Книги по антологии в искусстве

Sacred paintings of the Christian Orthodox

This historical survey covers some one-and-a-half millennia of Christian imagery and includes descriptions of selected masterpieces

The icons in this book come from the Icon Museum in Recklinghausen, which possesses the most extensive and highest-quality icon collection outside the Orthodox world. Icons do not depict “details” of the earthly world, but rather an unearthly reality. In accordance with their sacred function, the painters had to keep to venerable traditions. This historical survey covers some one-and-a-half millennia and includes descriptions of selected masterpieces, providing a graphic introduction to this fascinating world of images. While the book's historical introduction traces the history of icon painting back to late Antiquity and the early Byzantine period, the examples in the picture section start with a 14th century Russian example and extend from the exquisite 15th century Byzantine icon “St Luke Paints the Mother of God” across the centuries to one from Transylvania (Romania) dating from 1887.

About the Series:
Each book in TASCHEN's Basic Genre Series features:

* a detailed introduction with approximately 35 photographs, plus a timeline of the most important events (political, cultural, scientific, etc.) that took place during the time period
* a selection of the most important works of the epoch; each is presented on a 2-page spread with a full-page image and, on the facing page, a description/interpretation of the work and brief biography of the artist as well as additional information such as a reference work, portrait of the artist, and/or citations

The art of likeness. The spectrum of today’s portraiture, from caricature to realism

The field of illustration has flourished over the last decade, with professionals working both by computer and by hand. In illustration, the single most challenging and captivating subject has been the portrait, frequently used in editorials, advertising, products, and most recently, being the subject of major exhibitions. The book gathers together the exclusive (and frequently unpublished) portrait work of over 80 illustrators from all over the world, many of whom were featured in Illustration Now!, including Aaron Jasinski , André Carrilho, Hanoch Piven, Anita Kunz, Jody Hewgill, and Dugald Stermer. The book also features an index of subjects and an introduction by Steven Heller.

The editor:
Julius Wiedemann was born in Brazil, studied graphic design and marketing, and was an art editor for digital and design magazines in Tokyo. His many TASCHEN digital and media titles include Illustration Now!, Advertising Now, Logo Design, and Brand Identity Now!

Luscious dabs of colour and light. Art history’s most delightful movement

Impressionism continues to be one of the most fascinating movements in the history of modern art. It is also the most popular with the general public. Proof of this has been provided in recent years by blockbuster exhibitions of the works of Degas, Gauguin, van Gogh, Renoir, Toulouse-Lautrec, and Monet, and by record sums realized from the sale of Impressionist paintings.

Despite its popularity and a whole host of publications — the majority of them about the most famous names — many areas of Impressionism are still under-researched. Many “second rank” Impressionists have remained unknown or have sunk into oblivion. This monograph fills the gap, as it explores French Impressionism alongside related art movements that flourished simultaneously in the rest of Europe and North America.

Part 1 deals with Impressionism in France, including Post- and Neo-Impressionism. As well as discussing the most renowned artists, its aim is to introduce others who are still little-known today. Among them are the long underrated Gustave Caillebotte, represented by 17 paintings, and artists such as Frédéric Bazille, Marie Bracquemond, Henri-Edmond Cross, Jean-Louis Forain, Eva Gonzalès, Armand Guillaumin, Albert Lebourg, Stanislas Lépine, Maximilien Luce, Berthe Morisot, Lucien Pissarro, Jean-François Raffaëlli, Henri Rouart, and Victor Vignon.

The eight chapters of part 2 focus on paintings inspired by French Impressionism and produced in parallel in the Netherlands, Belgium, Germany, Scandinavia, Eastern and South-Eastern Europe, Italy, Spain, Great Britain, the USA and Canada. Rarely did painters in these countries slavishly copy the ideas emerging from France. Instead, most non-French artists found astonishingly original ways of translating them into the artistic language of their native lands.

