Збірники робіт з мистецтва

Ось, нарешті, книга, яка віддає належне візуальному винаходу цього надзвичайно оригінального художника. Красива й сувора, як сама робота Ешера, The Magic of M. C. Escher є класичним дослідженням великого митця.

Для Ешера шкіру видимого світу можна розрізати, складати, формувати та змінювати дивовижними способами. Чудовий рисувальник, Ешер поставив перед собою завдання зобразити потойбічні перетворення простору в межах аркуша паперу. Отримані зображення, що поєднують фантазію з дослідженнями геометрії, стали улюбленими творами мистецтва десятків тисяч людей у ​​всьому світі.

Твори Ешера – від гравюр великого майстра до численних малюнків, які супроводжуються його красномовними словами – блискуче скомпоновані, щоб сформувати кінематографічну подорож відкриттів. Місцем призначення є чарівний світ розуму митця, незвідане царство, повне екзотичних концепцій і винаходів.

The bestselling and critically acclaimed monograph on one of the most influential painters of the twentieth century

Willem de Kooning was a leading exponent of Abstract Expressionism. MoMA's 2011 de Kooning retrospective drew record crowds, and his prodigious achievements continue to provoke and inspire subsequent generations of artists such as Cecily Brown, Rebecca Warren, and Jonathan Lasker.

This is the most wide-ranging and comprehensive monograph available on this artist. Sumptuously illustrated and produced, the book encompasses his major works and periods, including his controversial 'Woman' paintings, as well as a wealth of accompanying sketches and preparatory drawings.

An illustrated chronology maps de Kooning's life, career, and work, with photographs from the artist's archive interspersed throughout the book, enriching the reader's understanding of the wider art-historical context of his paintings. Judith Zilczer's critically acclaimed monograph is an essential addition to the libraries of a new audience of readers and de Kooning enthusiasts, offering an unprecedented and compelling examination of his body of work.

About the Authors:

About the Author:

Judith Zilczer, Curator Emerita of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, organized more than two dozen exhibitions in her twenty-nine years at the museum, where she served as Historian, Curator of Paintings, and Acting Chief Curator. Her exhibition publications include Willem de Kooning from the Hirshhorn Museum Collection (1993), Richard Lindner: Paintings and Watercolors, 1948–1977 (1996), and Visual Music: Synaesthesia in Art and Music Since 1900 (2005). A 1975 graduate of the doctoral program of the University of Delaware, she has received numerous awards, including the 2006 George Wittenborn Memorial Book Award of the Art Libraries Society of North America. Dr Zilczer has written and lectured widely on modern and contemporary art and is recognized as the leading authority on the art of Willem de Kooning.

This long-overdue new look at the life and work of Albert Pinkham Ryder explores the artist's deeply visionary paintings and the powerful and enduring paths he forged for generations of American modernists.

Few American artists have captured painters' imaginations with the gripping force of Albert Pinkham Ryder (1847-1917). The brooding spirituality of his works, coupled with formal innovation decades ahead of its time, have long made Ryder a favorite of trailblazers like Jackson Pollock, Marsden Hartley, and Robert Rauschenberg. And yet, the artist's biography and practices remain elusive. A Wild Note of Longing--whose title comes from a Ryder poem--takes up the challenge, bringing a new generation of scholarship to the most comprehensive collection of Ryder masterworks assembled to date.

Ryder is considered a seminal artist for both the late nineteenth-century Gilded Age and for the emerging modernism of the early twentieth century. This monumental new book presents multiple voices from leaders in the field on the continuing and ever evolving relevance of Albert Pinkham Ryder in modern art. In addition to a general overview of the artist's career, essays also cover Ryder within the context of his hometown of New Bedford, Massachusetts, and Ryder's influence and context within modernism.

About the Author:

Christina Connett Brophy is The Douglas and Cynthia Crocker Endowed Chair for the Chief Curator, New Bedford Whaling Museum, Massachusetts. Elizabeth Broun was director of the Smithsonian American Art Museum and the Renwick Gallery from 1989 to 2016; she is the Visual Arts Advisor to the Kennedy Center, and a member of the boards of the Henry Luce Foundation and the Olana Partnership. William C. Agee is Evelyn Kranes Kossak Professor Emeritus of Art History, Hunter College, New York, and is former director of The Museum of Fine Arts, Houston, and Pasadena Art Museum.

