Сборники работ по искусству

Da Vinci in Detail. The life and work of the ultimate Renaissance artist

For the 500th anniversary of the death of Leonardo da Vinci, this updated edition of our XL title provides the most comprehensive survey of the life and work of the master painter, sculptor, architect, and inventor. The catalogue raisonné of paintings covers both surviving and lost works, while full-bleed details allow us to inspect even the subtlest brushstrokes that came to revolutionize art history.

Unmatched in his ingenuity, technical prowess, and curiosity, Leonardo da Vinci (1452–1519) epitomizes the humanistic ideal of the Renaissance man: a peerless master of painting, sculpture, cartography, anatomy, architecture — and more. Simultaneously captivating art historians, collectors, and the millions who flock yearly to admire his works, Leonardo’s appeal is as diffuse as were his preoccupations. His images permeate nearly every facet of Western culture — The Vitruvian Man is engraved into millions of Euro coins, The Last Supper is considered the single most reproduced religious painting in history, and the Mona Lisa has entranced countless artists and observers for centuries.

On the occasion of the 500th anniversary of his death, this updated edition of our XL title is an unrivalled survey of Leonardo’s life and work, including a catalogue raisonné encompassing both his surviving and lost paintings. Through stunning full-bleed details, we experience every measured brushstroke, each a testament to Leonardo’s masterful ability.

An expansive catalogue of nearly 700 of Leonardo’s drawings further illuminates the breadth of his pursuits. From diagrams of intricately engineered machines to portraits of plump infants, they stand reflective of his boundless and visionary technical imagination, balanced with a subtle and perceptive hand, capable of rendering quotidian moments with moving emotional timbre.

Also included is a new foreword by Frank Zöllner, expanded exclusively for this special edition, which dissects the latest scientific developments on Leonardo’s work and the story behind the haunting Salvator Mundi, which recently fetched a record-breaking $ 450 million at auction.

About the Authors:

Frank Zöllner wrote his doctoral thesis on motifs originating from Antiquity in the history of art and architecture of the Medieval and Renaissance periods (1987). He is also the author of a postdoctoral treatise on motion and expression in the art of Leonardo da Vinci, published in 2010. He has published numerous works on Renaissance art and art theory, and on 20th-century art. Since 1996 he has been Professor of Medieval and Modern Art at the University of Leipzig. For TASCHEN he has authored the XL monographs on Leonardo da Vinci and Michelangelo.

Johannes Nathan studied art history at New York University and the Courtauld Institute of Art in London, where he earned his Ph.D. in 1995 with a dissertation on the working methods of Leonardo da Vinci. He is the author of numerous art publications, director of Nathan Fine Art (Berlin and Zürich) and teaches art history at the Technische Universität, Berlin.

Comic genius

One of the most important exponents of Pop Art

In the late 50s and 60s, American painter Roy Lichtenstein (1923-1997) became one of the most important exponents of Pop Art - that movement which transformed products of mass consumption and the entertainment industry into subjects for art. This apotheosis of banal, everyday objects simultaneously constituted a criticism of the traditional elitist understanding of art.

Almost alone among artists, Lichtenstein pursued the question of how an image becomes a work of art. Wholly in keeping with the spirit of the Classical Modern, he held that it was not the "rank" of the picture’s subject that lends the picture its artistic character, but rather the artist’s formal treatment of it. To Lichtenstein, however, this position seemed far too broad to be seriously pursued.

Developed in the early 60s, Lichtenstein’s grid technique, with its allusion to the mass-production of graphic art, allowed the painter to give vent to his own artistic scepticism. In the 60s and 70s, Lichtenstein expanded his formal repertoire of techniques for creating distance and irony by means of an idiosyncratic process of abstraction and especially by his use of his numerous art quotations.

