Сборники работ по искусству

This book is devoted to Albrecht Dürer’s early art and the circumstances of the young painter’s life that enabled his unique work.

Literature about Dürer fills library shelves. Does this mean everything has already been said about the artist? Far from it, according to the scholars at the Germanisches Nationalmuseum and their international partners in the Early Dürer Project. Their essays deal with the core phenomena of Dürer’s early work, ranging from the artist’s biography and surroundings to the question of Dürer’s role as the archetype of the modern artist.

New sociological approaches allow us to interpret Dürer’s ‘ideal neighbourhood’ as a source of inspiration for the artist’s work, resituating Dürer in the artistic context of his time, at an exciting crossroad between the imitation of traditional painting and the self-conscious renewal of his profession.

Photographs of Dürer’s early work, many of which are new and published here for the first time, complete the publication, which will establish a new basis for a modern understanding of Germany’s most famous artist.

In its most prestigious exhibition to date, the Fondation Beyeler has devoted itself to the early paintings and sculptures of Pablo Picasso (1881-1973) that date from his so-called Blue and Pink periods to early Cubism. The paintings from this stage of his career, all produced between 1901 and 1907, are milestones on the road Picasso took to becoming the most famous artist of the twentieth century. They can be counted among modernism’s most beautiful and most emotional works, and are also some of the most precious works of art ever to exist.

This comprehensive exhibition and its companion catalogue feature around eighty masterpieces, most of which are only rarely loaned out by famous museums and private collections around the world.EXHIBITIONFebruary 3 – May 26, 2019 Fondation Beyeler, Riehen/Basel

Definitive in its scholarship and thrilling in its scope, this lavishly illustrated volume offers the first book-length study of Luca Signorelli (1450-1523), sometimes described as the "least-known major artist" of the Renaissance. Twenty years of painstaking archival research have produced this portrait of Signorelli in public and private life - an adventurous painter who believed art was divinely inspired, and an affectionate family man who participated energetically in public life.

In his paintings - of which the Last Judgement in Orvieto cathedral is his undisputed masterpiece - Signorelli integrated his observations of daily life with a fresh and sensitive approach to representing religious subjects. A student of Piero della Franscesca, Signorelli's work and influence carried over into the early 16th century, though he was ultimately eclipsed by his friends Raphael and Michelangelo.

Signorelli's work is represented in museums around the world, and this book now offers new audiences and scholars a complete picture of one of the Renaissance's most significant and intriguing artists.

J.M.W. Turner was arguably the greatest landscape and marine painter ever. His output was prodigious: some five hundred and fifty oil paintings, over two thousand highly detailed and finely finished watercolours, and almost twenty thousand sketches, studies and rough watercolours. He excelled in every branch of landscape and marine painting, from elaborate history pictures and idealised scenes in the classical tradition, to tiny, jewel-like watercolours of contemporary life on land and sea made for subsequent engraved reproduction. This book takes us on a grand tour of the artist’s works.

The loggia, or colonnaded porch, on the second story of the Apostolic Palace is one of the Vatican’s most remarkable art treasures; its decoration, designed by Raphael (1483-1520) and executed by his workshop in 1517-19, epitomizes the spirit of the Italian Renaissance in its synthesis of Christian and classical themes. The thirteen square vaults of Raphael’s loggia each contain four frescoes of scenes from the Bible, from the Creation to the Last Supper. Meanwhile, the plasterwork of the other architectural elements is decorated with “grotesques” - fanciful arabesques enlivened with a wide variety of human and animal figures - modeled after ancient Roman wall paintings.

This groundbreaking study of Raphael’s loggia, the first to be published in English, has four parts. The first and second concern the grotesques and the scenes from the Bible, respectively, while the third examines the lives and artistic styles of the members of Raphael’s workshop who worked with him on the loggia. The fourth part traces the loggia’s enduring influence: the grotesque ornamental style elaborated by Raphael has been imitated as far afield as the corridors of the United States Capitol, and the Bible scenes served as influential models for popular prints. Illustrated throughout with newly commissioned color photographs, this book reaffirms the central importance of Raphael’s loggia to the history of art.

