Збірники робіт з мистецтва

Il divino. A glorious exploration of Michelangelo’s works

Before reaching the tender age of 30, Michelangelo Buonarroti (1475–1564) had already sculpted David and Pietà, two of the most famous sculptures in the entire history of art. As a sculptor, painter, draftsman, and architect, the achievements of this Italian master are unique — no artist before or after him has ever produced such a vast, multifaceted, and wide-ranging œuvre.

This comprehensive book explores Michelangelo’s life and work with a richly illustrated biographical essay, and a complete four-part inventory of his paintings, sculptures, buildings, and drawings. Full-page reproductions and enlarged details allow readers to appreciate fine details in the artist’s vast repertoire, while the book’s biographical insights consider a previously unseen extent to Michelangelo’s more personal traits and circumstances, such as his solitary nature, his thirst for money and commissions, his immense wealth, and his skill as a property investor. In addition, the book tackles the controversial issue of the attribution of Michelangelo drawings, an area in which decisions continue to be steered by the interests of the art market and the major collections.

This is the definitive work about Michelangelo for generations to come, to be delved into and put on display, with its slipcase neatly converting into a book stand.

The editor and author:

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.

The contributing authors:

Christof Thoenes studied art history in Berlin and Pavia, before completing his doctorate in Berlin. Thoenes was Honorary Professor in Hamburg and now lives in Rome, where for many years he has worked for the Bibliotheca Hertziana (Max-Planck-Institute). He has contributed to numerous publications on Italian art, particularly on architecture and architectural theory of the 15th to 18th centuries.

Thomas Pöpper wrote his doctoral thesis on 15th-century Italian Renaissance sculpture (2003). After a fellowship at the Bibliotheca Hertziana, he worked as a volunteer for the Schleswig-Holsteinische Landesmuseen. Following further appointments at universities in Hamburg und Leipzig, since 2008 he has been Professor of Art and Design History at the West Saxon University of Applied Sciences of Zwickau, where he is currently Head of the Faculty of Applied Art. Pöpper has published on a variety of aspects of Italian art from the Middle Ages to the Baroque, German painting of the Early Modern era and German sculpture of the 19th and 20th century. 

Before reaching the tender age of 30, Michelangelo Buonarroti (1475–1564) had already sculpted Pietà and David, two of the most famous sculptures in the entire history of art. As a sculptor, painter, draftsman, and architect, the achievements of this Italian master are unique — no artist before or after him has ever produced such a vast, multifaceted, and wide-ranging œuvre.

This fresh TASCHEN edition traces Michelangelo’s ascent to the cultural elite of the Renaissance. Ten richly illustrated chapters cover the artist’s paintings, sculptures, and architecture, including a close analysis of the artist’s tour de force frescoes in the Sistine Chapel.

Full-page reproductions and enlarged details allow readers to appreciate the finest details in the artist’s repertoire, while the book’s biographical essay considers Michelangelo’s more personal traits and circumstances, such as his solitary nature, his thirst for money and commissions, his immense wealth, and his skill as a property investor.

About the series:

Bibliotheca Universalis — Compact cultural companions celebrating the eclectic TASCHEN universe at an unbeatable, democratic price!

Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible, open-minded publishing. Bibliotheca Universalis brings together more than 100 of our all-time favourite titles in a neat new format so you can curate your own affordable library of art, anthropology, and aphrodisia.

Bookworm’s delight — never bore, always excite!

The majestic bearing of his nudes, his accomplished treatment of the human anatomy, and his virtuosity characterize the drawings of Michelangelo (1475–1564). Masterpieces from the most distinguished museums in the world will be shown alongside treasures from the Albertina’s collection of prints, affording a unique look at the graphic oeuvre of the great Florentine artist.

This publication spans a wide range of works - from the works he created in his youth, his studies for the Battle of Cascina, the frescoes for the Sistine Chapel, to the drawings he made as gifts for Tommaso de’ Cavalieri and the later crucifixion scenes. Paintings by other artists, done after the master’s sketches, illuminate the dimension and force of his art, and show him within the context of his own time. The book also examines some critics’ doubt about the attributions of numerous drawings to Michelangelo.