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

The exhibition constitutes an important milestone as the first show on kinetic art, means art with moving parts, to be held in Spain that features works created since the late 19th Century up to those produced in 2006. The museum received loans never before seen in Spain from the most important museums in the world, such as the MoMA/NY, the Centre Georges Pompidou/Paris, the Whitney Museum of American Art/NY, the Metropolitan Museum of Art of New York, the Tate Modern/London and the Galería Nazionale D'Arte Moderna di Roma. Important galleries also loaned pieces, such as the Denise René Gallery, which in 1955 organized the first exhibition dedicated to kinetic artists. The show brings together over 80 works by 45 Spanish and foreign artists. In this exhibition, visitors will be able to view paintings, objects, chronophotographs, calotypes, serigraphs, digital prints and films that all have one thing in common - the implicit concept of movement. Kinetic art is art that contains moving parts or depends on motion for its effect.The moving parts are generally powered by wind, a motor or the observer. The term kinetic sculpture refers to a class of art made primarily from the late 1950s through 1960s. Kinetic art was first recorded by the sculptors Naum Gabo and Antoine Pevsner in their Realist Manifesto issued as part of a manifesto of constructivism in 1920 in Moscow. Bicycle Wheel, of 1913, by Marcel Duchamp, is said to be the first kinetic

British artist Lucian Freud is widely considered the most important figurative painter working today. Master portraitist and specialist in nudes, Freud uses impasto to create depth and intensity while restraining his color palate to mostly muted hues. His portraits may be physically unflattering to their subjects, but they are honest, frank, and unapologetic. "I paint people," Freud has said, "not because of what they are like, not exactly in spite of what they are like, but how they happen to be."

Lucian Freud Portraits surveys his portraits and figure paintings from across his long career.

Drawing together the finest portraits from public and private collections around the world, the book explores Freuds stylistic development and technical virtuosity. A series of previously unpublished interviews conducted by Michael Auping between May 2009 and January 2011 reveals the artists thoughts on the complex relationship between artist and sitter, the particular challenges of painting nudes and self-portraits, and his views on other painters he admired.

Freuds psychological portraits are often imbued with a mood of alienation. A private man, the artists close relationship with his sitters was played out behind the closed door of the studio. Frequently there is the sense of an emotionally charged drama unfolding, but his subjects remain elusive. Sitters represented in the book include family members, particularly his mother, Lucie, and artists such as Frank Auerbach, Francis Bacon and David Hockney. In the early 1990s Freud produced a series of monumental paintings of the performance artist Leigh Bowery and Bowerys friend Sue Tilley, the benefits supervisor, examples of which are reproduced in this book.

'Everything is autobiographical and everything is a portrait, even if it's only a chair.'

Portraits were central to the work of Lucian Freud.

Working only from life, the artist claimed 'I could never put anything into a picture that wasn't actually there in front of me.' Lucian Freud Portraits surveys his portraits and figure paintings from across his long career. Drawing together the finest portraits from public and private collections around the world, the book explores Freud's stylistic development and technical virtuosity. A series of previously unpublished interviews conducted by Michael Auping between May 2009 and January 2011 reveal the artist's thoughts on the complex relationship between artist and sitter, the particular challenges of painting nudes and self-portraits, and his views on other painters he admired.

Freud's psychological portraits are often imbued with a mood of alienation. A private man, the artist's close relationship with his sitters was played out behind the closed door of the studio. Frequently there is the sense of an emotionally charged drama unfolding, but his subjects remain elusive. Sitters represented in the book include family members, particularly his mother, Lucie, and artists such as Frank Auerbach, Francis Bacon and David Hockney. In the early 1990s Freud produced a series of monumental paintings of the performance artist Leigh Bowery and Bowery's friend Sue Tilley, the 'benefits supervisor', examples of which are reproduced in this book.

Authoritative survey of more than 130 works, accompanying the first major exhibition focussed on seven decades of Freud's portraits.

