Сборники работ по искусству

Featuring one hundred works from throughout Chagall’s career, this dazzling exhibition catalog focuses on the artist’s engagement with life’s most primal and universal themes.

Steeped in tradition yet alive with imagination, Chagall’s enormous body of work reflects a profound connection to cultural roots and to the boundless possibilities of creative expression. This monograph brings fresh eyes to the most relevant aspects of Chagall’s oeuvre. It traces how, over eight decades, Chagall responded to his contemporaries’ experimentations with cubism, fauvism, and surrealism by creating his own visual language.

It offers a lively examination of overarching themes ― love and romance; Jewish tradition and history; spirituality and the daily life, based on memory and nostalgia ― and the ways they are reflected through repetition and variation over the years. And it reveals how Chagall’s flexible use of symbols contributes to build a fantastic cosmos grounded on the “logic of the illogical”.

Readers will come to understand how Chagall was essentially a storyteller with an enormous gift for color and line, and a narrative artist who understood the power of symbolism in his own terms.

About the Author:

Gisela Kirpicsenko is curator at the Albertina Museum, Vienna.

A gorgeous new edition with the cover printed on silver. Towards the end of his life and much inspired by Japanese water gardens, Monet spent a great deal of time in his beloved Giverny. Adorned with poppies, blue sage, dahlias and irises, the waters were disturbed only by bamboos and water lilies. His water garden was originally created to satisfy a need to be near water, and to provide a visual feast that could be enjoyed from his house. 

The pond was fed by the river Ru, and weeping willow and silver birch hung over its edges, caressing the fronds of the greenery and blossoms below. Its famous green wooden footbridge was built across the water and it became the central focus of many of his works. He said, ‘It took me some time to understand my water lilies. I planted them for pleasure.’ and so he began to work on what is probably the most famous series of paintings the world has ever seen.

This is the first publication to survey the entirety of this hugely influential scholar and artist's groundbreaking 60-year career.  Driskell and his landmark exhibition, Two Centuries of Black American Art are also featured in a recently released major documentary film.

David Driskell (1931-2020) was one of the most revered and boundary-breaking American artists, long recognized for his vibrant and versatile painting and printmaking practice, which combined his sharp observation of American landscapes and his interest in the imagery and aesthetic innovations of the African diaspora. Driskell was equally well-known as a curator, art historian, and educator, and his career as both artist and scholar created a durable public record of the long history of art made by African Americans.
The exhibition and accompanying catalogue survey seven decades of the artist's painterly practice from the 1950s forward. Driskell's command of color and line is showcased through his beloved subjects, including the natural world, remembrances of the Southern Black experience, and the Black Christian church.

The book includes a primary essay by Driskell scholar and curator Julie McGee as well as many other testaments to Driskell by major American artists, art historians, and museum professionals. The catalogue also features a selection of Driskell's most significant writings, introducing the full range of his career to future generations of readers.

About the Authors:

Julie L. McGee is Associate Professor of Africana Studies and Art History, and Director of the Interdisciplinary Study Center at the University of Delaware. Jessica May is an independent curator and formerly Deputy Director and Robert and Elizabeth Nanovic Chief Curator at Portland Museum of Art, Maine. Thelma Golden is the Director of the Studio Museum in Harlem. Lowery Stokes Sims is an independent curator. Richard J. Powell is the John Spencer Bassett Professor of Art & Art History at Duke University. Renée Maurer is Curator at The Phillips Collection.

This summer 2016 publication brings together the recent body of work by David Hockney, perhaps the most popular and versatile British artist of the last century.

Following his sweeping exploration of landscape in the Royal Academy’s galleries in 2012, this focused display will look exclusively at the portraits he has been painting in the last few years – the subjects of which are friends, family and art-world luminaries. After the sad events that touched his life in 2012, Hockney had stopped painting altogether. His move from Yorkshire to California coincided with his decision to revisit acrylic paints and bold colours.

Vibrant, observant and full of life, these portraits mark a return to vivid, Technicolor form. Incisive text from Tim Barringer places these works within Hockney’s development as a portrait painter, while curator Edith Devaney interviews the artist about the series, which he describes as ‘twenty-hour exposures’, in reference to the time each portrait takes to paint.

The book will show the stages of each painting, from first to last mark, to give the reader a unique insight into Hockney’s working method.