Тепер доступний у новому виданні, цей щедро ілюстрований том спирається на найновіші дослідження, щоб представити захопливу нову інтерпретацію Альбрехта Дюрера, як людини, так і як художника.

Графки та малюнки Альбрехта Дюрера надихнули сотні художників як за його життя, так і після смерті. Однак його талант художника та колориста, а також його захоплення науковим світом не були широко оцінені.

Вплив Дюрера був як міжнародним, так і міжпоколінним — навіть Пікассо стверджував, що його надихав художник 16-го століття. Відтворена з приголомшливими деталями та включаючи ілюстрації найвідоміших гравюр та малюнків Дюрера, каталог-резонсе його картин та біографічне дослідження, ця книга представляє Дюрера для 21-го століття. Створивши більше автопортретів, ніж будь-який інший художник свого часу; масово просуваючи свої бестселери; навіть винайшовши власний логотип з монограмою, Альбрехт Дюрер був комерційно проникливим задовго до сучасного покоління саморекламних та фінансово підкованих художників.

Існує 55 збережених картин Дюрера, з яких 17 є предметом суперечок. Використовуючи наукові дослідження, ця книга розвіює всі суперечки, що призводить до остаточного каталогу картин. Спираючись на глибоке дослідження, ця книга розкриває правду про Дюрера та його мистецтво.

Про автора:

Норберт Вольф — історик мистецтва та письменник, який мешкає в Мюнхені. Він опублікував кілька книг у видавництві Prestel, зокрема Art Nouveau, Art Deco, Impressionism та The Golden Age of Dutch and Flemish Painting, а також монографії про Альбрехта Дюрера та Тиціана.

_____________

Погортати книгу Albrecht Durer: Catalogue of the Paintings

Before the rise of Pop Art proper, Alex Katz developed an iconic style of figurative painting in the early 1960s ―  influenced by film, television, and billboard advertising. Seemingly detached and incredibly stylish, he created portraits of the New York scene as well as idyllic landscapes. Printmaking plays an equally central role in Katz’s work. He uses lithographs, etchings, silkscreens, woodcuts and linocuts to reproduce, reflect and further reduce his bold aesthetic, while retaining the radiant color characteristic for his paintings. Since the first edition in 2011, Katz has almost doubled his output of prints ― this timely new edition includes his complete prints, cutout editions, artists’ books, and also lists his works of applied art like book illustrations and public art projects. New essays and interviews with the artist give profound insights into the work of one of the foremost American artists of the present.

Ali Banisadr's first major monograph delves into the Iranian painter's influences and practice.

Preeminent Iranian-American artist Ali Banisadr's canvases depict a complex swirl of action and abstracted figuration across a stagelike picture plane. Varied histories inform these paintings, ranging from the artist's synesthesia, to Persian miniatures, to the multi-figure works of Brueghel and Bosch, and the gestural imaginations of Willem de Kooning and Max Ernst.

Born in Tehran in 1976, Ali Banisadr grew up during the Islamic revolution and the eight-year Iran-Iraq War. In 1988, he and his family emigrated to Turkey and then to California. In 2000, he moved to New York City where he currently lives and works.

About the Authors:

Negar Azimi is a writer and the senior editor of Bidoun. Her writing has appeared in Artforum, Frieze, Harper's, The New Yorker, and The New York Times Magazine. Robert Hobbs, an art historian and curator specializing in twentieth- and twentieth-first century art, is the author of over fifty books and major catalogues on topics ranging from Abstract Expressionism to Earth Art and from Modernism to Post-Modernism. Joe Lin-Hill is Deputy Director of the Albright-Knox Museum. John Yau is a poet and critic who lives in New York. He has published over fifty books of poetry, artists' books, fiction, and art criticism.

Recognized as a major Pop artist in his day, Allan D’Arcangelo (1930–1998) has yet to receive the critical reevaluation of painters like Roy Lichtenstein and James Rosenquist. His first monograph in nearly a decade introduces new audiences to his iconic paintings, particularly his celebrated visions of life on the road.

