Книги з живопису

It might seem like the sitters and subjects of art history’s greatest nude paintings have little left to show, but don't be fooled: there is more than meets the eye in these naked masterworks. Rose-Marie and Rainer Hagen guide us into the secrets of the flesh, coupling extended discussions with crisp, enlarged details of 12 iconic works from the canon of art history.

Biblical tales of morality or modern portrayals of leisure, works such as Tintoretto’s Susanna and the Elders or Manet’s The Luncheon on the Grass offer diverse visions of natural beauty. Each artwork is presented in reproductions of the highest quality, sourced directly from the original, located in collections of the Louvre, Musée d’Orsay, Uffizi, and many others.

From works depicting ultimate feminine grace, like Velázquez’s Rokeby Venus, to Hans Baldung’s mesmerizing image of the body’s decline in The Three Ages of Man and Death, these paintings are unified in their masterful rendering of the bare human form—both in life and beyond. Through this exploration into the covert secrets of nude works, they cease to be two-dimensional and come to full hot-blooded life.

About the series:

- Each book in TASCHEN's Basic Genre series features:
- approximately 100 colour illustrations with explanatory captions
- a detailed illustrated introduction plus a timeline of the most important political, cultural, and social events that took place during that period
- a selection of the most important works of the epoch, each presented on a 2-page spread with a full-page image and accompanying interpretation, as well as a portrait and brief biography of the artist

World-renowned Japanese artist Yayoi Kusama has worked in a variety of media, including painting, sculpture, performance art, and installation. Kusama’s iconic Infinity Mirror Rooms, which originated with Phalli’s Field in 1965, situate viewers in kaleidoscopic spaces filled with multicolored lights or whimsical forms. These mirror-lined installations reflect endlessly, distorting rooms to project the illusion of infinite space. Over the years, the works have come to symbolize different modalities within the various contexts they have inhabited, from Kusama's “self-obliteration” in the Vietnam War era to her more harmonious aspirations in the present.

By examining her early unsettling installations alongside her more recent ethereal atmospheres, this volume aims to historicize the body of work amidst the resurgence of experiential practices within the global landscape of contemporary art. Generously illustrated, this publication invites readers to examine the series’ impact over the course of the artist’s career. Accompanying essays, an interview with the artist, and a scholarly chronology round out the book.

Exhibition at Hirshhorn Museum and Sculpture Garden, Washington, DC, February 16 - May 14, 2017

About the Author:

Mika Yoshitake is Associate Curator at the Hirshhorn Museum and Sculpture Garden. Melissa Chiu is Director of the Hirshhorn Museum and Sculpture Garden. Alexander Dumbadze is Chair and Associate Professor of Art History at The George Washington University, Washington, Dc. GloriaA Sutton is Assistant Professor of Contemporary Art History at Northeastern University, Boston. Miwako Tezuka is Consulting Curator at Arakawa + Gins Reversible Destiny Foundation, New York.

In the mid-1950s, Yves Klein (1928–1962) declared that “a new world calls for a new man.” With his idiosyncratic style and huge charisma, this bold artist would go on to pursue a brief but bountiful career, producing more than 1,000 paintings over seven years in an oeuvre now considered a mainstay of postwar modernism.Klein made his name above all with his large monochrome canvases in his own patented hue of blue. International Klein Blue (IKB), composed of pure pigment and binding medium, is at once rich and luminous, evocative and decorative, and was conceived by Klein as a means of evoking the immateriality and infinitude of the world.

The works of this “Blue Revolution” seem to draw us into another dimension, as if hypnotized by a perfect summer sky. Klein was also renowned for his deployment of “living brushes,” in which naked women, daubed in International Klein Blue, would make imprints of their bodies on large sheets of paper.

This Basic Art introduction presents key Klein works to introduce an artist who was at once a showman, inventor, and pioneer of performance art. With page after page of the ever-alluring International Klein Blue, it is both an essential guide to a modern art master and a meditation on the unique effects of a single color.

Новаторський огляд школи експресивного, символічного пейзажного живопису, який дав початок американському модернізму — нещодавно переглянуте та оновлене

Цей чудовий том, який містить понад 750 ілюстрацій, є першим остаточним описом руху тоналістів. Базуючись на оригінальних дослідженнях, у ньому розповідається про те, як прогресивний тоналістичний ландшафт розвінчав школу річки Гудзон наприкінці 1870-х років і залишався домінуючою школою в американському мистецтві аж до Першої світової війни. Більш провокаційно, він також стверджує, що тоналізм дав початок американському модернізму, заклавши основу для художників гуртка Штігліца, а згодом Мілтона Евері, Марка Ротко, Адольфа Ґотліба, Барнетт Ньюман, Хелен Франкенталер, Вольф Кан і Річард Мейхью.