About the Authors:

Tim Barringer is the Paul Mellon professor of the history of art at Yale University.
Edith Devaney is head of the Royal Academy Summer Exhibition and curator of contemporary projects at the Royal Academy of Arts, London.

This book, which accompanies the first major exhibition devoted to David Hockney’s drawings in over 20 years, will explore Hockney as a draughtsman from the 1950s to now, with a focus on himself, his family and friends. From Ingres to the iPad – this book demonstrates the artist’s ingenuity in portrait drawing with reference to both tradition and technology.

David Hockney is recognised as one of the master draughtsmen of our times and a champion of the medium. This book will feature Hockney’s work from the 1950s to now and focus on his depictions of himself and a smaller group of sitters close to him: his muse, Celia Birtwell; his mother, Laura Hockney; and his friends, the curator, Gregory Evans, and master printer, Maurice Payne.

This book will examine not only how drawing is fundamental to Hockney’s distinctive way of observing the world around him, but also how it has been a testing ground for ideas and modes of expression later played out in his paintings.

From Old Masters to modern masters, from Holbein to Picasso, Hockney’s portrait drawings reveal his admiration for his artistic predecessors and his continuous stylistic experimentation throughout his career.

Alongside an in-depth essay from the curator, this book will feature an exclusive interview between author and curator, Sarah Howgate, and artist, David Hockney. In addition, an ‘In Focus’ essay by British Museum curator Isabel Seligman, will explore the relationship between Hockney, Ingres and Picasso drawings.

A beautifully illustrated, in-depth look at recent works by David Reed, an American artist who brings conceptual interests in process and duration to his abstract paintings. 

Since the outset of his career, David Reed’s central preoccupation has been to challenge and reinvent how to make a painting. Consistently, his paintings present a compelling tension between the gestural and the impersonal; in recent times this has been characterized by fluid, torquing, extended marks that reveal the viscosity of paint and the speed of color and light in a flattened manner that looks photographic or filmic.

David Reed documents the artist’s 2020 exhibition of new work at Gagosian in New York, presenting 15 outsize paintings that, in many cases, were over a decade in the making. The plates are punctuated by striking details of several works. The artist’s “working drawings,” which he has long made to document the many stages of a painting’s creation, are illustrated throughout the plate section, offering insights into his varied sources and complex processes. 

A new essay by art historian Richard Shiff examines the emotional tenor of Reed’s paintings.

About the Author:

Richard Shiff is the Effie Marie Cain Regents Chair in Art at the University of Texas at Austin, where he directs the Center for the Study of Modernism. 

The first international monograph dedicated to Eddy Kamuanga Ilunga, one of the most enterprising and exciting young artists working in Africa today.

Eddy Kamuanga’s large-scale figurative paintings display a wealth of historical understanding in a sophisticated interplay of strikingly colored forms juxtaposed on gray negative space.

Kamuanga’s work taps into the rich yet complex colonial history of the Democratic Republic of the Congo, or DRC. His politically nuanced and culturally sensitive work explores the seismic shifts in economic, political, and cultural identity in the DRC since colonization. Increasingly globalized in outlook, many in the DRC today are rejecting their ancestral heritage in favor of modernity, a conflict that fuels Kamuanga’s work.

The DRC is the world’s largest exporter of coltan, a mineral critical to the production of computer chips and mobile phones. In all of Kamuanga’s works, the skin of each figure is embedded with integrated circuits, referring to the harsh conditions experienced by workers who mine coltan by hand.

Eddy Kamuanga has been recognized internationally as one of the most interesting young contemporary African talents of today, and his reputation is growing fast worldwide.

His work has been shown across Africa, notably at Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA), South Africa, and has been included in exhibitions in Europe and the United States, at institutions such as Fowler Museum at UCLA, Los Angeles; Hood Museum of Art at Dartmouth College, Hanover, New Hampshire; Saatchi Gallery, London; and Royal Academy of Arts, London. He is represented by October Gallery, London.

About the Author:

Sammy Baloji is an international contemporary artist. Sandrine Colard is a historian of modern and contemporary African arts. Gerard Houghton is director of special projects at October Gallery. Gabriela Salgado is a curator based in London. Gus Casely-Hayford is a museum director, cultural historian, broadcaster, and lecturer.

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.