Exhibition at the National Portrait Gallery, London (9 February-27 May 2012) and the Modern Art Museum of Fort Worth, Texas (2 July-28 October 2012). Includes new, illuminating interviews with Freud by Michael Auping. Contribution by John Richardson (friend of Freud and biographer of Picasso). Features an illustrated chronology of Freud's life. Essay and interviews with Lucian Freud by Michael Auping With a contribution by John Richardson This book accompanies the National Portrait Gallery's major Spring 2012 exhibition on Lucian Freud Portraits and the subsequent tour to Fort Worth, Texas in July 2012

Twisted Mind. The graphic pattern genius of M.C. Escher

From impossible staircases to tesselated birds, Dutch artist M.C. Escher (1898–1972) crafted a unique graphic language of patterns, puzzles, and mathematics. Dense, complex, and structured by intricate principles, his work is at the same time decorative and playful, toying constantly with optic illusions and the limitations of sensory perception. For mathematicians and scientists, Escher is a mastermind. For hippies, he was the pioneer of psychedelic art.

Born in Leeuwarden, in the Netherlands in 1898, Escher’s early works focused on nature and landscapes, with regular exhibitions in Holland, and some international recognition. It was on a trip to the Alhambra Palace in Spain in the 1920s, however, that Escher found his niche. Sketching the patterns of the palace’s Moorish architecture, Escher became captivated by the codependency of forms within and next to each other.

Working mainly with lithographs and woodcuts, Escher went on to explore the relationships among shapes, figures, and space with a near-obsessive delight. He revelled in quirky vantage points, multiple perspectives, the transition from paper flatness to illusory volume, and intricate mathematical puzzles such as the Möbius strip, a seemingly infinite loop which twists and recoils on itself in a contortion of apparent physical impossibility.

This introductory book from TASCHEN Basic Art 2.0 taps into Escher’s brilliant mind with key works from his restless investigation of image and perception. Along the way, you’ll find fish morphing into birds, lizards crawling off the page, masterful reflections, infinite mazes, and some of the most mind-bending images of 20th-century art.

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 illustrations with explanatory captions

"Mackintosh" is a celebration of the extraordinary career of one of the most intriguing and influential artists of his time, Charles Rennie Mackintosh. The book reveals a selection of some of his most important and popular works, from stained glass pieces and furniture through to architecture, at the same time giving an overview of his life and career. Secondary images draw on connections and echoes with each main entry to give depth and fuller understanding to create a beautifully rich and enjoyable tribute to the father of the 'Glasgow Style'.

Large-format hardcover edition at a new low price

The works of René Magritte (1898 – 1967) and the ideas that underlie them are a special case both in the history of modern art and in surrealist painting. In the search for the "mystery" in which things and organisms are enveloped, Magritte created pictures which, taking everyday reality as their starting point, were to follow a different logic from that to which we are accustomed. Magritte depicts the world of reality in such unsecretive superficiality that the beholder of his pictures is forced to reflect that the mystery of it is not evoked by some sentimental transfiguration, but rather by the logic of his thoughts and associations. Magritte thus invented an inimitable pictorial language which he uses to question our usual comprehension of pictures. In this book, Jacques Meuris traces Magritte`s artistic development from its beginnings until the end of his life, and in doing so underlines the originality of this great Belgian Surrealist.

The author:

Jacques Meuris is a writer, photographer, and art critic; he is the author of numerous books, catalogue articles and commentaries on modern art, literature and photography. Meuris is Professor Emeritus of the Ecole Supérieure des Arts Visuels (La Cambre, Brussels), a member of the Libre Académie de Belgique, and a director of the Association Internationale des Critiques d’Art (AICA).

Kazimir Malevich (1878 - 1935) was a painter and a great art theorist but first and foremost he was the founder of Suprematism (pure abstraction), a style based on geometrical forms. “Suprematism,��? he wrote, “has led me to discover something that had not been understood until then… there is in human consciousness an imperious desire of space and the will to escape from Earth.��?
This new publication presents the brilliant works of Malevich, the original painter, who until the age of twentyseven had no professional background as a painter, and who learned to draw out of curiosity and out of his will to learn. Gerry Souter once more offers us the works of a brilliant artist as well as a new perspective on the artist’s personality.