The editor:

Ingo F. Walther (1940–2007) was born in Berlin and studied medieval studies, literature, and art history in Frankfurt am Main and Munich. He published numerous books on the art of the Middle Ages and of the 19th and 20th centuries. Walther’s many titles for TASCHEN include Vincent van Gogh, Pablo Picasso, Art of the 20th Century, and Codices illustres. 

Brushwork Revolution. The neglected champions of Impressionism

It was a dappled and daubed harbour scene that gave Impressionism its name. When Impression, Sunrise by Claude Monet was exhibited in April 1874, critics seized upon the work’s title and its loose stylistic rendering of light and motion upon water to deride this new, impressionistic tendency in art.

As with many seminal art movements, the critics got their comeuppance. Today, Impressionism is close contender for the world’s favourite period of painting. With blockbuster exhibitions, record-breaking auction prices, and packed museums, the works once dismissed as unfinished or imprecise are now beloved for their atmospheric evocation of time and place, as well as the stylistic flair of rapid brushstrokes upon canvas.

Despite its popularity and a whole host of publications, many areas and artists of Impressionism remain inadequately researched. This TASCHEN book fills the gap, raising the profile of unjustly neglected pioneers such as Berthe Morisot, Lucien Pissarro, and Gustave Caillebotte, while exploring the characteristics of Impressionism, from painting en plein air to vivid colour contrasts, not only in the movement’s native France but also across the rest of Europe and North America.

About the series:

Bibliotheca Universalis — Compact cultural companions celebrating the eclectic TASCHEN universe at an unbeatable, democratic price!

Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible, open-minded publishing. Bibliotheca Universalis brings together more than 100 of our all-time favourite titles in a neat new format so you can curate your own affordable library of art, anthropology, and aphrodisia.

Bookworm’s delight — never bore, always excite!

The editor:

Ingo F. Walther (1940–2007) was born in Berlin and studied medieval studies, literature, and art history in Frankfurt am Main and Munich. He published numerous books on the art of the Middle Ages and of the 19th and 20th centuries. Walther’s many titles for TASCHEN include Vincent van Gogh, Pablo Picasso, Art of the 20th Century, and Codices illustres.

Discover how scenes of daily life and delicate dabs of colour shocked the art world establishment.

In this TASCHEN Basic Art introduction to Impressionism, we explore the artists, subjects, and techniques that first brought the easel out of the studio and shifted artistic attention from history, religion, or portraiture to the evanescent ebb and flow of modern life.

As we tour the theaters, bars, and parks of Paris and beyond, we take in the movement’s radical innovations in style and subject, from the principle of plein air painting to the rapid, broken brushwork that allowed the Impressionists to emphasize spontaneity, movement, and the changing qualities of light. We take a close look at their unusual new perspectives and their fresh palette of pure, unblended colours, including many vividly bright shades that brought a whole new level of chromatic intensity to the canvas.

Along the way, we recognize Impressionism’s established greats, such as Edgar Degas, Claude Monet, Berthe Morisot, and Camille Pissarro, as well as many associated artists worthy of closer attention, including Marie Bracquemond, Medardo Rosso, and Fritz von Uhde.

About the series:

Each book in TASCHEN's Basic Genre series features:

- approximately 100 colour illustrations with explanatory captions
- a detailed illustrated introduction plus a timeline of the most important political, cultural and social events that took place during that period
- a selection of the most important works of the epoch, each of which is presented on a 2-page spread with a full-page image and with an interpretation of
the respective work, plus a portrait and brief biography of the artist

“I paint what I see and not what it pleases others to see.” What other words than these of Édouard Manet, seemingly so different from the sentiments of Monet or Renoir, could best define the movement of Impressionism? Without a doubt this singularity was explained when, shortly before his death, Claude Monet wrote: “I remain sorry to have been the cause of the name given to a group the majority of which did not have anything
Impressionist.” In this work, Nathalia Brodskaïa examines the contradictions of this late 19th-century movement through the paradox of a group who, while forming a coherent ensemble, favoured the affirmation of artistic individuals.