Graphic beauty: Breathtaking drawings

Few artists can claim such tenacious fame across continents and centuries as Michelangelo Buonarroti(1475 - 1564). His achievements as a sculptor, painter, draftsman, and architect remain unrivalled and unique. This fresh edition celebrates the artist s graphic work, with a selection of his most masterful and mesmerizing drawings.

Gathered from some of the world s most prestigious collections, these works show the full ambition and reach of Michelangelo s practice, spanning architectural elements, facial expressions, and countless, meticulous anatomical drawings. Whether finely-tuned or left unfinished, each and every drawing testifies to the artist s dedicated scrutiny of the world around him and his compelling mastery of line, form, and detail.

There is an intimacy in these works, too. As different sketches occupy the same pages, and notes intersperse the drawings, we may not only marvel at the meticulously rendered textures or anatomically-perfected figures, but also feel a spine-tingling proximity to the very process, as much as the product, of genius.

About the series:

Bibliotheca Universalis — Compact cultural companions celebrating the eclectic TASCHEN universe at an unbeatable, democratic price!

Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible, open-minded publishing. Bibliotheca Universalis brings together more than 100 of our all-time favourite titles in a neat new format so you can curate your own affordable library of art, anthropology, and aphrodisia.

Bookworm’s delight — never bore, always excite!

Реставрація чудових фресок Мікеланджело у Сикстинській капелі Ватикану є чи не найбільш суперечливою подією у світі мистецтва за останні три десятиліття. Тепер, після майже п’ятнадцяти років зусиль, реставрація нарешті завершена. Цей унікальний том — перший, у якому задокументовано проект — є результатом неперевершеної міжнародної фотокампанії. Вперше відреставрована каплиця показана цілком, від створення до Страшного суду. Чудові повнокольорові фотографії-250 у всіх зображують фрески як до, так і після їх реставрації, забезпечуючи незабутнє уявлення про ретельну роботу, яка, на думку багатьох, відновила фрески до їхнього первісного блиску Високого Відродження.

Створені наприкінці 1400-х років фрески Сикстинської капели є найвідомішими з усіх шедеврів Ватикану. Однак ще в 1502 році туристи почали помічати пошкодження, спричинені димом і розвалом стін. У 1980 році потреба в консервації виявилася гострою. Групі реставраторів довелося боротися з століттями гнилої структури стін і стелі, накопиченням кіптяви та пилу та просочуванням дощової води, що залишало білі плями на кожній поверхні. Ремісники в попередні століття робили спроби зберегти, але часто завдавали більше шкоди, ніж користі; виявлено, що фрески були вкриті багатьма шарами «захисного» клею, який з віком пожовтів і потемнів.

Хоча багато істориків мистецтва виступали проти реставрації, вважаючи, що Мікеланджело був похмурим художником, який працював у темних і приглушених кольорах, ця спроба представляє фрески, які надзвичайно яскраві, запалюючи каплицю своїм блиском. Крім того, вони дають нове уявлення про техніку мазка Мікеланджело та додають більше інформації до багатовікової дискусії про те, як він працював із вологою гіпсовою поверхнею фресок.

Написаний спільно з Джанлуїджі Колалуччі, технічним керівником реставрації, текст забезпечує глибоке розуміння цього шедевра мистецтва Відродження. Він пояснює різноманітні судово-медичні дослідження, проведені в ході проекту, прагматичні проблеми реставрації та численні проблеми історичного підходу, з якими зіткнулися. Цей том, включаючи чудові нові зображення фресок Каплиці, належить до бібліотек кожного історика мистецтва та дослідника італійського Відродження.

Fellow painter Walter Erben spent countless hours conversing with his colleague Joan Miró (1893-1983) at his house in Mallorca in preparation for this book. Over the course of these talks, Miró gave Erben many interesting and invaluable insights into his art, as well as his own interpretations of his most significant works.

Thus was born this Miró retrospective which explores, through texts and images, the life`s work of one of the 20th century's most influential painters.

The author: Walter Erben (1908-1981) studied German at Berlin University as well as painting at the Academy of Art in Düsseldorf, where he studied under Oskar Moll and Paul Klee. Erben taught fine art in Rome and Hagen, authored many successful books on the subject, and lectured extensively during his lifetime.