Like Pop peers Andy Warhol and Ed Ruscha, Allan D’Arcangelo incorporated mass-manufactured images in works that elevate scenes of everyday American life. While his work often features imagery from more familiar 1960s art — Jacqueline Kennedy and Marilyn Monroe, smoking pin-up girls, Superman, Lucky Strike — it differs in the surreal elements he introduced to Pop tropes and romantic views of the American industrial landscape.

D’Arcangelo once observed his “most profound experiences of landscape were looking through the windshield.” The artist brought a Pop sensibility to the tradition of landscape painting in a graphic style that touched on Minimalism, Precisionism, and Hard-edge painting. Often framed from the perspective of the driver’s seat, D’Arcangelo’s work captures the deeply American experience of flying down an endless road. D’Arcangelo’s signature scrolling landscape cut through with flashing signs is as familiar to road trippers as it is to video game racers.

This comprehensive publication includes over 200 reproductions and three essays detailing what critic Dore Ashton describes as the “poetic awareness of the vastnesses both visible and invisible in American life [that] marked and distinguished [D’Arcangelo’s] work.”

About the Authors:

Alex J. Taylor is an Associate Professor in the History of Art and Architecture at the University of Pittsburgh, and the author of Forms of Persuasion: Art and Corporate Image in the 1960s. Evan Moffitt is a writer, editor, and freelance critic based in New York. Cécile Whiting is Professor of Art History at the University of California, Irvine, and author of A Taste for Pop: Pop Art, Gender, and Consumer Culture.

Alice Neel's unstinting, visionary engagement with the lives of those around her resulted in an inclusive oeuvre. This aspect of queer representation in her work is explored for the first time in this new catalogue.

Curated by Hilton Als and organized in collaboration with the Estate of Alice Neel, At Home: Alice Neel in the Queer World highlights the artist’s vibrant involvement with the human condition. Within a lifetime of work, Neel painted many people from many walks of life –– this catalogue is the first to focus on queer communities, those who were part of their circle, as well as allies and others with whom the artist was in broader conversation — together forming a collective portrait that both embodies and complicates an understanding of the queer world of Neel’s moment and the artist’s place within it.

This collection of paintings includes rarely seen works depicting individuals including Frank O’Hara, Allen Ginsberg, and Adrienne Rich, as well as writers, artists, friends, and advocates. As Als notes, this book includes “not just portraits of gay people but those of theorists, activists, politicians, and so on who would qualify as queer by virtue of their different take in their given field and thus the world. So doing, they reflect Alice’s own interest in and commitment to difference.”

The catalogue accompanies Neel’s first significant exhibition in Los Angeles, at David Zwirner in 2024. Edited and with a text by Als, the volume includes newly commissioned contributions by Alex Fialho, Evan Garza, and Wayne Koestenbaum.

About the Authors:

Alice Neel (1900–1984) is widely regarded as one of the foremost American artists of the twentieth century. Working from life and memory, Neel depicted those around her with unfazed accuracy, honesty, and compassion.

Hilton Als is a writer with focus in theater criticism. He became a staff writer at The New Yorker in 1994, a theater critic in 2002, and chief theater critic in 2013. His most recent book, White Girls (2013), discusses various narratives around race, identity, gender, and sexuality, and was nominated for a National Book Critics Circle Award in Criticism.

Alex Fialho (he/they) is an art historian, curator, and PhD candidate in Yale University’s Combined PhD program in the History of Art and African American Studies. Fialho’s writing has been published in exhibition catalogues for the Whitney Museum of American Art, the Studio Museum in Harlem, Socrates Sculpture Park, and the Andy Warhol Museum, among other institutions.

Evan Garza is a curator, scholar, and a Curatorial Exchange Initiative Fellow at MASS MoCA in North Adams, Massachusetts. Their writing on the work of global contemporary artists has been published in several books and monographs and by IMMA, The Drawing Center, Flash Art, ART PAPERS, Hyperallergic, and Artforum.

Wayne Koestenbaum — poet, critic, fiction writer, artist, and filmmaker—has published more than twenty books, including The Queen’s Throat, Camp Marmalade, Humiliation, Hotel Theory. He is a Distinguished Professor of English, French, and Comparative Literature at the CUNY Graduate Center.

Sarah Schulman is a novelist, playwright, screenwriter, and nonfiction writer. Her twentieth book is Let the Record Show: A Political History of ACT UP, NY 1987–1993.
 

