Сборники работ по искусству

The most in-depth and comprehensive survey of the life and career of one of the pioneering artists of the original graffiti generation.

Having forged his graphic style painting subways in New York in the late 1970s, Futura was among the first graffiti artists to be shown in contemporary galleries in the early 1980s, where his paintings shared space with works by Keith Haring, Jean-Michel Basquiat, and Kenny Scharf. As the commercialization of street culture in the 1990s inspired collaborations with fashion and lifestyle brands, Futura's work moved toward a more refined expression of his abstract graffiti style. Commissions from era-defining brands such as A Bathing Ape, Stüssy, Supreme, and Mo' Wax saw his artwork canonized as an elemental component of the street aesthetic.

Collected here, among never-before-published reproductions of earlier paintings and drawings, is an archive of personal photography and ephemera that reveals how integral Futura has been to the evolution of street art and culture. Guided through more than forty years of work, and with interviews with key players in Futura's career, this is at once a definitive monograph of a legend of contemporary art and an indispensable chapter in the history of graffiti.

About the Author:

Futura is a street artist born and raised in New York. His career began in the 1970s under the moniker Futura 2000; in the decades since, his work has expanded from subway cars into fine art and commercial collaborations with brands from Nike to Supreme, Undercover, and Virgil Abloh. He lives and works in Brooklyn, New York.

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Пролистать книгу Futura: The Artist's Monograph

This dazzling book showcases dozens of Paul Gauguin’s most celebrated works and presents a new consideration of the artist’s relationships.

This vibrant examination of Paul Gauguin’s life and work features more than fifty pieces from the Ny Carlsberg Glyptotek collection in Copenhagen, including paintings, wood carvings, and ceramics along with Oceanic art and Gauguin’s works on paper from the Fine Arts Museums of San Francisco’s permanent collections. Each piece is reproduced in exquisite detail, offering a superb opportunity to enjoy Gauguin’s groundbreaking use of color, line, and form. 

Essays examine Gauguin’s relationships and reveal the struggles, indulgences, awakenings, and betrayals of his personal and professional life. Other essays provide new insights into Gauguin’s travels to the far reaches of the French colonial empire in the Pacific and explore his cultural identity, sexuality, and spirituality. 

Beautifully designed to complement Gauguin’s extraordinary oeuvre, this book offers a refreshing take on an artist whose life and work continue to fascinate to the present day.
 

Georg Baselitz enters a dialogue with the Old Masters - invited by Kunsthistorisches Museum Vienna, the acclaimed German painter and sculptor engages in a visual conversation. Baselitz himself curated this selection of works, focusing exclusively on nude painting. Both the exhibition and the catalogue revolve around this elemental human state, and its fundamental role in European art.

From the beginning of his career, Baselitz’s work has been informed by a pronounced awareness of art history, above all he was inspired by Mannerism’s break with classical rules. Insights into the history of nude painting, as well into the topicality of painting itself, emerge from this encounter of Baselitz’s works with historical paintings of an idealized beauty from Kunsthistorisches Museum. The carefully chosen juxtapositions open up a space in which one can reflect and experience the essence of painting anew.

About the Artist:

Georg Baselitz (*1938, Deutschbaselitz) is without a doubt one of the most influential painters and sculptors of our time. His work eludes easy categorization, but has continuously returned to his search for a new approach to updating classic figurative painting. In a celebrated turning point in 1969, he literally turned his paintings upside down and thereby managed to change the public’s viewing habits, and to sharpen their perceptions.

Turning what architect Rem Koolhaas famously referred to as “junkspace”, the spatial flotsam of the Anthropocene, into candy-coloured dreamscapes, George Byrne depicts the gritty urbanism of Los Angeles in sublime otherworldliness. Arriving a decade ago, the Australian artist was immediately enthralled by the sprawling cityscape, mesmerized by the way the sunlight transformed it into two-dimensional, almost painterly abstractions, underpinned by a distinctive pastel color palette. Extending his practice beyond the confines of the lens by extracting elements from various images, his series Post Truth dwells in the liminal space between real and imagined.

Reassembling the urban landscape into striking, ascetic collages of color and geometric fragments, Byrne creates postmodernist oases in the metropolis that masterfully harness the malleability of the photographic medium. Byrne’s compositions evoke associations with Miami Beach’s Art Deco, the Memphis Group’s designs, as well as the work of David Hockney or Ed Ruscha, and at the same time tap into the specific aesthetics of today’s visual culture played out on Instagram. They are filled with a sense of suspended reality ― and never fail to convey a feeling of joy.