The editor: Hajo Düchting (b. 1949 in Düsseldorf) studied art history, philosophy and archaeology in Munich, where he gained his doctorate in 1981 with a thesis on Robert Delaunay’s Windows series. After working in museum and adult education, he moved on to teaching posts and guest professorships at the universities of Munich, Kassel, Leipzig, Saarbrücken and Mainz. Düchting has published numerous articles on the art of the modern era, colour theory and the teaching of art and has authored a number of TASCHEN titles, including Paul Cézanne (1988), Wassily Kandinsky (1990); Robert and Sonia Delaunay (1993) and Georges Seurat (1999).

Assassinator of painting. The artist who upset the establishment

Joan Miró (1893-1983) is one of the most significant Spanish painters of the twentieth century. The themes and treatments of his early work were shaped by the Catalan landscape and clearly show the influence of Fauvism and Cubism. During his travels, Miró encountered the intellectual avant-garde of his time; his friends included Francis Picabia, Tristan Tzara, André Masson, Jean Arp and Pablo Picasso.

From the mid-1920s onward, Miró strove to leave direct objective references behind and developed the pictograms that typify his style. The pictures of this period, which include perhaps the most beautiful and significant of his whole oeuvre, dispense with spatiality and an unambiguous reference to objects. From then on, the surfaces were defined by numerals, writing, abstract emblems, and playful figures and creatures. In the postwar years be begin producing graphic works, ceramics, monumental murals, and sculptures. In these works, too, the Catalan artist sought the solid foundation of a figurative, symbolic art, featuring faces, stars, moons, rudimentary animal forms, and letters. Joan Miró developed in several stages his characteristic flowing calligraphic style and his world of forms resembling shorthand symbols in several stages. From Fauvism to Surrealism by way of his original childlike style, Miró sought to shake up the establishment and in doing so made a name for himself.

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

Modigliani - Sensitive paintings and sculptures that speak in tongues

To contemporaries, Amedeo Modigliani was the very definition of Parisian Bohemia, the controversial darling and target of the popular press and the model on which many a novel, play and film was based.

As an artist, the scandalous Modigliani made his name chiefly with his celebrated pictures of women, with almond eyes and long necks and bodies. His style had ancient roots that lay deep in classical antiquity or Africa. But his portraits of intellectual giants of the age, friends such as Pablo Picasso, Jean Cocteau or Diego Rivera, were inimitable also. In Doris Krystof's study, the scene Modigliani was the hero of comes alive, and his sensitive paintings and sculptures speak in tongues.

About the Author:

After studying the history of art, history and literary studies in Freiburg im Breisgau and Cologne, Doris Krystof worked as an academic associate at the Kunstsammlung Nordrhein-Westfalen in Düsseldorf and as curator at the Kunsthalle Wien. Since 2001 she has been curator for the collection and changing exhibitions at the K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf. She has authored numerous publications on modern and contemporary art.

About the Series:

Every 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

Master of the Sublime. The essential Impressionist

Along with Turner, no artist has sought more than Claude Monet (1840-1926) to capture light itself on canvas. Of all the Impressionists, it was the man Cézanne called "only an eye, but my God what an eye!" who stayed completely true to the principle of absolute fidelity to the visual sensation, painting directly from the object.

It could be said that Monet reinvented the possibilities of colour, and whether it was through his early interest in Japanese prints, his time in the dazzling light of Algeria as a conscript or his personal acquaintance with the major painters of the late 1800s, what Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations were the late series of waterlilies, painted in his own garden at Giverny, that, in their moves towards almost total formlessness, are really the origin of abstract art.

This biography does full justice to this most remarkable and profoundly influential of artists and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.

The author:

Daniel Wildenstein (1917-2001) was an art historian and member of the Académie des Beaux-Arts (Paris). From 1939 onwards, he was Director of the Wildenstein Galleries of New York, London and Tokyo. He edited several international journals, e.g. the magazine Arts from 1956-1962 and the Gazette des Beaux-Arts after 1963. He co-founded the Fondation Wildenstein in 1970 (it was renamed the WildensteinInstitute in 1984), and was a prime mover in many exhibitions of international repute. Daniel Wildenstein also edited the catalogues raisonnés of various 18th, 19th and 20th-century artists. He was a world authority on Impressionism, and published catalogues of the works of Gauguin, Manet and Monet.