Чудова подарункова книга, присвячена творчості Обрі Бердслі, одного з визначальних – і найсуперечливіших – художників стилю модерн.

Обрі Бердслі (1872–1898) помер від туберкульозу лише у 25 років, але за своє коротке життя він здобув репутацію одного з найдосвідченіших – і найсуперечливіших – ілюстраторів свого часу, чий внесок у візуальну мову модерну був значним. Дивовижно, але всі його роботи були створені протягом лише шести років і сьогодні їх миттєво впізнають завдяки використанню чорного чорнила та плавних ліній на білому папері, а також еротично зарядженим темам. Не всі його роботи були сентиментальними – деякі з них були політичними, висміюючи декадентські звичаї того часу, – але більшість з них були такими, черпаючи своє стилістичне натхнення з японського сюнґа та грецького вазового живопису, а тематичне – з міфології, історії, поезії та драматургії.

Ця чудово оформлена подарункова книга за доступною ціною пропонує безліч ілюстрацій Бердслі та знайомить нову аудиторію з його вишуканими малюнками та гравюрами. З текстом Джен Марш та близько 110 ілюстраціями з великих колекцій Музею Вікторії та Альберта, ця книга об'єднує ретельно підібрану добірку робіт з трагічно короткого, але надзвичайно продуктивного життя Бердслі.

Зміст:

Передмова • Вступ • Тарілки

Про автора:

Джен Марш спеціалізується на вікторіанській епохі, зокрема на прерафаелітах та Вільямі Моррісі. Вона є президентом Товариства Вільяма Морріса, членом опікунської ради Галереї Вільяма Морріса та членом Королівського історичного товариства. Марш була автором книги May Morris: Art & Life, яку також видає Thames & Hudson.

Ця 240-сторінкова книга Aubrey Beardsley: The Decadent Magician of the Light and the Darkness розкриває суть митця Обрі Бердслі через понад 180 його робіт, зібраних під керівництвом Хіроші Унно, критика та письменника, який зробив внесок у багато книг про кінець століття.

Обрі Бердслі був ілюстратором, найбільш відомим своїми малюнками чорним чорнилом, сповненими еротичних та декадентських рис. Він народився в Брайтоні, Англія, 21 серпня 1872 року. Вікторіанська епоха, в яку жив Обрі, була охоплена суворою, жорсткою, консервативною мораллю. Суспільство було чоловічим і змушувало жінок бути скромними. Однак у Брайтоні, який перетворився на приморський курорт для вищих класів, сповнений розваг, люди були звільнені від такої суворості. Брайтон також був розсадником почуття свободи в усьому, і сексуальність не була винятком. Іншими словами, можна сказати, що Вікторіанська епоха була хаотичною епохою, протягом якої співіснували неупереджені думки щодо сексуальності та сувора, чоловіча мораль. Мати Обрі, Еллен, була людиною, яка втілювала цю атмосферу Брайтона. Хоча вона хвилювалася за виховання сина в такому середовищі, вона також викладала Обрі літературу та музику. Йому пощастило провести свою юність з Еллен, і Брайтон безумовно став основою його таланту до розуміння дивацтв суспільства тієї епохи. Обрі переїхав до Лондона, коли йому було 15 років. Коли родина Бердслі покинула Брайтон, Обрі втратив відчуття свободи, з яким його виховували, але водночас зміг розвинути свій талант, спілкуючись з Едвардом Берн-Джонсом, Оскаром Уайльдом та Вільямом Моррісом, художниками, які забарвили цей період. Обрі, чий талант розквітнув у Лондоні, почав пропонувати свої ілюстрації багатьом літературним та театральним виданням.