About the Artist:

Born in Sydney in 1976, George Byrne graduated from Sydney College of the Arts in 2001, and traveled extensively before settling in Los Angeles in 2010. Today, he is internationally recognized for his large-scale photographs shot with medium-format film. Byrne has exhibited internationally, and was named the Minimalist Photographer of the Year in 2020.

George Condo’s unconventional paintings are illuminated in context with his vast range of artistic influences — from Tiepolo to Picasso to Basquiat, and from psychedelic to new wave.

George Condo is renowned for his eclectic mix of artistic influences — from the Old Masters to cubism to pop art. The artist who coined the term “artificial realism” blends imagery and styles from various movements in works that critique contemporary Western culture and its excesses. His paintings and sculptures feature Humanoids — figures that are metaphors of our humanity, magnifying our emotions and revealing our high and low points. For the first time in his own words, Condo reveals the genesis and significance of his distorted creations and unveils previously unseen paintings created during the pandemic and the political turmoil in the United States.

Didier Ottinger examines the career, influences, and works of this unconventional artist who is at once rewriting the history of art and caricaturing the immoderation of the modern world. An exhibition of Condo’s Humanoids at the Nouveau Musée National de Monaco opens nearly a quarter century after he created set and costume designs for Les Ballets de Monte-Carlo.

About the Authors:

Didier Ottinger, general curator of heritage and specialist in modern and contemporary painting, is assistant director of cultural programming at the Centre Pompidou where he curated exhibitions on Edward Hopper (2013), David Hockney (2017), and Georgia O’Keeffe (2022). American artist George Condo’s work is in the permanent collections of the Met, MoMA, Broad Foundation in Los Angeles, Tate, and Centre Pompidou. Exhibitions of his work have been shown in New York, London, Rotterdam, Berlin, Venice, Shanghai, and more. H.R.H. the Princess of Hanover is a philanthropist.

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Пролистать книгу George Condo: Humanoids

The definitive monograph on the iconoclastic painter George Condo

With his arresting, unsettling style, George Condo emerged out of the dynamism of the New York art scene in the early 1980s, and he has been restlessly painting, drawing and sculpting – bringing forms into the world in one way or another – ever since. Condo’s originality lies in his transformation of references and inspirations, in both style and content, which include the canon of Western art history; from his journey through Greek classical sculpture to an unlimited and free exchange of painterly languages ranging from Rembrandt and Velasquez to Picasso and Warhol, and a unique vision of literary and popular culture.

With his ‘fake’ Old Masters, reconfigured Manets, impossibly intricate paintings that seem abstract only from a distance, fractured and multifaceted ‘psychologically Cubist’ portraits, and the orgiastic misdemeanours of a host of butlers, bankers and priests, Condo has invented, mastered and expanded not just one painterly language but an entire lexicon.

Working closely with Condo, Simon Baker has combined biographical, chronological and thematic approaches to survey the artist’s work and career to date. An introductory essay on Condo’s contradictory nature and a chapter exploring his phenomenal early career are followed by three thematic chapters that look at the years from 1984 to the present, tracing Condo’s systematic reconstruction of the techniques of painting, exploring his relationship to the concept of abstraction, and probing the darker side of his psychological iconography in drawing, painting, sculpture and writing.

George Condo is the definitive monograph on this unique artist. It will appeal to artists, art students and those with a general interest in art.

About the Author:

Simon Baker is Director of Maison Européenne de la Photographie, Paris (MEP). He was formerly Senior Curator, Photography and International Art, Tate. Prior to becoming Tate’s first curator of photography, he was Associate Professor of Art History at the University of Nottingham. He has written widely on surrealism, photography and contemporary art.

Accompanied by a traveling exhibition, this book on the Bahamian artist’s textile portraits serves as a love letter to Black women: their style, strength, vulnerabilities, and beauty.

This debut of the 29-year-old Bahamian-born artist aims to redefine the often-politicized Black body, with portraits made in a range of textile-based techniques, such as embroidery and appliqué, celebrating Black women.