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

This fascinating new book explores how Egon Schiele reinvented the art of portraiture, brilliantly capturing the inner lives of his numerous subjects — including himself.

This book traces Schiele’s development as a portraitist through four principal chronological phases, from 1906 through 1918. Starting with the artist’s rigorous training at the Vienna Academy, it chronicles Schiele’s eventual break with academia and the emergence of his Expressionistic style. As Schiele honed his technical abilities, he gathered a coterie of patrons — many of whom he immortalized on canvas — and developed a tendency toward realism and introspection. Throughout his career Schiele tested the boundaries of traditional portraiture. Confrontational, explicitly erotic, and largely devoid of props or scenery, Schiele’s portraits are seminal works of originality and deep empathy with the human condition.

This volume also offers a close examination of Schiele’s self-portraits and his relationship with Gustav Klimt, Schiele’s gestic language in the context of contemporaneous photography and the silent film, as well as brief biographies of Schiele’s subjects and transcriptions of illuminating letters pertaining to his life and work.

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Пролистать 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.

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).

The first comprehensive survey of the beloved figurative realist painter Fairfield Porter to be published in more than two decades. A figurative realist in the heyday of abstract expressionism, Fairfield Porter (1907–1975) painted himself, his family, and friends in New York City, in Southampton, Long Island, and on an island off the Maine coast, all depicting a relaxed and comfortable world that seemed to mirror his own affluent, well-connected existence. With virtually all of the artist’s previous publications now out of print, this much-anticipated volume is an important addition to the literature on this great American master. Porter graduated from Harvard in 1928 and then studied at the Art Students League in New York with Thomas Hart Benton. Along with months in Maine, Porter lived in New York and from 1948 on, in Southampton where he purchased a large, late Federal-style house for his own expanding family. Porter painted several artist friends, including Elaine de Kooning, Larry Rivers, and Jane Freilicher. He was also close to the modern poets John Ashbery, Frank O’Hara, and James Schuyler. With a carefully curated selection of the artist’s best works, John Wilmerding, a specialist in American art, gives full consideration to Porter’s expressive compositions and a color palette influenced by his coastal surroundings. Karen Wilkin discusses Porter’s influences and pictorial creativity. Distinguished poet J. D. McClatchy writes a reflection on one of Porter’s paintings.

About the Authors:

John Wilmerding is Sarofim Professor of American Art, emeritus, at Princeton University. Karen Wilkin is an independent curator and art critic based in New York. She is a contributor to Rizzoli’s Wayne Thiebaud (2015). J. D. McClatchy is the editor of the Yale Review and former president of the American Academy of Arts and Letters.

A focused look at double-figure paintings by the celebrated British artist, whose disturbing portrayals radically altered the genre of figurative painting in the twentieth century.

This book highlights a theme that preoccupied Francis Bacon throughout his career: the relationship between two people, both physical and psychological. At its heart are two of the most uninhibited images that Bacon ever painted: Two Figures (1953) and Two Figures in the Grass (1954). After completing these interrelated works, Bacon did not return to the subject until 1967, the year that homosexual acts in private were decriminalized in England and Wales, when he painted Two Figures on a Couch, also featured in this volume. In Bacon's paintings, the human presence is evoked sometimes viscerally, at other times more fleetingly, in the form of a shadow or a blurred, watchful figure. In certain instances, the portrayal takes the form of a composite in which male and female bodily traits are transposed or fused. A number of the works in Couplings were inspired by Bacon's own fraught relationships.

Francis Bacon: Couplings features an introductory text by Richard Calvocoressi; a new essay and plate texts by Martin Harrison; and a never-before-published interview with Bacon by Richard Francis and Ian Morrison; as well as studio ephemera and working documents that illuminate Bacon's process.

About the Authors:

Richard Calvocoressi is an art historian and a director and senior curator at Gagosian, London. Martin Harrison, a curator and writer on art and photography, is an authority on the work of Francis Bacon.

Francis Bacon (19091992) was renowned for his dramatic depictions of the human form; he portrayed the ordeal of the vulnerable, defencelessly exposed body like no other artist of his generation.

At the centre of this volume are about sixty of Bacons disturbing yet captivating studies of the human figure, encompassing works from the late 1940s until his death.

Texts by a range of experts on the artist offer new insights into these radical and often discomfiting images, so brilliantly reproduced on the pages of this book.