Книги з історії мистецтва

The Bauhaus, the school of art and design founded in Germany in 1919 and shut down by the Nazis in 1933, brought together artists, architects and designers in an extraordinary conversation about modern art. 

Bauhaus 1919–1933, published to accompany a major multimedia exhibition at MoMA, is the first comprehensive treatment of the subject by MoMA since 1938 and offers a new generational perspective on the 20th century’s most influential experiment in artistic education. It brings together works in a broad range of mediums, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theatre and costume design, and painting and sculpture – many of which have rarely if ever been seen outside of Germany. 

Featuring about 400 colour plates and a rich range of documentary images, this publication includes two overarching images by the exhibition’s curators, Leah Dickerman and Barry Bergdoll, concise interpretive essays on key objects by over twenty leading scholars, and an illustrated, narrative chronology.

A rare and fascinating look at the Bauhaus’s global legacy, and a central publication of the school’s centenary celebrations

From its inception in 1919, the Bauhaus was a truly international institution. Students and teachers travelled from Croatia, Hungary, Japan, Palestine, Russia, Switzerland and the United States to Weimar and later Dessau and Berlin to become part of the school, drawn to the Bauhaus because of its cosmopolitan, avant-garde perspective and hands-on curriculum. This outlook was reflected in the way the school received and interpreted diverse influences, ranging from Arts and Crafts to reform pedagogy, from Eastern spirituality to constructivism, machine production and the Neues Bauen (New Building) movement. Art and design at the Bauhaus also contained a transcultural element, gleaned through exposure to non-western cultures, books and museum collections and interaction with foreign students and visiting lecturers.

Featuring contributions from artists, historians, cultural theorists and others, Bauhaus Imaginista offers a rare opportunity to explore a history of transcultural exchange in the 20th century through the specific lens of the Bauhaus and its reception in different geographies and time periods. Part of the large-scale project marking the school’s centenary, its focus is on the experimental, open-ended character of modernism as well as its inherent cosmopolitanism. As never before, it shows the crucial role the Bauhaus had in reimagining the relationship between art and society.

About the Authors:

Marion von Osten is a curator, researcher and writer based in Berlin. Her previous publications include, as co-editor, Colonial Modern: Aesthetics of the Past, Rebellions for the Future and Transcultural Modernisms. 

Grant Watson is a London-based curator and researcher. Recent projects include How We Behave with If I Cant Dance, Amsterdam, exploring questions of life practice and politics through filmed interviews (2014-present).

Понад 1200 років прекрасного дизайну книг, тепер в одній приголомшливій колекції.

Книга Келлс (яку вважають найкрасивішою книгою у світі), Лестерський кодекс (найдорожча книга Леонардо да Вінчі), Декоративні Писання Середньовіччя, Подарункові книги кінця 19 століття, Дизайнерські книги епохи модерну та ар-деко, Обкладинки книг Пінгвіна...

Це повна колекція з понад 100 «прекрасних книг» світу, надрукованих високоякісно. Хоча основний текст японською мовою, назва кожної книги наведена мовою оригіналу, а повний список книг, включаючи рік видання, країну та власника, написаний англійською мовою.

Цінова книга для любителів книг, друкованих видань та тих, хто любить класичну культуру Заходу.

Книги, представлені в цій книзі, представлені в таких бібліотеках та музеях: Бібліотека Пірпонта Моргана Нью-Йорка, Бібліотека Конгресу Вашингтона, округ Колумбія, Публічна бібліотека Нью-Йорка, Музей образотворчих мистецтв Бостона, Бібліотека Вольфсонівського університету Флориди.

Про автора:

Хіроші Унно народився 1939 року в Токіо. Унно пише про мистецтво, кіно, музику, урбанізацію, романи, аранжування квітів та багато іншого. Нещодавні видання Унно, випущені PIE International - Avant-Garde Graphics in Russia, The Art of Fantasy, Sci-fi and Steampunk, Harry Clarke, William Morris: Master of Modern Design, The World of Mucha, A Thousand and One Nights - здобули визнання в усьому світі.

This generously illustrated and comprehensive book examines German and Austrian artists in the 1930s as they reacted to a time of crisis and dissent.

