Сборники работ по искусству

To the general public, Alphonse Maria Mucha (1860-1939) is perhaps best known for his posters of Sarah Bernhardt and magnificent decorative panels such as "The Seasons" — works that continue to grow in popularity and value as the resurgence of interest in Art Nouveau increases. Among graphic artists and commercial designers, Mucha is praised for the innovative style books that pioneered the use of Art Nouveau in commercial packaging, design, and ornament.

The most important of these style books was Documents Décoratifs, published in 1901 at the height of Mucha's fame as the high priest of the Art Nouveau movement. While the artist's fame rests largely on his posters, it is in the smaller works of the style books, or design portfolios, that the refinement of his technique can best be appreciated. The present volume, carefully reproduced from an extremely rare and valuable set of originals, contains all 72 plates of the Documents Décoratifs portfolio. Included are designs for jewellery, wallpaper, stained glass, furniture, and tableware; figure and botanical studies; and a selection of Mucha's famous panneaux décoratifs. Eighteen of the plates are in full colour, while the remaining 54 are reproduced in two or more colour tones.

In addition to numerous innovative designs for practical and decorative objects, the elegant craftsmanship and meticulous execution that characterized all of Mucha's work is evident in studies of langorous nudes, portrait sketches, delicately rendered plant and animal motifs, exquisite modelling of drapery and cloth, and the flowing, fantastic forms created as experiments in pure design. In the Foreword by Gabriel Mourey, specially translated for this edition, Mucha's own philosophy of art, and the relation of the Documents to the rest of his work, receive an appreciative and informative discussion.

Hitherto available only in scattered sources, or in the libraries of wealthy collectors, the complete Documents Décoratifs is now available in this inexpensive one-volume edition. Lovers of Mucha's work, admirers of Art Nouveau, and the application of that style to the decorative arts, will want to own this fine royalty-free collection by one of the greatest masters of the technique.

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Пролистать книгу The Art Nouveau Style Book of Alphonse Mucha на Google Books.

English illustrator and author Aubrey Beardsley (1872–98) was a leading figure of the Aesthetic Movement and the most controversial artist of the 1890s. His delicate yet bold drawings in black ink of grotesque, sensual and erotic subjects transformed the art of illustration but also scandalized Victorian society with their dark and often perverse imagery. Prolific until his young death at the age of twenty-five from tuberculosis, he produced an enormous body of work that symbolized the decadence of the period and had a substantial and lasting effect on the Art Nouveau and poster movements.

Published twenty years after he died, The Art of Aubrey Beardsley presented some sixty of his most significant works in an intimate pocket volume. With a personal memoir and critical appreciation by Beardsley’s collaborator the poet and magazine editor Arthur Symons written upon the artist’s death, the book soon became the definitive word on the provocative artist’s seductive and individual art. This centenary facsimile edition faithfully reproduces the pages of the original 1918 volume while presenting them in a beautifully designed, high-quality clothbound format that will appeal to a contemporary audience. A perfect gift for any Beardsley enthusiast, this book will also appeal to anyone interested in the fin-de-siècle era and the beginnings of modern graphic art.

One big slice of cheesecake. Pin-up travels the long road from barracks wall to high art

In the 15 years since TASCHEN released The Great American Pin-up, international interest in this distinctly American art form has increased exponentially. Paintings by leading artists such as Alberto Vargas, George Petty, and Gil Elvgren that sold for $ 2,000 in 1996 are going for $ 200,000 and more today. Pin-up: drawings, paintings and pastels of an idealized female face and figure intended for public display, was produced between 1920 and 1970, for use on calendars, and magazine covers and centerfolds. The majority of original paintings were discarded by publishers and calendar companies after printing, making the surviving art that much more precious. Today it’s popularity is huge, and ripe for an equally huge and truly comprehensive collector’s edition.

Formidably sized, The Art of Pin-up is an impressive book that will be coveted by casual fans as well as hardcore pin-up collectors. The top 10 artists are profiled in depth. Each chapter opens with a tipped-in reproduction of an original calendar or magazine cover by that artist. The reproduction quality of the paintings, pastels, and preparatory sketches that follow — largely sourced from the original art — invites the viewer to trace the brush strokes, while the exquisite period calendars, vintage prints, and original model photos document the artists’ creative process. Much of these ephemera were photographed on-site at the historic Brown & Bigelow Company, home to the world’s largest archive of vintage pin-up calendars.

In addition to the chapters on the 10 featured artists, the book includes thumbnail bios and representative art of 85 additional artists, the most complete compendium of pin-up artists ever compiled. All this adds up to a hard-to-beat book on this popular subject.

One Big Slice of Cheesecake. Pin-up travels the long road from barracks wall to high art

Since TASCHEN released The Great American Pin-up, international interest in this distinctly American art form has increased exponentially. Paintings by leading artists such as Alberto Vargas, George Petty, and Gil Elvgren that sold for $ 2,000 in 1996 are going for $ 200,000 and more today. Pin-up — drawings, paintings, and pastels of an idealized female face and figure intended for public display — was produced between 1920 and 1970 for calendars, magazine covers, and centerfolds. The majority of original paintings were discarded by publishers and calendar companies after printing, making the surviving art that much more precious.