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.

Few artists have created as much controversy or survived it with greater fame than Edouard Manet.

In his day, the avant-garde was not only a challenge to the traditions of art, but it was also a gunshot fired at society as a whole.

With his painting Olympia (1869), Manet was to become, to quote Degas, as famous as Garibaldi. Yet how the urbane and diffident son of a bourgeois family became the father of both Realism and Impressionism is a complex and fascinating story that has too often been reduced to textbook clichés.

As Manet has become recognized as a touchstone for historical change but also for interpretations of how that change came about, his individual story has become all the more relevant to the study of art history.

Moreover, far from being an artists to shrink behind his work, one of Manets most characteristic practices was to leave an indelible trace of his own personal identity within his paintings, as illustrated throughout the volume by eminent scholar James H. Rubin.

This lavishly illustrated volume is presented in a handsome box set, and offers a comprehensive and original angle of study on the great master.

Mark Rothko belongs to the generation of American artists who completely revolutionized the essence of abstract painting. His stylistic evolution, from a figurative visual repertoire to an abstract style rooted in the active relationship of the observer to the painting, embodied the radical vision of a renaissance in painting. Rothko characterized this relationship as "a consummated experience between picture and onlooker". His colour formations indeed draw the observer into a space filled with an inner light.

Rothko always resisted attempts to interpret his paintings. He was mainly concerned with the viewer's experience, the merging of work and recipient beyond verbal comprehension. Rothko was an intellectual, a thinker, a highly educated man. He loved music and literature and was very involved in philosophy, especially in the works of Friedrich Wilhelm Nietzsche and of ancient Greek philosophy and mythology.

Rothko was a protagonist within the movement of American painters who became known as the Abstract Expressionists. First formed in New York City during the inter-war years, this group was also called the New York School. In all the history of art, they became the first American artists to receive international recognition as a significant movement. Many among them, including Rothko, have become legendary figures.

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

The first publication dedicated exclusively to Mark Rothko’s art during the critical formative period of the 1940s.

Examining the development and artistic exploration of one of the greatest artists of the twentieth century, this unprecedented volume presents the works of American artist MarkRothko from the 1940s, a time when his most essential development as a painter occurred, dramatically and in a very compact space of time. During this period, Rothko moved from expressive figurative and surrealist canvases to more abstract multiform subjects and finally to his signature abstractions - luminous rectangles of colour suspended in space.

Richly illustrated with works by Rothko and his contemporaries, and with essays by prominent Rothko scholars, this important new book deepens our understanding of Rothko’s art during this vital period, and that of the mature works that emerged from it.

About the Author:

Todd Herman is the director of the Arkansas Arts Center. David Anfam is an independent scholar in London and the author of the Rothko catalogue raisonné of works on canvas. Modern and contemporary American art scholar Bradford R. Collins is the chair of the University of South Carolina’s art department. Harry Cooper is a curator of modern and contemporary art at the National Gallery of Art, Washington, D.C. Ruth Fine is a curator of special projects in modern art at the National Gallery of Art, Washington, D.C., and the author of the forthcoming catalogue raisonné of Rothko’s works on paper. The son of Mark Rothko, Christopher Rothko is a writer and psychologist.

Пролистать книгу  Mark Rothko: The Decisive Decade: 1940-1950

Пухнасті зайчики, великоокі дівчата, м'ясо, магія та таємниця. Карнавал курйозів Марка Райдена

Поєднуючи теми поп-культури з технікою, що нагадує старих майстрів, Марк Райден створив унікальний стиль, який стирає традиційні межі між високим і низьким мистецтвом. Його роботи вперше привернули увагу в 1990-х роках, коли він започаткував новий жанр живопису, «поп-сюрреалізм», потягнувши за собою безліч послідовників. Він перевершив початкові сюрреалістичні стратегії, вибравши предмет, насичений культурним відтінком.