Master of the sublime. The essential Impressionist

No other artist, apart from J.M.W. Turner, tried as hard as Claude Monet (1840–1926) to capture light itself on canvas. Of all the Impressionists, it was the man Cézanne called “only an eye, but my God what an eye!” who stayed true to the principle of absolute fidelity to the visual sensation, painting directly from the object.

It could be said that Monet reinvented the possibilities of colour. Whether it was through his early interest in Japanese prints, his time as a conscript in the dazzling light of Algeria, or his personal acquaintance with the major painters of the late 19th century, the work Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations was the late series of waterlilies, painted in his own garden at Giverny, which, in their approach toward almost total formlessness, are really the origin of abstract art.

This biography does full justice to this most remarkable and profoundly influential artist and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.

The author:

Daniel Wildenstein (1917-2001) was an art historian and member of the Académie des Beaux-Arts (Paris). From 1939 onwards, he was Director of the Wildenstein Galleries of New York, London and Tokyo. He edited several international journals, e.g. the magazine Arts from 1956-1962 and the Gazette des Beaux-Arts after 1963. He co-founded the Foundation Wildenstein in 1970 (it was renamed the Wildenstein Institute in 1984), and was a prime mover in many exhibitions of international repute. Daniel Wildenstein also edited the catalogues raisonnés of various 18th, 19th and 20th-century artists. He was a world authority on Impressionism and published catalogues of the works of Gauguin, Manet and Monet.

About the series:

Bibliotheca Universalis — Compact cultural companions celebrating the eclectic TASCHEN universe at an unbeatable, democratic price!

Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible, open-minded publishing. Bibliotheca Universalis brings together more than 100 of our all-time favourite titles in a neat new format so you can curate your own affordable library of art, anthropology, and aphrodisia.

Bookworm’s delight — never bore, always excite!

Mighty Morris. The arts and crafts power of designer William Morris

William Morris was a polymath designer, writer, artist, and socialist activist, associated with England’s Pre-Raphaelite Brotherhood as well as Arts and Crafts movement. His prolific design work included tiles, embroidery, tapestries, wallpaper, and carpets and championed handcraftsmanship, natural dyes, “art for all”, and beautiful patterns of subtly stylized natural forms.

William Morris (1834–1896) was one of the greatest creative figures of the 19th century. As a visionary designer, as well as a manufacturer, writer, artist, and socialist activist, he pioneered the Arts and Crafts movement of the Victorian era, and left an extraordinary influence on architecture, textile, and interior design.

This richly illustrated book offers a suitably beautiful introduction to Morris’s colourful life and all aspects of his design work, including interiors, tiles, embroidery, tapestries, carpets, and calligraphy. Though best known in his lifetime as a poet and author, it is these exquisite designs that secured Morris’s posthumous reputation. As page after page dazzles with their beautiful patterns and forms, we explore the pioneering craftsmanship and natural motifs that inspired them, as well as Morris’s remarkable cultural legacy, through British textiles, Bauhaus, and even modern environmentalism.

The authors:

Charlotte & Peter Fiell have written numerous TASCHEN books, including 1000 Chairs, Design of the 20th Century, Industrial Design A–Z, Scandinavian Design, Designing the 21st Century, Graphic Design for the 21st Century, 1000 Lights, and Contemporary Graphic Design. They have also edited TASCHEN’s Decorative Art series and the 12-volume Domus 1928–1999.

About the series:

Each book in TASCHEN’s Basic Architecture series features:

- an introduction to the life and work of the architect 
- the major works in chronological order
- information about the clients, architectural preconditions as well as construction problems and resolutions
- a list of all the selected works and a map indicating the locations of the best and most famous buildings
- approximately 120 illustrations (photographs, sketches, drafts, and plans)

Все про Belle Époque. Витончена ілюстрація, що визначила епоху

Альфонс Муха надав Прекрасній епохі її візуального характеру. Його роботи пронизували ілюстрацію та рекламу того часу, найвідомішими з яких є вражаючі плакати зіркової акторки Сари Бернар. Укладена у співпраці з Фондом Мухи, ця книга представляє весь спектр його творчості, від візерунчастого декору до його політичних ідей.