Найвідомішими прикладами є його ілюстрації до «Саломеї» Оскара Уайльда, «Смерті Артура» сера Томаса Мелорі, «Казок Едгара Аллана По» Едгара Аллана По, «Алібаба та сорок розбійників» з «Тисячі й однієї ночі», французького журналу «Жовта книга» та п'єси «Лісістрата». Ілюстрації до цих літературних та театральних творів мистецтва також були намальовані багатьма іншими ілюстраторами, але роботи Обрі були абсолютно відмінними від будь-яких інших. Спокусливі мотиви, які він малював, використовуючи лише чорне чорнило, такі як жінка з безстрашною посмішкою, джентльмен із зневажливою презирством та фігури з надзвичайно перебільшеними геніталіями, – все це виражає незрівнянний талант Обрі до сприйняття хаосу та неспокійної атмосфери того часу. Бунтівний характер та образність його ілюстрацій часто викликали суперечки. Його навіть називали «молодшим братом диявола». Але немає сумнівів, що він був зіркою своєї епохи, що видно з багатьох впливових ілюстраторів, які прийшли після нього та перебували під впливом творчості Обрі, таких як Гаррі Кларк, Алістер, Джон Остін, Кей Нільсен та Джордж Барб'є.

На жаль, геній Обрі освітив кінець дев'ятнадцятого століття, епоху декадансу кінця століття, лише ненадовго, перш ніж зникнути, коли його трагічно коротке життя обірвалося лише через двадцять п'ять років. Як виникли бунтівні, але вишукані монохромні твори мистецтва, намальовані «молодшим братом Диявола»? Чи було його життя просто самим мистецтвом? Ця книга – перлина, яка представляє твір мистецтва, найбільше ототожнюваний із самим «Бердслі», розкриваючи як художника, так і ідею, через його життя та його шедеври.

American artist Barkley L. Hendricks (1945–2017) revolutionized contemporary portraiture with his vivid depictions of Black subjects beginning in the late 1960s. This book contextualizes Hendricks’s portraits at different stages of the country’s history and places him in the pantheon of innovative twentieth-century artists.

Hendricks developed his signature style at a time of significant social and cultural change in the United States, especially with regard to Black artists, and amid a perceived bifurcation between abstraction and representation. He produced portraits from the late 1960s through the early 1980s. Following a hiatus during which he made landscapes, basketball paintings, works on paper, and photographs, he resumed his portraiture practice from 2002 until his death in 2017. Hendricks’s portrait paintings, often derived from photographs of friends and family, hired models, or figures he encountered on the street, were inspired by the artist’s research, international travels, and visits to museums like The Frick Collection, where he studied centuries-old European paintings by artists such as Rembrandt, Van Dyck, Bronzino, and others.

This publication presents some of the most inventive and striking examples from Hendricks’s first period of portrait painting, including “limited-palette” canvases—featuring Black figures dressed in white against white backgrounds—a self-portrait, and boldly colorful works that spotlight their subjects’ spectacular styles and poses. An assessment of this great artist acknowledges his significant contributions to the canon of American art and portraiture in general. In the book, Hendricks’s art and its impact are explored by artists and creative figures including Derrick Adams, Hilton Als, Nick Cave, Awol Erizku, Rashid Johnson, Fahamu Pecou, Mickalene Thomas, and Kehinde Wiley.

About the Author:

Aimee Ng is Curator at The Frick Collection. Antwaun Sargent is a curator and a writer. Thelma Golden is director and chief curator of The Studio Museum in Harlem.

___________________

Пролистать книгу Barkley L. Hendricks: Portraits at The Frick на сайте издательства.

The Show that never Was

Numerous publications and exhibitions have examined Jean-Michel Basquiat's extensive oeuvre that consists of more than 3000 works, this catalogue though focuses on eight paintings only: In the summer of 1982, Basquiat traveled to Modena, Italy, for one of his first solo exhibitions in Europe at the gallery of Emilio Mazzoli. Within just a few days, he painted a group of large-format paintings that surpassed his previous work not only in terms of their scale. Each at least two by four meters in size, they mark the transition from graffiti spraying in the streets of Manhattan to painting on canvas. At the same time, they reflect an artist coming into his own. The paintings - including masterpieces that today are considered pivotal and among the most outstanding of his oeuvre - have never been shown together. This catalogue revisits this crucial moment of Basquiat's career some 40 years ago and reunites them for the first time.

JEAN-MICHEL BASQUIAT (1960–1988, New York) is one of the most important artists of the 20th century. Emerging from the underground post-punk scene in Lower Manhattan, he attracted the attention of the art world in 1981 with the legendary group exhibition New York/New Wave. In nine prolific years, he created an oeuvre that formulated a new visual language of raw gestural painting fused with dense writing, and repeatedly reflected the oppression, exclusion and exploitation of People of Color.