Gio Swaby’s intimate portraits are unique, highly personal figurative works made from an array of colorful fabrics and intricate, freehand lines of thread on canvas that explore the intersections of Blackness and womanhood. Illustrated with 80 works in full color that span from 2017 to 2021, this is the first book on this contemporary feminist artist who is a rising star in the world of textiles and portraiture. According to Swaby, “I wanted to create a space where we could see ourselves reflected in a moment of joy, celebrated without expectations, without connected stereotypes.”

Writers and scholars with multiple points of view take on Swaby’s work and delve into her place within contemporary Black art.

About the Author:

Katherine Pill is curator of contemporary art at the Museum of Fine Arts, St. Petersburg, Florida. Melinda Watt is Chair and Christa C. Mayer Thurman Curator of Textiles at the Art Institute of Chicago. Nikole Hannah-Jones is a Pulitzer Prize–winning reporter for the New York Times Magazine.

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Пролистать книгу Gio Swaby

The first overview in decades of the eerie allegories of de Chirico, the forefather of surrealism and genius of uncanny connections

An innovative analysis of the artistic poetics of the master of metaphysical painting.

Through a selection of important works made during this master’s career, this volume aims to conduct a critical revision of the artist’s complex practice for the centenary of his so-called volte-face in 1919, the year he was criticised for leaving metaphysical painting (1910-1918) in favour of styles and techniques inspired by Classicism and the grand masters.

Edited by the most important experts of De Chirico, The Face of Metaphysics promotes an innovative interpretation of the artist’s oeuvre (both metaphysical, where the traditional confines of linear time and space are replaced by the doctrine of cyclical coexistence); an arrangement according to themes and not chronology underlines the idea that, despite the many changes in style, technique and subject, composition and colour tone, all of De Chirico’s works may offer tangible visions of the intangible philosophical concept of Metaphysics, advanced by Nietzsche in the late 1800s: constant metaphysics.

Divided into six sections (The Eternal Return; Metaphysical Exteriors; Metaphysical Protagonists; Metaphysical Interiors; Metaphysical nature; Metaphysics Encounters Tradition), this volume gathers around 90 works from some of the most prestigious private museums and collections in Italy and from the Fondazione de Chirico and also offers a rich core of archive documents including letters, period photos and exhibition catalogues.

About the Author:

Victoria Noel-Johnson is an art curator and historian specialised in early 20th-century Italian art. Recognised as one of the greatest experts of Giorgio de Chirico’s painting, from 2008 to 2017 she was the scientific curator at the Fondazione Giorgio e Isa de Chirico, where she managed the art collection and international exhibition programme for the Foundation.

Zorzi da Castelfranco, known as Giorgione: is an artist who has so few confirmed works attributed to him, and about whose life little is known.

Yet, after a career span of just over ten years, Giorgione has achieved a fame that has remained unchanged over the centuries. Starting from Giovanni Bellini’s lessons on spirituality and harmony between man and nature, and from the use of colour by Giovan Battista Cima da Conegliano, the master from Castelfranco offers a very particular synthesis of musical lyricism, connecting bodies and landscape with a soft and dense light.

This tonal painting, set by Cima and Bellini, becomes with Giorgione the language of initiation of the formidable brood protagonist of the great Venetian 16th century, the season of Palma il Vecchio, Sebastiano del Piombo and Tiziano Vecellio.

CHAPTER I
Zorzi’s Hidden Canvases. Visits with an Exceptional Guide

CHAPTER II
Gypsy Women and Philosophers: Giorgione’s Enigmas. Open Work, Context and Readings

CHAPTER III
A Façade and a Frieze. Debut and Early Success amidst Classicism and Astrology

CHAPTER IV
An Altarpiece for Castelfranco. Certain and Uncertain Family Ties: Costanzo and Barbarella

CHAPTER V
“With Time” and in a Hurry. Portraits of the Young and Old

CHAPTER VI
The Competition between the Arts. The Young Man from Castelfranco in the Venetian Melting Pot

CHAPTER VII
Portraits, Self-Portraits, Personalities and Interpreters. Giorgione’s Gallery

CHAPTER VIII
The Legend of the Libidinous Painter. A Myth and its Creators

Bibliographical notes

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Пролистать книгу Giorgione

A monograph of works dedicated to Giotto with author Francesca Flores d'Arcais drawing on an impressive range of sources, from 14th-century documents to the most recent art-historical investigations

Vasari famously wrote that Giotto "recovered the true method of painting, which had been lost for many years before him," and indeed, he is traditionally considered a founder of the Italian Renaissance.

