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One of Victorian Englands most charismatic characters, Dante Gabriel Rossetti painted and wrote with equal passion. He was similarly passionate in his personal life: his ethereal artist-wife, his earthy blond mistress, and the ravishing Jane Morris are all immortalized in his voluptuous images. The melodrama of Rossettis life, darkened by rumors of suicide, adultery, and addiction, has often overshadowed his striking accomplishments as a painter. This evocative volume vividly illuminates his life and his art. Two hundred sixty-five illustrations-140 in full color-capture the lush hues and elaborate imagery of his romantic canvases. The astute text provides-at long last-a clear and candid account of the artist that carefully untangles fact from myth. Reminiscences from the artists great-grandniece Helen Guglielmini provide an engaging glimpse of life with the Rossettis.
Rossettis career is chronicled from his early achievements as a founder of the tremendously influential Pre-Raphaelite Brotherhood, through his involvement with William Morriss revolutionary design firm, to the grandly unorthodox images of his final years. Skillfully weaving in quotes from the artist and his contemporaries, Dr. Faxon brings to life a charming, contradictory man. Sometimes delightful, sometimes infuriating, Rossetti was as apt to scribble a witty limerick or dash off a jokey caricature as he was to brood over a medieval fantasy or heartsick sonnet.
Rossettis prodigious art encompassed the meticulously detailed canvases of his early years, the jewellike brilliance of his medieval tableaux, and the sensuously alluring women of his late paintings. He plundered the past for his painted and poetic images-especially favoring the tales of Dante and the romantic adventures of King Arthur-but his art was always uniquely his own, instantly recognizable and unforgettable. Beautifully designed with luscious reproductions, telling details, and graceful ornamentation, this is the first lavishly illustrated monograph devoted to this extravagantly talented artist.
The first monograph on the internationally renowned fashion artist David Downton.
With a foreword by Christian Lacroix, and an afterword by Dita Von Teese, this book showcases more than 150 of David’s drawings of celebrated women from the worlds of film, fashion and style.
The illustrations are enlivened by fascinating anecdotes revealing behind-the-scenes stories, and by specially commissioned photographs documenting the glamour of portrait sittings in London, Paris and New York.
About the Author:
David Downton has gained a reputation as one of the world’s leading fashion artists. His classically elegant yet highly contemporary images have been a strong factor in the resurgence of interest in fashion illustration. David’s natural ability with the human form and economy of line rapidly led to a hugely successful career working with, among others, Vanity Fair, Vogue, Harper’s Bazaar, V magazine, Chanel, Tiffany’s New York, Van Cleef & Arpels, Harrods, Topshop and the V&A.
This consideration of Hockney's work from 1960 to the early nineties dispels myths and opens up new lines of inquiry concerning his contributions to post-modern art. Filled with beautiful color plates of his paintings, the book draws on extensive research and the artist's personal archives. In a broad chronological format the book reveals the major phases in Hockney's oeuvre: his early years as a student at the Royal College of Art in London and his ironic experimentation with different styles of painting; his images of life in southern California; his highly personal portraits and their studies in perspective; his reinterpretations of modernist paintings; and his forays into photo-collage.
The authors' incisive commentary reveals how Hockney's paintings question, parody and undermine accepted ideas about modern art, while forcing us to reconsider our assumptions about originality and creativity.
Published in conjunction with the large-scale, all-medium, posthumous retrospective of Willem de Koonings career at The Museum of Modern Art (MoMA), this book offers an unparalleled opportunity to appreciate the development of the artists work as it unfolds over nearly seven decades.
Representing nearly every type of work de Kooning made, in both technique and subject matter, this retrospective includes paintings, sculptures, drawings and prints. Among these are the artists most famous, landmark paintings among them Pink Angels, Excavation and the celebrated third Woman series plus in-depth presentations of all his most important series, ranging from his figurative paintings of the early 1940s to the black-and-white compositions of 1948-49, and from the urban abstractions of the mid 1950s to the artists return to figuration in the 1960s and the large gestural abstractions of the following decade.
Also included is de Koonings famous yet largely unseen theatrical backdrop, the 17-foot-square Labyrinth (1946). With lavish, full-colour documentation, this volume is the most complete account of de Koonings career ever published.
Goddess of the Automobile Age
The changing aspects of femininity and masculinity
Tamara de Lempicka (1898-1980) stood at the center of the sophisticated Paris art world of the 1920s and 30s. Her love for beautiful women, elegant automobiles, and the modern metropolis provided not only motifs for her pictures, but also influenced her artistic style.
Simultaneously with her career as artist, Tamara de Lempicka pioneered a new image of life on the screen, evident in the new, self-confident woman and the changing aspects of femininity and masculinity. The same sense of style was reflected in a futuristic cult of speed, domestic design forms promulgated by the Bauhaus, and the dandyism of a George Brummell. Tamara de Lempicka’s best-known painting, "Self-Portrait, or Tamara in a Green Bugatti", presents the artist as a female dandy brimming with cool elegance.