The 1930s in Germany and Austria were marked by economic crisis, political disintegration, and social chaos. This beautifully illustrated catalog surveys the development of the arts in these two countries between the two world wars. Presenting nearly 150 paintings and works on paper, this book reveals artistic developments that foreshadowed, reflected, and accompanied the beginning of World War II. Works by Max Beckmann, Otto Dix, Max Ernst, Oskar Kokoschka, and Alfred Kubin are presented alongside pieces by lesser-known artists such as Friedl Dicker-Brandeis, Albert Paris Gütersloh, Karl Hubbuch, Richard Oelze, Josef Scharl, Franz Sedlacek, and Rudolf Wacker. This book features essays about the appropriation of artistic idioms, the reactions of artists toward their historical circumstances, and major political events that shaped the era.

About the Author:

Olaf Peters is Professor of Modern Art at Martin Luther University in Halle-Wittenberg and the author of Degenerate Art: The Attack on Modern Art in Nazi Germany 1937 and Berlin Metropolis: 1918-1933 (both by Prestel).

This lavishly illustrated book examines Berlin in-depth during a period of explosive growth between the two world wars.

Between 1871 and 1919, the population of Berlin quadrupled, and the city became the political center of Germany, as well as the turbulent crossroads of the modern age. This was reflected in the work of artists, directors, writers, and critics of the time. As an imperial capital, Berlin was the site of violent political revolution and radical aesthetic innovation. After the German defeat in World War I, artists employed collage to challenge traditional concepts of art. Berlin Dadaists reflected upon the horrors of war, and the terrors of revolution and civil war. Between 1924 and 1929 as the spirit of modernity took hold, jazz, posters, magazines, advertisements, and cinema played a central role in the development of Berlin’s urban experience. The concept of the “Neue Frau” — the modern, emancipated woman–helped move the city in a new direction. Finally, Berlin became a stage for political confrontation between the left and the right and was deeply affected by the economic crisis and mass unemployment at the end of the 1920s. This book explores in numerous essays and illustrations the artistic, cultural, and social upheavals in Berlin between 1918 and 1933, and places them in a broader historical framework.

About the Author:

Olaf Peters is Professor of Modern Art at Martin Luther University in Halle-Wittenberg and the author of Degenerate Art: The Attack on Modern Art in Nazi Germany 1937 and Before the Fall: German and Austrian Art in the 1930s (both by Prestel).

Against the Grain

Since its beginnings in Paris in the mid-19th century, the idea of bohemia, an urban community of artists and intellectuals living outside bourgeois norms, has been a potent trope of artistic identity. It was here that the notion of an unconventional, free-spirited life, precarious yet filled with idealism, was codified and romanticized. Bohemia: History of an Idea, 1950 – 2000 shows the continuities and differences between the scenes and subcultures of the second half of the twentieth century, when the mainstream began to appropriate and thereby erode a way of life predicated on its rejection. Nonetheless, as an alternative to conformity the bohemian idea has exerted an enduring fascination. Through works by 39 artists, including Alice Neel, PeterHujar, John Deakin, David Wojnarowicz, Ed van der Elsken, Robert Frank and Alfred Leslie, William Gedney, Libuše Jarcovjáková, Nan Goldin, Zhang Huan and Wolfgang Tillmans, the publication explores the diversity of expressions in various cities in Europe, North America and Asia and shows that the bohemian idea continues to galvanize and inspire.

About the Author:

Russell Ferguson is a research professor at the University of California’s Art Department. During his tenure at the Museum of Contemporary Art and the Hammer Museum in Los Angeles, he curated numerous exhibitions on culture and representation in contemporary art and photography.

The story of the French cashmere shawls of the 19th century and their rise to the heights of fashion. This treasure-trove will not only delight textile scholars and costume historians but is sure to appeal to anyone who loves gorgeous accessories

The delicate beauty of the cashmere shawl was first brought to Europe by the East India Companies and Napoleon’s campaigns. Woven in Kashmir, its fabric was so light that, according to legend, a whole shawl could be passed through a finger-ring. By the 19th century, these shawls were highly sought-after in France; French manufacturers soon saw that there was a market for more accessibly priced versions and started to create their own.

Monique Lévi-Strauss has spent more than thirty years collecting and studying these shawls and gathering rare documents to preserve their history. This completely revised, expanded and redesigned edition of her classic book on the subject illustrates nearly 300 of these beautiful items, superbly photographed to showcase their splendid original designs, alongside a wealth of archive material and contemporary paintings that show them being worn by their elegant owners.

