker. She has appeared in such critically acclaimed films as Orlando, I Am Love, and The Grand Budapest Hotel.  Olivier Saillard is a French Fashion historian, poet, and performer.  Clara Tosi Pamphili is an Italian fashion historian and the curator of Romaison. Ruediger Glatz is a German artist whose work combines classic documentary photography, video, mixed media, and installation.

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Пролистать книгу Embodying Pasolini

Why collect Russian stage designs? Why write about them? These questions are not rhetorical or idly academic. They have real historical, intellectual, and commercial relevance. Answers may vary, but surely a primary response must be that, quite simply, Russian stage designs are immensely pleasing to the eye. They vibrate, and scintillate with colour, texture and movement.

Furthermore, through their daring inventions, Russian artists of the first thirty years of the 20th century transformed, profoundly and permanently, our perception of stage design - and hence of the theatre. They belonged to an extraordinarily creative generation of impresarios, dancers, actors, patrons, and critics who inspired or at least made a major contribution to the international renaissance of the art of the stage, and in particular areas, e.g. the teaching and performing of ballet, their influence is still present today.

However, in spite of the many published commentaries on the Russian theatre, in spite of the autobiographies and biographies of its leading representatives, and in spite of the scholarly appreciations of its various components (ballet, drama, opera), the subject of stage design in Russia has yet to be explored in all its manifestations.

Each work presented here is documented as fully as possible, and includes curatorial data, provenance index, and references to relevant published sources, exhibitions; and variants such as copies and preliminary drawings. The catalogue raisonné addresses the issues of attribution, identification of stage production, and date of execution and adduces evidence in the form of bibliographical, archival, and photographic data, expert opinion, and circumstantial evidence in order to support assumptions and conclusions.

A fascinating look at an extraordinary collection of ceramic masterpieces by celebrated French ceramicist Ernest Chaplet.

Over the last forty years, architect and collector Peter Marino has acquired a remarkable collection of pieces by French ceramicist, Ernest Chaplet. This collection is a precious testimony of a rare production - a new line of ceramics created by Chaplet in 1883 for the Limoges-based factory Haviland & Co. Ernest Chaplet sheds deserved light on this great artist, whose career exemplifies the evolution of artistic ceramics at the turn of the 20th century, and whose work entered the collections of many museums during his lifetime.

About the Authors:

Etienne Tornier is the curator of the nineteenth to twenty-first-century collection at the Musée des Arts Décoratifs et du Design in Bordeaux, France, and teaches at Parsons Paris in the MA program, History of Design and Curatorial Studies.

Peter Marino is the principal of Peter Marino Architect PLLC, the New York-based architecture firm he founded in 1978. His work includes award-winning residential, retail, cultural, and hospitality projects worldwide

Explore the oeuvre of Ernst Ludwig Kirchner, one of the most important German Expressionist painters of the 20th century.

Throughout his career, Ernst Ludwig Kirchner employed a highly inventive and original use of color. He favored novel applications of paint in unusual matte finishes. For Kirchner, color was of primary importance, coupled with technique and style. He was one of the leading Expressionist painters of the time and was one of the founding members of the Brücke. In his deeply personal depictions, he focused on the places where he lived and worked and his close friends and associates.

This book, accompanying a major exhibition at the Neue Galerie New York, provides a visual survey of Kirchner’s oeuvre and offers an in-depth analysis of different aspects of the artist’s output. Essays by leading experts examine Kirchner’s approach to color, his interest in the decorative arts, how electric light affected his treatment of color, the impact of Nietzsche on his work, and how he was profoundly changed by World War I.

This book includes illustrations of nearly 40 paintings, 30 prints, as well as drawings, sketchbooks, photographs, and decorative work.

About the Authors:

Jill Lloyd-Peppiatt is an independent art historian who has curated exhibitions for leading international museums including Tate, Royal Academy London, and the National Gallery in Washington. She has written extensively on Expressionist and contemporary artists.

Janis Staggs is Director of Curatorial and Manager of Publications at the Neue Galerie New York and co-editor and contributing author of Wiener Werkstatte, 1903-1932: The Luxury of Beauty (Prestel).