Based on the formidably sized Art of Pin-up, this accessible edition gathers nearly 100 artists alongside in-depth showcases of the top 10 names in the game. Each chapter opens with a reproduction of an original calendar or magazine cover by that artist. The reproduction quality of the paintings, pastels, and preparatory sketches that follow — largely sourced from the original art — invites the viewer to trace the brushstrokes, while the exquisite period calendars, vintage prints, and original model photos document the artists’ creative process. Much of these ephemera were photographed on-site at the historic Brown & Bigelow Company, home to the world’s largest archive of vintage pin-up calendars.

In addition to the chapters on the 10 featured artists, the book includes bios and art of 85 painters, the most complete compendium of pin-up artists ever compiled. All this adds up to a hard-to-beat book on this popular subject.

The editor:

Dian Hanson produced a variety of men’s magazines from 1976 to 2001, including Juggs, Outlaw Biker, and Leg Show, before becoming TASCHEN’s Sexy Book Editor. Her titles include the “body part” series, The Art of Pin-up, Psychedelic Sex, and Ren Hang.

The contributing authors:

Sarahjane Blum is an author, cultural historian, and co-owner of Grapefruit Moon Gallery, which specializes in original American illustration art. She lives in Minneapolis, Minnesota.

Louis Meisel is owner of one of the oldest pin-up and illustration art galleries in New York. He is the co-author of TASCHEN’s The Great American Pin-up and Gil Elvgren: All his Glamorous American Pin-ups.

Robert E. McGinnis began his career in 1947 as a cartoonist, and produced his first cover illustrations for 1956 issues of the magazines True Detective and Master Detective. Then in 1958, he painted his first paperback book cover, and from that day forward his work was in demand.

The emergence of the “McGinnis Woman” — long-legged, intelligent, alluring, and enigmatic — established him as the go-to artist for detective novels. His work appeared on Mike Shayne titles and the Perry Mason series, and he produced 100 paintings for the Carter Brown adventures. Yet McGinnis became famous for his work in other genres as well: espionage, romance, historicals, gothics, and Westerns.

McGinnis’s first major magazine assignments were for The Saturday Evening Post, and his work has graced the pages of Cosmopolitan, National Geographic, Good Housekeeping, Guideposts, and others. McGinnis women frequently cropped up in the men’s magazines of the ’60s and ’70s.

His first movie poster was for Breakfast at Tiffany’s, with an iconic rendering of Audrey Hepburn. Almost instantly, his poster artwork could be seen everywhere — in theaters, on billboards, in newspapers, and even on soundtrack albums. His work for Hollywood became a who’s-who, with posters for James Bond, The Odd Couple, Woody Allen, The Private Life of Sherlock Holmes, and many more.

Some of his most ambitious works have been his gallery paintings, often depicting stunning American landscapes, vast Western vistas, and of course, beautiful women. The Art of Robert E. McGinnis collection reveals the full scope and beauty of the work of a true American master — one whose legacy continues today

This volume, aimed at art and design enthusiasts, is the first in-depth publication on the Bisazza Foundation's collection, giving readers a chance to appreciate its mosaic sculptures and artworks.

The book documents the exhibition spaces and collection of artworks on display at the Bisazza Foundation. This is one of the most important luxury brands in the design sector and a leading manufacturer of glass mosaics for interior and exterior decoration.

The volume presents a structured path through images in a lively photographic sequence devoted to the various artists who have worked with Bisazza to create the works on display, which have been rigorously handcrafted with refined mosaic tesserae. This varied collection of works, realized by Tord Boontje, Aldo Cibic, Sandro Chia, Jaime Hayon, Arik Levy, Alessandro Mendini, Fabio Novembre, Mimmo Paladino, John Pawson, Andrée Putman, Ettore Sottsass, Studio Job, Patricia Urquiola, Marcel Wanders, and Richard Meier, gives a new voice and expression to the skill shown by Bisazza in rising to the challenge of art. Previously reserved for company production, over 80,000 square feet of exhibition space has been recovered and used for display thanks to the conversion project by the architect Carlo Dal Bianco.

The volume closes with the spaces devoted to the photography of architecture, which host works by authoritative figures from the world of photography.