The Cowboy, Reconsidered: the enduring myth of the cowboy is a richer, more diverse story than most understand. In this survey, some of the most important artists working today take up the cowboy through the lens of queer, Black, Asian, and Latinx perspectives.

Perhaps no other figure in the American popular imagination conjures the respect, mystery, and adoration than that of the cowboy. And it’s long been a favorite subject of artists from the early twentieth century to today. In this unique exhibition and accompanying catalogue, the cowboy is explored in depth from diverse perspectives and lived experience, ushering in a new vision for this long-standing pop icon.

Director and co-curator Nora Burnett Abrams considers the cowboy through historical perspectives, breaking down the myth and mystique. In an extended interview, co-curator Miranda Lash talks with queer Latinx artist rafa esparza who considers the vaquero (the Spanish term for cowboy) and the influence of norteño culture in his work. Jongwoo Jeremy Kim provides an in-depth analysis of artist Kenneth Tam’s practice and deeper discussion of Asian American masculinity, sexuality, and how they are represented. Myeshia Babers shares the history of the Black rodeo cowboy, and how this figure performs and functions today, and artist R. Alan Brooks conjures the history of Dearfield, Colorado, one of the earliest Black homesteading communities in the state, through a dream-like short graphic novel.

Artist List: John Baldessari, R. Alan Brooks, Mel Chin, Gregg Deal, Angela Ellsworth, rafa esparza, Fabian Guerrero, Juan Fuentes, Karl Haendel, Luis Jiménez, Kahlil Joseph, Grace Kennison, Deana Lawson, Matthew J. Mahoney, Laurel Nakadate, Richard Prince, Otis Kwame Quaicoe, Akasha Rabut, Lucy Raven, Ken Taylor Reynaga, Yumi Roth in collaboration with Emmanuel David, Ana Segovia, Amy Sherald, Stephanie Syjuco, Kenneth Tam, Andy Warhol, and Nathan Young

About the Author:

Nora Burnett Abrams is the Marc G. Falcone Director of MCA Denver. Miranda Lash is the Ellen Bruss Senior Curator at MCA Denver. Jongwoo Jeremy Kim is Associate Professor of Art History and Theory at Carnegie Mellon University. Myeshia C. Babers is a Cultural Anthropologist and Director at Let's Dialogue, LLC.. R. Alan Brooks is Professor of Graphic Narrative at Regis University.

Найвищий збірник про смерть, що містить найнезвичайніші у світі художні та етнографічні об'єкти, пов'язані зі смертністю, у поєднанні з текстами експертів.

Смерть – це неминучий факт життя. Протягом століть і в усьому світі людство прагнуло змиритися з цією тривожною думкою через мистецтво та ритуали.

Том безпрецедентної широти та зловісної краси, Death: A Graveside Companion, досліджує вражаючий спектр культурних ставлень до смерті в семи тематичних розділах. Дев'ятнадцять експертів пропонують есе, що спонукають до роздумів, про конкретні аспекти культурної спадщини людства щодо уявлень про смерть. За есе йдуть сторінки галерей, що представляють захоплююче розмаїття образів, пов'язаних зі смертю, почерпнутих з кожної основної культури, від неолітичного Китаю та Мексики бронзової доби до середньовічної Німеччини, Непалу 18 століття та Франції 20 століття.

Від катакомб, крипт та кістяних ям до релікваріїв, бальзамування та мумій, від пам'ятних сувенірів, ванітас та танцю макабре до народних символів, знайдених фотографій та курйозів минулих ритуалів, цей вражаючий збірник містить понад 1000 зображень та поєднує високе мистецтво, кітч та все, що між ними.

З передмовою Вілла Селфа та представленими раніше не опублікованими фотографіями багатьох різноманітних та еклектичних творів мистецтва, артефактів та ефемерних предметів, що знаходяться в колекції мистецтв Річарда Гарріса, Death: A Graveside Companion – це неперевершена книга, сповнена моторошного натхнення та моторошних ідей, які варто взяти з собою в могилу.

Зміст:

1. Мистецтво вмирання • 2. Огляд померлих • 3. Увічнення померлих • 4. Персоніфікація смерті • 5. Символізація смерті • 6. Смерть як розвага • 7. Померлі після життя

Про автора:

Джоанна Ебенштейн — мультидисциплінарна художниця, кураторка, письменниця, викладачка та графічна дизайнерка. Вона веде блог та веб-сайт Morbid Anatomy, а також заснувала Музей хворобливої ​​анатомії. Ебенштейн фотографує, курує та колекціонує артефакти, зображення та тексти, що стосуються цікавих колекцій, ранніх музеїв та кабінетів курйозу, колекціонерів та колекціонування, медичних музеїв та музеїв природної історії. Вона є авторкою книг Death та The Anatomical Venus.