Whether as an Art-Déco artist, a post-Cubist or a Neoclasissist, de Lempicka struck the taste of a cosmopolitan (and wealthy) public that found its own image reflected in her work.
About the Series:
Every book in TASCHEN's Basic Art Series features:
Capturing fleeting moments. Degas’s mastery in the depiction of movement
"No art could be less spontaneous than mine. Inspiration, spontaneity, temperament are unknown to me. One has to do the same subject ten times, even a hundred times over. In art, nothing should look like chance, not even movement." - Edgar Degas
In terms of both theme and technique, the key to understanding the early work of Edgar Degas (1834–1917) is classical painting. Although he was eventually associated with the Impressionists and even participated in their joint exhibitions, Degas never adopted a purely Impressionist approach.
Degas’s work, reflecting an extremely personal and psychological perspective, emphasizes the scenic or concentrates on the detail. Thus, Degas’s painting is often discussed with reference to the rise of short-exposure photography. Thematically, nature proved less interesting to the artist than the life and inhabitants of the modern metropolis. Degas primarily sought his motifs at the race track or circus, in bedrooms, or in ballet salons - and dancers always remained his favorite theme.
About the Series:
Every book in TASCHEN's Basic Art Series features:
- a detailed chronological summary of the artist's life and work, covering the cultural and historical importance of the artist
- approximately 100 color illustrations with explanatory captions
- a concise biography
“I was aware of Diego Rivera, the Mexican muralist, long before I encountered the many other “Diego Riveras” that roamed the world between the beginning of the twentieth century and the late 1950s. […] While his easel paintings and drawings constitute a large body of both his early and late work, his unique murals explode off walls in virtuoso performances of mind-staggering organisation. On those walls the man, his legend and myths, his technical talent, his intense story-telling focus and self-indulgent ideological convictions all come together.”
(Gerry Souter)
Gerry Souter, the author of the remarkable Frida Kahlo, overcomes his huge admiration for Diego Rivera to give the artist a human dimension, found in his political choices, his love affairs and his belief that “this truth was Mexico, the language of his thoughts, the blood in his veins, the azure sky above his resting place.”
About the author
Gerry Souter earned his degree at The Art Institute of Chicago and then went on to do further studies in art at the University of Chicago. Himself an artist, Souter has exhibited his paintings and photographs at The Art Institute of Chicago, the Phoenix Art Museum and a number of other galleries. A professional author, he has written more than twenty books since 1997, with great success. His continuing studies in Art History and Architecture, the sharpness of his writing, and his visual experience add a dynamic aspect to the study of the lives of artists and the description of their works, keeping the reader captivated, page after page.
Diego in Detail. The most comprehensive study of Rivera’s work ever realized
Latin American folk hero, husband of Frida Kahlo, devout Communist, and Mexico’s most important artist: the oeuvre of Diego Rivera is finally done justice in this monograph constituting the most comprehensive study of his work ever made. More than a half-century after his death, Rivera’s story, complete mural works, and recently discovered pieces are brought to life alongside private photos and drawings.
A veritable folk hero in Latin America and Mexico’s most important artist — along with his wife, painter Frida Kahlo — Diego Rivera (1886–1957) led a passionate life devoted to art and communism. After spending the 1910s in Europe, where he surrounded himself with other artists and embraced the Cubist movement, he returned to Mexico and began to paint the large-scale murals for which he is most famous. In his murals, he addressed social and political issues relating to the working class, earning him prophetic status among the peasants of Mexico. He was invited to create works abroad, most notably in the United States, where he stirred up controversy by depicting Lenin in his mural for the Rockefeller Center in New York City (the mural was destroyed before it was finished). Rivera’s most remarkable work is his 1932 Detroit Industry, a group of 27 frescos at the Detroit Institute of Art in Michigan.
This volume features numerous large-scale details of the murals, allowing their various components and subtleties to be closely examined. In addition to the murals is a vast selection of paintings, vintage photos, documents, and drawings from public and private collections around the world, many of which the whereabouts were previously unknown to scholars and whose inclusion here is thanks to the most intense research performed on Rivera’s work since his death. Texts include an illustrated biography and essays by prominent art historians offering interpretations of each mural. One could not ask for a more comprehensive study of Rivera’s oeuvre; finally, his work is the subject of the sweeping retrospective it deserves.
About the Authors:
Luis-Martín Lozano is art historian and curator of modern and contemporary art. He is the recipient of a Fulbright scholarship to research Rivera’s and Kahlo’s oeuvre in California. Lozano has taught and lectured extensively on the subject of Mexican art and has written more than 50 essays about Mexican modernism as well as monographic essays about Diego Rivera, María Izquierdo, Frida Kahlo, Remedios Varo and many others. Since 2001 he has been director of the Museo de Arte Moderno de México.