Producing a series of commissioned works for the church and upper classes in his native Tuscany and surrounding regions, Giotto changed the course of European art by breaking away from the rigid, stereotyped figures of the Byzantine and medieval traditions. His innovation was to give his characters natural movement and expression. His great fresco cycles, such as the lives of the Virgin and Christ in the Scrovegni (or Arena) Chapel, Padua, are populated with realistic depictions of three-dimensional figures; secondary characters, both comic and tragic, display the range of the painter's wit and invention.

And Giotto's treatment of perspective was just as revolutionary as his approach to the human form: the dramatic power of his scenes is heightened by the convincing illusionistic spaces in which he places them. In this authoritative survey of Giotto's life and work, Francesca Flores d'Arcais draws on an impressive range of sources, from 14th-century documents to the most recent art-historical investigations. Her research leads her to important reattributions of Giottesque paintings and to new conclusions regarding the execution and dating of both famous and lesser-known works. In this second edition of her study, d'Arcais also discusses the earthquake of September 26, 1997, that damaged the frescoes of the Upper Basilica of San Francisco in Assisi, some of which are attributed to the young Giotto; she explains not only the extent of the damage, but also the art-historical insights that emerged from the subsequent restoration effort.

More than three hundred illustrations, most in full colour and some on double gatefold pages, reproduce all of Giotto's significant frescoes in exquisite detail, as well as his moving crucifixes and jewel-like polyptychs. These splendid images and d'Arcais's insightful text, now, for the first time, in an affordable paperback edition, make this the definitive monograph on the greatest of trecento masters.

About the Author:

Francesca Flores d'Arcais is a professor of art history at the University of Verona, Italy. An expert in the field of northern Italian painting, she has made numerous contributions to the study of medieval and Renaissance art over the course of her distinguished teaching career.

"I like my paintings to have one foot in the grave, to be not quite of this world. For me they exist in a dream world, a world that is made up of all the accumulated images stored in our subconscious that coagulate and mutate when we sleep." — Glenn Brown Mining art history and popular culture, Brown has created an artistic language that transcends time and pictorial conventions. He creates a space where the abstract and the visceral, the rational and irrational, the beautiful and grotesque churn in a dizzying amalgamation of reference and form.

In paintings completed over the last three years, including some of his largest works to date, Brown confronts traditional subjects of still life and portraiture. With characteristically fleshy textures beneath remarkably flat and glossy surfaces, the scenes evoke traditional memento mori.

About the Author:

Rudi Fuchs is a Dutch art historian and curator. He has been director of the Van Abbemuseum in Eindhoven, the Gemeentemuseum in The Hague and the Stedelijk Museum in Amsterdam from 1993 to 2003. He is currently a lecturer at the University of Amsterdam and has written extensively on art.

Showcasing the best works by the acclaimed Nordic master of light and solitude, this is the first major book on the artist since 1998.

The paintings of Vilhelm Hammershøi (1864–1916) have become increasingly popular due their almost contemporary aesthetic. Admired and celebrated during his lifetime, Hammershøi gradually fell into oblivion before being rediscovered in the 1990s. He is now recognized as the iconic painter of Nordic light and solitude.

This newly researched monograph presents the artist’s best works, many drawn from rarely seen private collections. Enigmatic and subtle, his paintings feature empty interiors, shades of gray, and the silhouette of a lone figure. Reminiscent of Edward Hopper, Hammershøi has an impassioned following who will appreciate this new volume.

Multiple scholarly texts and an illustrated chronology shed new light on Hammershøi’s art and explore links with contemporary artists highlighting Hammershøi’s singular genius and more radical aesthetic, which still engages and surprises us today.

About the Authors:

Jean-Loup Champion is a sculptor, publisher, art historian, curator, and editor of several books. Frank Claustrat is Associate Professor of Contemporary Art History at Montpellier University in France as well as a noted expert on Nordic art. He has been published in Artnord, L’Œil, Connaissance des Arts, and La Gazette Drouot. Pierre Curie is curator at the Musée Jacquemart-André in Paris. Marianne Saabye is a Danish art historian and author who was the director of the Hirschsprung Collection from 1986 until 2016.