Do Remember! The Golden Era of NYC Hip-Hop Mixtapes is the first comprehensive deep-dive oral and visual history of the golden era of hip-hop mixtape culture in New York City.

From street corners to corner offices, mixtapes made a huge impact on the music industry and hip-hop culture in New York City during the late ’80s, ’90s, and early 2000s. Mixtapes helped dictate what rap songs were hot in the clubs, on the radio, and in the streets, and they influenced which artists would get signed to record deals. Mixtapes also showcased which DJs had the most skills and creativity, and who had the juice to pull the illest exclusives.

Do Remember! combines the best elements of oral and pictorial histories to explore the evolution of mixtapes as a crucial component of New York City hip-hop culture. Featuring a comprehensive collection of rare mixtape cover art, never-before-seen images, vintage tracklists, and exclusive interviews with Kid Capri, Brucie B, Mister Cee, Ron G, S&S, Doo Wop, Green Lantern, Lord Finesse, Clark Kent, Bobbito, Cipha Sounds, Havoc of Mobb Deep, the late, great DJ Kay Slay, and many more, including a special foreword by Fab 5 Freddy, Do Remember! captures an era in New York City that went on to inspire future hip-hop generations all over the world.

About the Authors:

Evan Auerbach is a globally recognized hip-hop historian. His career as a blogger and archivist has made him the number one source for providing rare hip-hop memorabilia to the masses. A walking encyclopedia of rap knowledge, Evan has played an essential role in revitalizing music media's nostalgia for 90s ephemera and landmark hip-hop events. His website UpNorthTrips continues to be pivotal in sparking a modern wave of obsession with rare photos, classic hip-hop flyers, promo material, and posters. In 2016, Evan co-authored No Sleep: Nightlife Flyers (1988–1999) with Stretch Armstrong.

Daniel Isenberg is a seasoned hip-hop journalist who has written for Complex, Def Jam, Pitchfork, Pigeons & Planes, and XXL, and who created the NahRight Mixtape Memories blog series highlighting legendary mixtape DJs and moments. Isenberg is also an award-winning sports and entertainment marketing creative director, a GRAMMY Award–nominated songwriter, and author of the children’s hip-hop and sports-themed chapter book My Name Is Spit: The Dunk Dance.

Альбрехт Дюрер (1471–1528) був найбільшим художником північноєвропейського Відродження. Віртуозні ксилографії та гравюри Дюрера забезпечили йому славу на всьому континенті ще за його життя. Проте він також створив надзвичайні результати в інших засобах масової інформації, включаючи живопис, акварель і малюнок, що охоплює захоплюючі портрети та автопортрети, великі вівтарі та ретельні дослідження тварин і природи.

У цій великій новій монографії Джеффрі Чіппс Сміт досліджує міфи, які сприяли легенді про Дюрера, розглядаючи його життя та кар’єру в рамках бурхливої ​​епохи європейської історії. Беручи до уваги широку вченість художника, Сміт дає свіже уявлення про багато його найвизначніших робіт, розкриваючи творчий процес, що стоїть за ними, і їх багатство значень та ідей. Центральним у центрі уваги Сміта є історичне та культурне бродіння Європи до та після Реформації, оскільки він простежує роки становлення Дюрера у вільному імперському місті Нюрнберзі та його подальші подорожі Німеччиною, Італією та Нідерландами. У результаті складається яскрава картина професійної діяльності плідної і психологічно складної постаті.

Завдяки детальним коментарям та оригінальним дослідженням, це водночас авторитетна та доступна монографія – незамінна для студента чи науковця, але, безумовно, сподобається всім, хто цікавиться цим геніальним митцем.

Про автора:

Джеффрі Чіппс Сміт очолює кафедру європейського мистецтва Кей Фортсон в Техаському університеті в Остіні. Серед його книг — German Sculpture of the Later Renaissance (1994) та Sensuous Worship: The Jesuits and the Early Catholic Reformation in Germany (2003).

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.

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.