About the Author:

Ian Phillips is an English-born, Paris-based journalist. He was editor at large for AD Germany for twelve years and has written on interiors, fashion, and the arts for publications such as Architectural Digest, the Wall Street Journal, the Telegraph Magazine (UK), Vogue Living (Australia), and 1stdibs. He has interviewed the likes of Yehudi Menuhin, Henri Cartier-Bresson, Balthus, and Yves Saint Laurent, and is the author of four books. He is currently working on his first novel. Jonas Tebib is head of Photographs Department at Sotheby's, Paris

The Blaue Reiter (“Blue Rider”) group of artists was formed in Munich in 1911 on the initiative of two leading artists of Modernism: Wassily Kandinsky, the pioneer of purely abstract painting, and Franz Marc, the creator of mysterious, abstracted animal pictures. The Russian and the German, together with many other visionary painters in their train, hoped to pursue a new spirit in art. They wanted nothing less than an apotheosis of the spiritual in art. The outbreak of the Great War seemed to put a brutal end to what was at the time the most important avant-garde movement in Germany, but its influence continued unabated and inspired whole generations of international artists to create similar utopias.

Featured Artists: Wladimir Burljuk, Heinrich Campendonk, Robert Delaunay, Alexej Jawlensky, Wassily Kandinsky, Paul Klee, Alfred Kubin, August Macke, Franz Marc, Gabriele Münter and Marianne von Werefkin.

About the Series:
Each book in TASCHEN's Basic Genre Series features:

* a detailed introduction with approximately 35 photographs, plus a timeline of the most important events (political, cultural, scientific, etc.) that took place during the time period
* a selection of the most important works of the epoch; each is presented on a 2-page spread with a full-page image and, on the facing page, a description/interpretation of the work and brief biography of the artist as well as additional information such as a reference work, portrait of the artist, and/or citations

Brian M. Viveros paints dangerous women. Often depicted helmeted and smoking, they sport bandages as if they had just been in a fight and won.

This first-ever monograph on this talented self-taught artist allows us to enter his fantasy world where women are sexy and powerful and men are nowhere to be seen.

From his first group exhibition 20 years ago, where his work was exhibited alongside the likes of H.R. Giger and Eric Stanton, his reputation among the art community and collectors alike has continued to grow.

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

An authoritative survey of Twombly’s complex body of work

Cy Twombly created art that was remarkable for its versatility, sensitivity and originality. Throughout his career, he followed his own artistic pathway, independent from contemporary trends, and for a long time his work went unnoticed by a wider audience. By the time of his death in Rome, at the age of 83, he was internationally recognized as one of the greatest and most idiosyncratic artists of the 20th and early 21st century.

This book provides an authoritative overview of Twombly’s complex body of work, bringing together the most important of his paintings and painting cycles, as well as a selection of his drawings, sculptures and photographs. Each group of works is introduced and discussed by respected art historians, including Simon Schama, Laszlo Glozer, Kirk Varnedoe and Thierry Greub.

Born in Lexington, Virginia, Cy Twombly (1928–2011) studied in Boston, New York, and at Black Mountain College, South Carolina, before travelling the world and eventually settling in Europe; from 1957 onwards, he was based in Italy. At an early stage, he began to develop his own symbolic language of letters and words, which suggested a pictorial form of poetry. References from art, history and mythology soon expanded this poetic vocabulary, often combined with a sensual engagement with the painted surface.

Contents List:

Introduction by Nicola Del Roscio • DRAWINGS • Cy Twombly by Simon Schama • PAINTINGS • Inscriptions in Arcadia by Kirk Varnedoe • SCULPTURES • PHOTOGRAPHS • Twombly by Laszlo Glozer • Cy Twombly’s ‘Inverted Archaeology’ by Thierry Greub

About the Authors:

Nicola Del Roscio, Cy Twombly’s long-time companion, is the author or editor of many books on Twombly, including the catalogues raisonnés of his drawings and sculpture.
Simon Schama is Professor of History and Art History at Columbia University, New York.

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.

Лоджія, або веранда з колонадою, на другому поверсі Апостольського палацу є одним із найвидатніших скарбів мистецтва Ватикану; його оздоблення, розроблене Рафаелем (1483-1520) і виконане його майстернею в 1517-19 роках, уособлює дух італійського Відродження в його синтезі християнських і класичних тем. Кожне з тринадцяти квадратних склепінь лоджії Рафаеля містить чотири фрески зі сценами з Біблії, від створення світу до Тайної вечері. Водночас штукатурку інших архітектурних елементів прикрашають «гротески» — химерні арабески, оживлені різноманітними фігурами людей і тварин — за зразком давньоримських настінних розписів.

Це новаторське дослідження про лоджію Рафаеля, перше опубліковане англійською мовою, складається з чотирьох частин. Перший і другий стосуються відповідно гротесків і сцен з Біблії, а третій розглядає життя і художні стилі членів майстерні Рафаеля, які працювали з ним на лоджії. У четвертій частині простежується тривалий вплив лоджії: гротескний орнаментальний стиль, розроблений Рафаелем, був наслідований навіть у коридорах Капітолію Сполучених Штатів, а сцени з Біблії послужили впливовими моделями для популярних гравюр. Ця книга, проілюстрована нещодавно замовленими кольоровими фотографіями, підтверджує центральне значення лоджії Рафаеля для історії мистецтва.

"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.