Чеський художник і майстер модерну Альфонс Муха (1860–1939) завдяки своєму миттєво впізнаваному декоративному стилю визначив вигляд кінця століття. У виразних відтінках персикового, золотого, охри та оливкового кольорів його спокусливі композиції з візерунками, квітами та красивими жінками стали парадигмами років Прекрасної епохи.

Творчість Мухи пронизала ілюстрацію, плакати, листівки та рекламний дизайн його часу. Особливо відомими були його вражаючі плакати зіркової акторки Сари Бернар. Поряд з цією витонченою декоративною роботою, Муха також мав сильні політичні ідеї. Своїм монументальним циклом «Слов'янська епопея» він висловив свою непохитну підтримку панславізму, пропагуючи політичну незалежність чеських та слов'янських народів від Австро-Угорської імперії.

Укладена у співпраці з Фондом Мухи, ця книга представляє ключові роботи та ознайомлює з усім спектром творчості Мухи: від візерунчастого декору до книжкових ілюстрацій, плакатів, фотографій та монументальних картин.

Автор:

Томоко Сато вивчала історію мистецтва та архітектури в Університеті Редінга та музеєлогію в Манчестерському університеті. Раніше вона була куратором Художньої галереї Барбікан у Лондоні, а з 2007 року є куратором Фонду Мухи. Вона курувала численні виставки, присвячені Альфонсу Мухі, а також сучасному мистецтву, дизайну та фотографії.

Про серію:

Кожна книга серії TASCHEN's Basic Art містить:

- детальний хронологічний виклад життя та творчості художника, що охоплює його культурне та історичне значення
- стислу біографію
- приблизно 100 ілюстрацій із пояснювальними підписами

The Scream of self-liberation. Paintings by one of Expressionism's pioneers

For Edvard Munch (1863-1944), painting was an act of self-liberation. His treatments of fear, desperation, and death still exert a powerful visual and psychological effect on modern viewers. Of all Munch’s paintings, "The Scream" (1893), representing a figure tortured by horror, is the most well-known-and certainly one of the most expressive.

The artist reflected his innermost feelings in his work: "In reality, my art is a free confession, an attempt to clarify to myself my own relation to life..." Although Edvard Munch cannot be clearly identified with any single movement, he is deemed a pioneer of Expressionism.

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

Psychodrama. The reverberating power of an Expressionist icon

Take in the dark, compelling visions of Edvard Munch, artist of lurid colors, strange distortions, and a haunting Mona Lisa for modernity: The Scream. This essential introduction surveys Munch’s staggering capacity for psychodrama and the echo of his artistic wail through the work of Andy Warhol, Martin Kippenberger, Tracey Emin, Marlene Dumas, and beyond.

A hairless, ghostly figure on a bridge. The sky orange-red above him. His hands raised to his ears, his mouth wide in a haunting wail. In painting The Scream, Edvard Munch (1863–1944) created Mona Lisa for our times. The shriek of his iconic figure reverberates around the world, its echo resounding in the work of Andy Warhol, Jasper Johns, Martin Kippenberger, Marlene Dumas, and Tracey Emin.

This introductory book surveys Munch’s staggering capacity for psychodrama in The Scream and beyond. With rich illustration, it looks at the lurid, dark, and deeply modern visions that made up the artist’s response to relationships and emotions. These compelling images, regarded by the artist himself as a means of “free confession,” remain as magnetic today as they were on the brink of modernism.

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

Known primarily as a great painter, Bartolomé Esteban Murillo (1617-1682) was also one of the best draftsmen of the 17th century. Although his devotional paintings seem to have been created effortlessly, they are the result of careful thought and study, a process that comes alive in the preparatory drawings. Murillo used a variety of techniques, favoring pen and ink and brown wash and red-and-black chalk. Like painters schooled in Italian Renaissance practice, the Spaniard developed his paintings in stages, starting with sketches of the full composition and then focusing on details that posed specific problems. Occasionally, Murillo used drawings as a medium for original compositions; these are highly finished pieces, usually enhanced by the use of wash and unmistakably stamped with the artist's personality.

This sumptuous book is a thoroughly revised edition of the 1976 publication Murillo & His Drawings. Twenty sheets have been added to the catalogue of authentic works, the bibliography has been brought up to date, and the entries have been revised.