Rising from the Ashes. The first color lithographs of the rediscovered Pompeii

When the excavations at Pompeii were first placed on a scholarly archaeological footing in the 19th century, brothers Fausto and Felice Niccolini were close at hand and ready to respond. Making use of the newly introduced technique of color lithography, they documented the buildings, frescos, statues, as well as the most ordinary everyday objects, of the city buried in just 24 hours by the catastrophic eruption of Vesuvius and preserved for over 1,600 years under a mantle of volcanic ash.

The Niccolinis’ goal was to illustrate all aspects of life in the antique city. Their publication, Le case ed i monumenti di Pompei (“The Houses and Monuments of Pompeii”), which was issued in installments between 1854 and 1896 in Naples, presented over 400 color plates providing not only views, maps, and groundplans of the city and its public buildings, but also offered unprecedented access to Pompeii’s private residences. They revealed the astonishing painted wall decorations that adorned these long-buried abodes, their intricate works of art, and the practical utensils of everyday use, conjuring up a vivid picture of each house as a real domestic space. In total, the plates illustrated more than 1,000 items, each extensively specified and located for the first time, making the publication a major reference in Pompeii research. In addition, “animated” representations visualized daily life in Pompeii’s workshops, taverns, and shops, on its public squares, and in its temples, theaters, and baths.

This meticulous facsimile revives the Niccolinis’ extraordinary achievement with all color plates and two introductory essays setting the project in its contemporary context and presenting the historical protagonists of the Vesuvian excavations. In addition, we explore the remarkable influence exerted by Pompeian art — and by the haunting plaster casts made of victims of the eruption — on the visual arts. Across painting, sculpture, and interior design, we trace the Pompeii legacy in the work of Robert Adam, Anton Raphael Mengs, Angelika Kaufmann, Jean-Auguste-Dominique Ingres, Lawrence Alma-Tadema, Pablo Picasso, and Giorgio de Chirico, right through to recent masters Duane Hanson and George Segal.

The authors:

Sebastian Schütze was a longtime research fellow at the Bibliotheca Hertziana (Max Planck Institute for Art History) in Rome. He is a member of the academic board of the Istituto Italiano per gli Studi Filosofici in Naples, and a member of the Österreichische Akademie der Wissenschaften. From 2003 to 2009 he held the Bader Chair in Southern Baroque Art at Queen’s University in Kingston. In 2009 he was appointed professor of early modern art history at Vienna University.

Valentin Kockel studied classical archaeology and obtained his doctorate in 1978 with a thesis on the necropolises of Pompeii. He has worked at the German Archaeological Institute in Rome, the Technical University of Darmstadt, and until 2014 he was Professor at Augsburg University. Kockel has headed excavations in Ostia Antica and at the Forum in Pompeii.

Чудова, раніше не публікована колекція всіх картин і фресок, представлених в Уффіці, Палатинській галереї палацу Пітті, Академії та Дуомо, а також більше — майже 2000 творів мистецтва — усі вони представлені в практичному та елегантному форматі м’якої палітурки.

Місто Флоренція є домом для десятків музеїв і палаців, які містять багато найвідоміших у світі творів мистецтва. Florence: The Paintings & Frescoes – це багата та чудова колекція з тисяч картин і фресок, яку щороку відвідують мільйони мандрівників, включно з мистецтвом Джотто, Леонардо да Вінчі, Мікеланджело, Гірландайо, Корреджо, Боттічеллі, Караваджо, Тиціана, Рембрандта, ван Дейка, Ель Греко та сотень інших.

Досліджуйте історію мистецтва у Флоренції за допомогою семи есе Росса Кінга, автора бестселерів «Купол Брунеллескі» та «Мікеланджело та стеля Папи», у яких розповідається про те, як картини, політика та повсякденне життя флорентійців впливали одне на одне. Історик мистецтва Аня Гребе, автор книги The Louvre та The Vatican, також висвітлює 250 найбільш знакових і значущих картин і фресок в історичному місті з детальною інформацією про атрибути робіт, біографічні подробиці художників тощо.

Ця вражаюча колекція з майже 2000 картин і фресок є обов’язковою для будь-якого любителя мистецтва, студента чи мандрівника у кріслі.

Про автора:

Росс Кінг є автором бестселерів «Купол Брунеллескі» та «Мікеланджело та стеля Папи», а також романів «Екслібрис» і «Доміно». Живе в Англії, поблизу Оксфорда.