Accompanying a major travelling exhibition, this first-ever survey of the rarely seen notebooks of Basquiat features the artist’s handwritten notes, poems, and drawings, along with related works on paper and large-scale paintings. 

With no formal training, Jean-Michel Basquiat (1960–1988) succeeded in developing a new and expressive style to become one of the most influential artists in the postmodern revival of figurative during the 1980s. In a series of notebooks from the early to mid-1980s, never before exhibited, Basquiat combined text and images reflecting his engagement with the countercultures of graffiti and hip-hop in New York City, as well as pop culture and world events. Filled with handwritten texts, poems, pictograms, and drawings, many of them iconic images that recur throughout his artwork — teepees, crowns, skeleton-like silhouettes, and grimacing masks — and these notebooks reveal much about the artist’s creative process and the importance of the written word in his aesthetic. 

With over 150 notebook pages and numerous drawings and paintings, this important book sheds new light on Basquiat’s career and his critical place in contemporary art history.

About the Authors:

Dieter Buchhart is a critic, art historian, and curator based in Vienna. Henry Louis Gates, Jr., is the Alphonse Fletcher University Professor at Harvard University, where he directs the W. E. B. Du Bois Research Institute and the Hutchins Center for African and African American Research. Tricia Laughlin Bloom is associate curator of exhibitions at the Brooklyn Museum, New York. Franklin Sirmans is department head and curator of contemporary art at the Los Angeles County Museum of Art. Christopher Stackhouse is a writer and visual artist based in Brooklyn.

___________

Пролистать книгу Basquiat: The Unknown Notebooks на сайте издательства.

A dazzling collection of works by one of the world's most acclaimed illustrators

Noma Bar’s innovative, playful style has made him one of the most sought-after illustrators working today, with a broad range of commissions from magazines and newspapers – including Empire, the New York Times, Wired, the Guardian and Time Out – and numerous private and advertising clients. His use of negative space and minimalist forms creates images with multiple readings that delight and surprise in equal measure. Each of Bar’s illustrations tells a story that is hidden in the details, with the message revealing itself in the double-take as you look more closely.

Noma Bar has handpicked his most iconic illustrations and favourite works, each one displaying the distinctive style that has established his reputation. Each book focuses on topics he has explored in his inimitable style: ‘Less More’ (daily life), ‘Pretty Ugly’ (portraits), ‘In Out’ (sex), ‘Life Death’ (conflict) and ‘Rough Smooth’ (personal sketches).

Contents List:

Foreword • Less More • Pretty Ugly • In Out • Life Death

About the Authors:

Noma Bar is an acclaimed illustrator whose work has appeared in many media outlets, including Time Out London, the BBC, the New York Times, the Observer, The Economist and Wallpaper*.

Michael Bierut’s career spans every genre of graphic design, from books and posters to packaging and signage, for a broad range of clients. He has won hundreds of design awards and his work is represented in the permanent collections of the Museum of Modern Art and the Metropolitan Museum of Art in New York. Bierut is both a senior critic at Yale’s School of Art and a fellow of its School of Management.

Rarely seen and important paintings by this much-loved French postimpressionist, emphasizing his radical use of color and unconventional compositions. 

A new monograph brings together 30 important paintings by Pierre Bonnard (1867–1947) on loan from museums and private collections, including still lifes, nudes, interior scenes, and landscapes, many never seen together before and published here for the first time. The book reveals how Bonnard’s modern compositions transformed paintings in the first half of the twentieth century, while celebrating his unpar-alleled ability to capture fleeting moments, memories, and emotions on canvas. Rather than focus on a particular time period or subject, Bonnard: The Experience of Seeing aims to present Bonnard’s modernity and concentrate on his influence on contemporary painters working today. The book draws attention to how Bonnard translated the experience of perception—with his shifting spaces, camouflaged and dissolving figures going in and out of focus, and forms hidden at the periphery — and how we as viewers experience his paintings, with his works slowly revealing themselves to us over time. 

About the Author:

Barry Schwabsky is art critic for The Nation and coeditor of international reviews for Artforum. Sarah Whitfield is an art historian, writer, and curator. She is coauthor of the René Magritte Catalogue Raisonné.