"A woman once rang me up and said, 'Mr. Escher, I am absolutely crazy about your work. In your print Reptiles, you have given such a striking illustration of reincarnation.' I replied, ‘Madame, if that`s the way you see it, so be it.`" An engagingly sly comment by the renowned Dutch graphic artist Maurits Cornelis Escher (1898–1972) - the complex ambiguities of whose work leave hasty or single-minded interpretations far behind. Long before the first computer-generated 3-D images were thrilling the public, Escher was a master of the third dimension. His lithograph "Magic Mirror" dates as far back as 1946. In taking that title for this book, mathematician Bruno Ernst is stressing the magic spell Escher`s work invariably casts on those who see it. Ernst visited Escher every week for a year, systematically talking through his entire œuvre with him. Their discussions resulted in a friendship that gave Ernst intimate access to the life and conceptual world of Escher. Ernst`s account was meticulously scrutinized and made accurate by the artist himself.

Escher`s work refuses to be pigeonholed. Scientific, psychological, or aesthetic criteria alone cannot do it justice. The questions remain. Why did he create the pictures? How did he construct them? What preliminary studies were necessary before he could arrive at the final version? And how are the various images Escher created interrelated? This book, complete with biographical data, 250 illustrations, and explications of mathematical problems, offers answers to these and many other questions and is an authentic source text of the first order.

Impossible Illusions. The enigmatic works of M.C. Escher

Long before the first computer-generated 3-D images, M.C. Escher was a master of the third dimension. His impossible geometry and illusions, bordering between the scientific and psychological, are a homage to the possibilities of the human mind. This collection presents the artist’s key graphic works and illustrations in stunning full-page reproductions, complete with detailed explanations of each mathematical problem.

“A woman once rang me up and said, ‘Mr. Escher, I am absolutely crazy about your work. In your print Reptiles, you have given such a striking illustration of reincarnation.’ I replied, ‘Madame, if that’s the way you see it, so be it.’” A fittingly sly comment from renowned Dutch graphic artist Maurits Cornelis Escher (1898–1972), whose complex and ambiguous drawings continue to leave hasty interpretations far behind.

Long before the first computer-generated 3-D images, Escher was a master of the third dimension. His lithograph Magic Mirror dates as far back as 1946. By taking such a title for the book, mathematician Bruno Ernst stressed the enrapturing spell Escher’s work invariably casts on those who see it. Ernst visited Escher every week for a year, systematically talking through his entire oeuvre with him. Their discussions resulted in a friendship that gave Ernst intimate access to the life and conceptual world of Escher. Ernst’s account was meticulously scrutinized and made accurate by the artist himself.

Escher’s work refuses to be pigeonholed. Scientific, psychological, or aesthetic criteria alone cannot do it justice. The questions remain: Why did he create the pictures? How did he construct them? What preliminary studies were necessary before achieving the final version? And how are his various creations interrelated? This book, complete with biographical data, 250 illustrations, and a thorough breaking-down of each mathematical problem offers answers to these and many other lingering mysteries and is an authentic source text of the first order.

No artist ever worked harder to render the visions of his mind’s eye than M.C. Escher. A superb draughtsman, he set himself the challenge of portraying other-worldly transformations of space within the familiar boundaries set by a sheet of paper. The resulting images have become the favourite artworks of hundreds of thousands of people around the world.

This powerfully original artist has long deserved a book that does justice to his visual invention: this is it. Escher’s works are arranged to form a cinematic journey of discovery, brilliantly interweaving his better-known prints with numerous unpublished working drawings and sketches (including 12 full-colour fold-outs), the artist’s eloquent words, and observations by Escher expert J.L. Locher.

As beautiful and rigorous as an Escher work itself, The Magic of M.C. Escher is destined to become the classic study of a great maverick who so memorably linked the world of image-making with geometry and paradox.

Pierre Bonnard was the leader of a group of Post-Impressionist painters who called themselves the Nabis, from the Hebrew word meaning ‘prophet’. Influenced by Odilon Redon and Puvis de Chavannes, as well as by popular imagery and Japanese etchings, this post-impressionist group was, above all, a close circle of friends who shared the same cultural background and interests. Bonnard, Vuillard, Roussel and Denis were the most distinguished of the Nabis, but an increasing individualism in their art often threatened the group’s unity, and although tied together by a common philosophy, their work clearly diverged. This publication lets us compare and put into perspective the artists within this fascinating group.

About the author

Albert Kostenevitch is a graduated with a degree in humanities from the University of Irkutsk. He is an art historian attached to the Hermitage Museum, Saint Petersburg, and a specialist in the Fauves and Nabis period of French painting.