Diego Rivera's grandson Juan Rafael Coronel Rivera has worked as editor of the magazines Punto Cero en Literatura, El Faro revista de literatura y arte and M'hija, together with Carlos Jaurena. He founded Kahlo-Coronel Fotogalería, Mexico’s first private photo-gallery, in 1987. His collection of Mexican popular pottery is the world’s most extensive, including more than 15,000 pieces from the 16th century to the present day. He has curated more than 100 exhibitions for art galleries, museums, and biennials and has written 71 publications.
"It is my wish to come very close, strikingly close, to the times in which we live, without submitting to artistic dogma...I need the connection to the world of senses, the courage to portray ugliness, life as it comes." - Otto Dix
In the 1920s, Otto Dix was the artist of Neue Sachlichkeit, the New Objectivity, par excellence. Painting in a very realistic, almost photographic style, he chose as subjects the poverty, violence, death, and war that he experienced as a soldier in World War I. After this terrible experience, he painted the famous triptych The War.
Dix staged the world as a play, a grotesque farce. But the form he chose to do so was based on the classical canon of beauty. Dix lived his life and served art, for he adhered to the age-old rule that the American painter Ad Reinhardt put in a nutshell: "Life is life, and art is art."
Zerofriends co-founder Alex Pardee returns with a collection of some of the most horrifying and iconic characters of film, video games and comics with Doppelgangers.
The monograph displays a parade of serial killers, demons, aliens and psychopaths, from early Universal monsters in melancholy black and white to modern horrors captured in full bloody colour.
The freaks of cult classics rub shoulders with the slick killers of modern blockbusters, all captured with Pardee's signature deranged style and a sense of childlike delight.
Readymade man. The anticonformist visionary
Marcel Duchamp (1887–1968), revolutionary artist, inventor of readymades, obsessive chess player, and master of the silent statement succeeded at the beginning of the 20th century to query art in its traditional form. His creations, not least his readymades such as the famous Fountain (a "reclaimed" urinal) or the Bottle Rack, are subversive and radical upshots of a critical confrontation with the production and marketing of art in the industrial age. While the young Duchamp still admired Monet, Fauvism, and Cubism, and for a while was quite closely aligned with the Dadaists and Surrealists, before long his work broke new ground and helped redefine art as we know it today.
The fact that Duchamp wanted to ensure that the self-irony and doubt, particularly in his own works, were constructively understood is best shown in one of his few statements on the subject: “I force myself to contradict myself in order to avoid conforming to my own taste.” Duchamp has long been an enigma to art historians while a great source of inspiration to other artists. This study addresses the myth and the reality, revealing a compelling portrait of Marcel Duchamp, the man and the artist.
About the Series:
Each book in TASCHEN’s Basic Art Series features:
- a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance
- a concise biography
- approximately 100 colour illustrations with explanatory captions
The author:
Janis Mink studied art history at Smith College and gained her doctorate in Hamburg under Martin Warnke. She is presently a writer and curator.
Посмотреть издание книги Duchamp в мягкой обложке.
Though most famous for his engravings, Albrecht Dürer (1471-1528) was also a master painter and draftsman whose work exemplified the spirit of German art. Dürer's importance in the German High Renaissance was such that he can be considered to embody the movement entirely. His visits to Italy (where he studied most notably with Giovanni Bellini) had a profound effect on his artistic development and enabled him to combine both German and Italian influences in his work. In his later life, Dürer's passion for knowledge and progress led him to research and write on the subjects of art theory and mathematics, making him not only the greatest Northern European artist of his time but also one of its leading thinkers. This overview of Dürer's entire oeuvre - covering his oil, tempera, and watercolour paintings, copper and wood engravings, and his drawings and sketches - is the perfect introduction to his work.
About the Series:
Every book in TASCHEN's Basic Art Series features:
* a detailed chronological summary of the artist's life and work, covering the cultural and historical importance of the artist
* approximately 100 color illustrations with explanatory captions
* a concise biography
64 aquarelles et dessins classés par ordre chronologique. Détails, gros plans. Biographie, bibliographie.
In light of the popular, “beautiful” paintings of his Impressionist phase, it is easy to lose sight of the complexity of the oeuvre of Edgar Degas (1834–1917). All his life, the artist experimented with printing techniques and drawing as well as photography and sculpture. In his late work (1890–1910/12), the delicate, detailed painting of his mature period yields to a unique pleasure in technical experimentation and an obsessive creativity, which increasingly liberated the means of depiction from its reproductive function. As if in a dreamlike state, the present and past, things seen and remembered, are united, resulting in nude studies, ballet scenes, landscapes, and portraits. This is the first publication to present a comprehensive view of the technical diversity and wide range of themes in Degas’ oeuvre.