Between academic art and the birth of modern, non-figurative painting, the road to recognition was long. Analysing the founding elements of the movement, the author follows, through the works of each of the artists, how the demand for individuality gave rise to modern painting.

About the author:

Nathalia Brodskaïa is a curator at the State Hermitage Museum in St. Petersburg. She has published monographs on Rousseau, Renoir, Derain, Vlaminck, and Van Dongen, as well as many books on the Fauves and Naïve Art. She is currently working on a study of French painters at the end of the 19th and beginning of the 20th century

This 2-volume monograph covers the full scope of Impressionist painting. It outlines the history of Impressionism in France, addressing not only the work of the acknowledged masters, but also that of such unjustly neglected artists as Frédéric Bazille, Gustave Caillebotte, Berthe Morisot or Lucien Pissarro. The second volume examines the Impressionist movements that emerged in the Netherlands, Belgium, Germany, Scandinavia, Eastern and South-East Europe, Italy, Spain, Britain and North America. A 64-page "Directory of Impressionism" is appended, containing bibliographies, portraits and biographical data on all 236 artists.

Посмотреть русскоязычное издпние книги  Impressionism, 2 vol - Импрессионизм. В 2-х томах

Reflecting the most recent research on this groundbreaking artistic movement, this lavishly illustrated and comprehensive book examines Impressionism on a global scale, from its iconic French masterpieces to less familiar works by Scandinavian, German, British, and North American artists.

One of the art world’s most recognizable and popular styles, Impressionism is also one of the most complexes. In this sumptuous overview Norbert Wolf lends his attention to all aspects of Impressionism: its historical precursors, contemporary rivals, and the movements it inspired. Over 200 large-format reproductions of entire works and highlighted details introduce readers to the Impressionists’ aesthetics and techniques. Wolf draws insightful parallels between these paintings and other contemporary works of music, photography, and literature. Tracing the movement’s expansion from France to the rest of Europe and North America, this volume shines a spotlight on the main protagonists who were key in the development of Impressionism. It highlights not only the French pioneers — Claude Monet, Gustave Caillebotte, Édouard Manet, Pierre-Auguste Renoir, Camille Pissarro, and others — but also Max Liebermann, Lovis Corinth, John Singer Sargent, Mary Cassatt, William Merritt Chase, and James McNeill Whistler, to name a few. As luxurious as it is authoritative, this wide-ranging investigation of a moment in art history reveals works and ideas that will surprise even the most seasoned aficionado.

About the Author:

Norbert Wolf is an art historian and author based in Munich. He has published several books with Prestel, including Art Nouveau, Art Deco, Impressionism, and "The Golden Age of Dutch and Flemish Painting", as well as monographs on Albrecht Dürer and Titian.

_________

Пролистать книгу Impressionism. Reimagining Art на сайте издательства.

This richly illustrated volume explores diverse aspects of life in nineteenth-century Paris, from the dim alleys of “Old Paris” to the grand boulevards of the Second Empire.

Paris earned the enduring nickname la ville lumière during the second half of the nineteenth century, when gas lamps gradually began to light up the city’s dark medieval streets. Authors, composers, and especially visual artists thrived in this dazzling milieu. Approximately one hundred prints, drawings, photographs, and paintings offer an unforgettable tour of the cultural capital of the nineteenth century - the city in which Impressionism was born. Readers are transported to Paris via views of the city, from panoramas to picturesque details, by Pierre Bonnard, Charles Marville, Jean-François Raffaëlli, and Edouard Vuillard. Works by Honoré Daumier and Edouard Manet convey key historical events and underscore the newfound power of the press. Prints and drawings by Mary Cassatt, Paul Gauguin, and Camille Pissarro provide an expanded view of the Impressionist movement beyond the medium of painting, while Edgar Degas, Pierre-Auguste Renoir, and James Tissot contribute colorful images of the theater, the circus, and other forms of popular entertainment. The book concludes with a selection of vibrant turn-of-the century posters by Jules Chéret, Alphonse Mucha, Henri de Toulouse-Lautrec, and many more.