The first monograph on Iraqi artist Hayv Kahraman surveys her figurative work, which mines the marginal space that pertains to diasporic peoples, collective and personal memory, and gender.

The vital practice of Hayv Kahraman produces ethereal figures relating to each other in complex grounds. Their grace belies the brutal history of violence and displacement Kahraman’s subjects endure, creating an oscillating effect that entices the viewer with its seductive order. The artist combines elements of Italian Renaissance painting and twelfth-century Baghdadi illuminated manuscripts to create an evocative, hybrid vocabulary. Her quietly radical shifts — where traditional Iraqi screens’ geometric patterns are replaced with sections of a woman’s body, or a manuscript figure is presented as doll-like parts — convey the artist’s developing exploration of femininity, acculturation, and abstract patterns. Essays by Martin Daughtry, Walter Mignolo, and Octavio Zaya accompany works from all series to date, where graphic patterning attests alternately to violence and to moments of agency, community, and escape.

About the Author:

Martin Daughtry is associate professor of music at New York University. Walter Mignolo is professor of literature at Duke University. Octavio Zaya is an art critic and curator living in New York City since 1978.

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Пролистать книгу Hayv Kahraman на сайте издательства.

This beautiful book presents the extraordinary work of the iconic American "outsider" artist in a new critical light, locating him as a major figure in the history of contemporary art.

Self-taught and working in isolation until his death in 1973, Henry Darger realized an elaborate fantasy world of remarkable beauty and strangeness through hundreds of paintings and an epic written narrative. Angel-like Blengins with butterfly wings, natural catastrophes, innocent girls, and murderous soldiers all appear in Darger's scenes, which are reproduced in this book in double-page and gatefold illustrations.

In the volume's introductory essay, Klaus Biesenbach examines the radical originality of Darger's art, including his use of collage, incorporation of religious themes and iconography, and frequent juxtaposition of innocence with violence. An essay by Brooke Davis Anderson illuminates Darger's source materials and techniques, while another by Michael Bonesteel puts Darger's life in the context of his work.

The book also includes Darger's autobiography, “A History of My Life," introduced by Carl Watson. The only book of its kind, Henry Darger offers an authoritative, balanced, and insightful look at an American master.

About the Author:

Klaus Biesenbach is Director of the Museum of Contemporary Art in Los Angeles.

Four hundred little people frolic au naturel with overgrown songbirds and raspberries; a pudgy blue demon serenades a fashionable young couple with a tune piped through his own elongated nose; a knife-wielding set of disembodied ears stalks the damned through hell.

The phantasmagoric imagery of Hieronymus Bosch (d. 1516) has been the source of widespread interest ever since the painter’s lifetime, and is still so enigmatic that scholars have theorized that it contains hidden astrological, alchemical, or even heretical meanings. Yet none of these theories has ever seemed to provide an adequate understanding of Bosch’s work. Moreover, the considerable professional success that the artist enjoyed in his native Hertogenbosch, not to mention his membership in a traditional religious organization, suggests that he pursued not a sinister secret agenda but simply his personal artistic vision.

This intriguing new monograph by noted art historian Larry Silver interprets that artistic vision with admirable lucidity: it explains how Bosch’s understanding of human sin, morality, and punishment, which was conceived in an era of powerful apocalyptic expectation, shaped his dramatic visualizations of hell and of the temptations of even the most steadfast saints. Silver’s account of Bosch’s artistic development is one of the first to benefit from recent technical investigations of the paintings, as well as from the reexamination of the artist’s drawings in relation to his paintings.

Hieronymus Bosch is also unique in how securely it places its subject’s work in the broader history of painting in the Low Countries: Silver identifies sources of Bosch’s iconography in a wide range of fifteenth-century panel paintings, manuscript illuminations, and prints, and describes how, despite their own religiousness, Bosch’s pictures helped inspire the secular landscape and genre scenes of later Netherlandish painters. Augmented by 310 illustrations, most in color, including many dramatic close-ups of Bosch’s intricately imagined nightmare scenes, this is the definitive book on a perennially fascinating artist.

About the Author:

Larry Silver, a historian of Northern Renaissance art, received his Ph.D. from Harvard University and is currently Farquhar Professor of Art History at the University of Pennsylvania. His other books include the general survey Art in History and the recent Landscapes and Peasant Scenes: The Rise of Pictorial Genres in the Antwerp Art Market.