Словниковий запас Райдена коливається від загадкового до милого, проходячи тонку межу між ностальгічним кліше та тривожним архетипом. Спокушений його нескінченно деталізованими та ретельно обробленими поверхнями, глядач стикається з протиставленням дитячої невинності та таємничих закутків душі. У його картинах панує тонке занепокоєння; робота неймовірно красива, оскільки натякає на темніші психічні речі під поверхнею культурного кітчу. У світі Райдена дівчата-херувими торкаються ліктів дивними та таємничими фігурами. Вишукано різьблені рами надають картинам пишності бароко, що додає серйозності їхнім загадковим темам. Роботи Райдена, складні за своєю таємничою та своєрідною темою, не залишать байдужим жодного глядача.

Pinxit, назва якого вказує на латинський термін, що означає «намальований», організований за темами головних виставок Райдена — The Meat Show, Bunnies & Bees, The Tree Show тощо — і включає збірку есе Йошітомо Нари, Карло Маккорміка та інших, а також нове есе культуролога Крістін Маккенни. Ця масштабна ретроспектива об’єднує картини та роботи Марка Райдена, написані на папері майже за два десятиліття, розширюючи горизонти його дивовижного всесвіту та представляючи його світові, сторінку за сторінкою.

Художник:

Марк Райден отримав ступінь бакалавра в 1987 році в коледжі дизайну Art Center у Пасадені. Його картини виставлялися в музеях і галереях по всьому світу, включаючи ретроспективу Wondertoonel в Музеї мистецтв Фрай в Сіетлі та Музеї каліфорнійського мистецтва Пасадени, а також на виставці The Artist’s Museum в Музеї сучасного мистецтва в Лос-Анджелесі. Зараз живе і працює в Лос-Анджелесі.

Нові роботи відомого поп-сюрреаліста Марка Райдена, представлені в цій книзі вперше.

Коронований «вищим принцом Лоуброу», Марк Райден став невід’ємною частиною руху сучасного альтернативного мистецтва. У своїй найновішій роботі Mark Ryden: The Gay 90’s митець демонструє свою спотворену перспективу на рубежі дев’ятнадцятого століття за допомогою таких моторошних, але красивих робіт, як портрет Авраама Лінкольна, одягненого в моду 1890-х років і оточеного небесним німбом, Ісуса Христа, який грає на рожевому піаніно для аудиторії дівчат-трійнят kewpie, і Дівчина Гібсона в тугому корсеті, повністю виготовленому з м'яса.

Завдяки майстерній техніці малювання та тривожному змісту найновіші картини Райдена демонструють його захоплення щирим кітчем, який зустрічається в популярному мистецтві кінця 1800-х років, і водночас підкреслюють, що його картини зараз, як ніколи, є поєднанням як історичних, так і сучасних поп-культурних елементів. Візуальні підказки Райдена варіюються від загадкових до милих, балансуючи між ностальгічним кліше та тривожним архетипом.

Ця книга демонструє його талант створювати картини, які поєднують доступність і техніку з інтуїційним резонансом і соціокультурною актуальністю, завдяки чому легко зрозуміти, чому він привертає палку увагу музеїв, критиків і серйозних колекціонерів.

Про автора:

Поєднуючи теми поп-культури з технікою мистецтва, що нагадує старих майстрів, Марк Райден створив унікальний стиль, який стирає традиційні межі між високим і низьким мистецтвом. Його картини виставлялися в музеях і галереях по всьому світу, а його роботи є частиною постійної колекції Музею мистецтв округу Лос-Анджелес. Аманда Ерлансон — письменниця, колекціонер творів мистецтва та редактор арт-блогу «Erratic Phenomena».

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