The Northern Renaissance in Europe was a period of rapid social and religious change. This is reflected in much of the art of the period, which is further characterised by a fascinating range of subject-matter, superb technical skill and an interest in capturing likeness with almost psychological precision. The same period also saw a great rise in the importance of works on paper, especially prints. This book discusses works by Albrecht Dürer and Hans Holbein two of the greatest masters of the Northern Renaissance together with a selection of paintings by Lucas Cranach. Encompassing portraiture, religion, mythology and allegory, these works are examined alongside others by such masters as Francois Clouet, Jan Gossaert and Joos van Cleve. Holbeins superlative drawings of members of the court of King Henry VIII can be seen side-by-side with finished paintings and miniatures of the same sitters; and this rich survey also includes illuminated manuscripts and early printed books.

Auguste Rodin has been called the father of modern sculpture and on the centenary of his death this stunning book presents a fresh examination of his legacy.

Exploring the full range of the work of French artist Auguste Rodin (1840–1917), this book also reveals the deep significance of Rodin’s oeuvre to the history of the Legion of Honor in San Francisco, which holds one of the finest collections of Rodin sculpture in the United States. The publication contains examples from his early days as a struggling artist to his mature and most successful works, including “The Age of Bronze” (ca. 1875–1877), “Saint John the Baptist Preaching” (1878), “The Burghers of Calais” (1885–1886), and “The Kiss” (ca. 1884). The majority of the bronzes are lifetime casts by the sculptor, making this collection a rare and significant body of Rodin’s output. A related group of plaster models and fragments augment these major pieces, adding to the scope and breadth of this volume. Showcasing beautiful new photography of more than fifty of Rodin’s most iconic artworks alongside an illuminating essay, this book will delight and surprise readers with its novel insights into one of the greatest sculptors in art history.

About the Author:

Martin Chapman is Curator in Charge of European Decorative Arts and Sculpture at the Fine Arts Museums of San Francisco. His publications include Breguet: Art and Innovation in Watchmaking and Cartier and America (both DelMonico Books•Prestel).

“Ward's women reek of glamour and glitz. The opera-length gloves, the diamond earrings that dangle to the shoulders, the stiletto heels, the tight satin dresses, the pronounced cleavage... it's all there. It's the best eye candy money can buy.”  - Eric Krol

Bill Ward`s long, prolific pin-up career began during World War II when he created a curvy distraction named Torchy for his fellow soldiers. His taste for impossibly buxom blondes - teetering on stiletto heels, legs encased in black nylon, torsos packed into satin gowns - precisely suited America`s collective postwar sex fantasy, and the late 50s men`s magazine boom made him the most popular girlie artist in the country. Through the 1960s, 70s, 80s, and 90s, Ward broadened his range to embrace a variety of fetish subjects, but he never varied from his template of the Ultimate Woman - except to make her breasts a little bigger, her heels a little higher, or the satin and leather encasing her a little glossier.

The art of Bill Ward (1918-1998) has become so rare and collectible that photographer and veteran TASCHEN editor Eric Kroll has had to trawl through archives across America to assemble this broad selection of Ward`s very best work. Drawn from over 600 illustrations and interviews with family, friends, employers, and even some of the women who inspired him, this 344-page, meticulously researched book is the definitive tribute to the great Bill Ward and the perfect companion piece, in size and scope, to TASCHEN`s The Art Of Eric Stanton.

Traces the extraordinary career of one of Scotland`s (and Britain`s) most fascinating and original artist-designers of the twentieth century. This stunning new book is illustrated with nearly 176 illustrations, designs and paintings which demonstrate Mackintosh`s technique, influences and associations.

The Pre-Raphaelite Brotherhood was a group of English painters, poets and critics, founded in 1848 by John Everett Millais, Dante Gabriel Rossetti and William Holman Hunt. Their art’s romanticism, attention to detail and jewel-like colours have ensured their eternal popularity. This beautifully illustrated reference book is packed with exampes of work by the key proponent Millais, and that of his contemporaries, alongside illuminating information. Beginning with an overview of the movement it goes on to discuss the art in the context of society, place, influences, and styles and techniques. An ideal gift for art lovers or those new to the subject.

Turner, Whistler and Monet were all fascinated by the transience of light and how that alone could affect the atmostphere of a painting. They were also highly experimental for their time, rejecting the use of realism in favour of creating the impression of place instead. This is a perfect gift book for any lover of art and co-incides with the Tate exhibition of the same name.