This selection of over 80 Masterworks will appeal equally to those already familiar with the work of the Impressionists as well as to those who feel the intensity of their vibrant art.

A visual exploration of the Impressionists’ love affair with the new thinking about garden design that swept 19th-century France

From Manet's earliest depictions of the Tuileries Gardens in Paris to Monet's late waterlilies painted at Giverny, the Impressionists' love affair with gardens has left an exhilarating legacy. As places of rest, relaxtion, beauty and leisure, indeed, they were the Impressionist subject par excellence, offering all the evanescent beauty of colour and light that these artists loved. But what meanings might lie underneath the surface of their works?

This book explores the Impressionist's fascination with gardens, parks and flowers in the context of the 'great horticultural movement' and of the changing political and cultural landscape in France. Drawing on sources such as gardening journals, well-known novels by Zola and Flaubert, poetry by Baudelaire, and the artists' personal letters, it describes how gardens were central to the Impressionists' discovery of their distinctive plein-air (out-of-doors) style, and how they influenced the artists as spaces which were at the same time both 'modern' and imbued with nostalgia. It also brings to life the enchanting tradition of floral symbolism in 19th-century France, and explores - for the first time ever - how this infiltrated the work of key Impressionists such as Monet. A final chapter covers the spread of Impressionist garden painting outside France, exploring the exciting developments in Britain, Germany, North America and Japan.

With its new discoveries about familiar works by Manet, Renoir, Degas, Monet and Pissarro, thorough coverage of less familiar Impressionists such as Bazille, Caillebotte and Guillaumin, and spectacular illustrations, including period photographs, engravings from journals and cartoons, as well as paintings and drawings, this book will appeal equally to the scholar, student, art lover or gardening enthusiast.

Contents List:
1. Flowers of Tradition
2. Horticulture and Pleinairisme
3. Private Gardens in Early Impressionism
4. Painting the Parisian ‘Bouquet’
5. Sunshine, Shadows and Sanctuary
6. The Social Garden
7. The Working Garden
8. Cultivating Inspiration
9. The Impressionist Garden Beyond France

The Visual Encyclopaedia series provide up to 300 beautiful photographic and artwork images, illustrating subjects of perennial cultural interest. Images are accompanied by narrative providing background, brief criticism, and details on relevant museums, brief biographies and time lines

An encounter with the artistic heritage of Islam is characterized by two factors that make it very special: the vast dimension of the areas involved, from Spain to Central Asia as far as China - without forgetting the expansion to sub-Saharan Africa - and the continuation of the phenomenon during fourteen centuries of history. Is it possible to treat such a complex and multifaceted phenomenon as a single subject? The images that follow are the answer.

Другие книги серии Visual Encyclopedia of Art:

20th Century Art. Искусство XX века

Art Nouveau. Арт Нуво

Baroque. Барокко

Renaissance. Ренессанс

This gorgeous survey of art from the Islamic world covers three continents and fourteen centuries.

From its birth in the seventh century through modern times, the Islamic religion has inspired glorious works of art. This stunning book includes more than four hundred reproductions of treasures of Islamic art that span the world: from southern Europe, along the entire Mediterranean basin to sub-Saharan Africa through the Middle East, India, and Central Asia. Arranged geographically, the objects include paintings, miniatures, ceramics, calligraphy, textiles, carpets, and metal works. Each region is given a thorough introduction that offers historical context and extensive descriptions of its artifacts. Accompanying essays offer guidance in interpreting the many themes that tie these works together, including typology, calligraphy, and religious beliefs. Despite its wide-ranging history and origins, Islamic art is unified by its devotion to faith and beauty. With its large format, exquisite reproductions and extensive research, this book is a thorough introduction to an artistic tradition