A History of American Tonalism розміщує ключових діячів руху — таких як Джордж Іннесс, Джеймс Макніл Вістлер і Джон Генрі Твахтман — у їхньому культурному контексті, на який вплинули такі мислителі, як Ральф Волдо Емерсон, Генрі Девід Торо, Джон Берроуз і Вільям Джеймс. У ньому також розглядається кар’єра понад шістдесяти інших художників-тоналістів, менш відомих, але дуже талановитих.

Це нове видання A History of American Tonalism містить понад сто нових ілюстрацій, а також новий огляд стилістичних принципів тоналізму. Це й надалі буде важливим для любителів мистецтва, художників, науковців та всіх, хто прагне краще зрозуміти не лише рух тоналістів, а й американське мистецтво в цілому.

Про автора:

Девід Адамс Клівленд, історик мистецтва, куратор і викладач, писав для The Magazine Antiques і ARTnews. Він також є автором трьох романів: Time’s Betrayal, Love’s Attraction і With a Gem-Like Flame. Клівленд і його дружина живуть у Нью-Йорку, де він працює арт-консультантом разом зі своїм сином Картером Клівлендом, засновником Artsy.net, веб-сайту для пошуку, купівлі та продажу мистецтва.

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.

Wake up to artistic inspiration every day with this popular, chunky hardback made available again in a refreshed edition containing a perpetual calendar featuring a dazzling variety of masterpieces from every era.

As functional as it is beautiful, this substantial book presents some of the world’s greatest art in an elegant package that will look good at home or in the office. Every day offers a different, exquisitely reproduced artwork from a variety of eras, genres, and media; quotations to ponder, surprise, and delight; and ample space to record birthdays, anniversaries, and other important dates as well as personal notes and reflections. There’s art for every taste and from every period: prehistory and ancient Egypt; Medieval and Renaissance; Impressionist, Abstract, and Modern.

Featured artists include Leonardo da Vinci, Botticelli, Raphael, Michelangelo, Albrecht Dürer, Caravaggio, Titian, Hiroshige, El Greco, Vermeer, Turner, Monet, van Gogh, Cassatt, Kandinsky, Klee, Picasso, and others.

This book’s global and historical collection of images makes it the perfect gift for lovers of art and will offer inspiration every day of the year.

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Пролистать книгу A Year in Art: A Painting a Day на сайте издательства.

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.

Andrew Wyeth is an essential introduction to the enduring masterworks of this profoundly popular American artist. 

Published on the occasion of the centennial of the artist s birth, this handsome book highlights works spanning the entirety of the artist s seven-decade career painting the landscapes and people he knew in Chadds Ford, Pennsylvania, where he lived, and in Maine, where he summered. 

Many of his most important landscapes and portraits were created in and around his Chadds Ford studio, now part of the Brandywine River Museum of Art, with which Andrew Wyeth was intimately connected since its founding in 1971. 

A short introduction provides an overview of his life, and descriptive captions contextualize some fifty of the artist s finest and most beloved paintings, including Pennsylvania Landscape (1942), Wind from the Sea (1947), Christina s World (1948), Trodden Weed (1951), Roasted Chestnuts (1956), Braids (1977), and Pentecost (1989). Readers will also be treated to works previously unseen, such as Betsy s Beach (2006) and Crow Tree (2007).

The Lost Landscapes of England

Anthony Amies’ paintings assert a classical conception of painting. From the mid 1970s, the British artis pursued a radical counter-concept to the art of his time with a stylistically peculiar landscape painting. They are calm and enigmatic pictures that do without any scandal. In large-scale drawings and oil paintings, he plays with the “blot” technique: Amies abstracts the landscapes to convey an idea rather than a realistic image. The reduction to land and sea is a reflection on England and  the loss of its individual landscapes to the monotony of industrial and urban proliferation and sprawling housing estates. In this idiosyncrasy ― the assertion of the genre of landscape painting and in the painterly quality of the works as a contribution to the assertion of painting in art―lies the importance of this English painter.

About the Artist:

Anthony Amies (1945, Norwich–2000, London) was educated at Great Yarmouth College of Art in the 1960’s and later at London’s Slade School of Fine Art. Refusing to conform to the zeitgeist, he found his visual language inspired by Cozens’ blot technique in the early 1970s, and would persist with it until his untimely death in 2000. Amies received the Arts Council Award in 1977 and worked teaching art in Camden from 1973–1995 at the Camden Institute and the Camden School of Art.

An accessible guide to the finer details of 100 masterpieces of Western art

Great works of art cannot be fully understood in a single encounter: to revisit and reconsider art again and again throughout one’s life is to be richly rewarded with an ever-deepening appreciation and insight. Similar benefits come from analysing a work of art in detail.

Art in Detail: 100 Masterpieces spotlights the finer points that even connoisseurs may miss, casting light upon minutiae that a quick glance will almost certainly fail to reveal. These include subtle internal details, such as hidden symbols. Expert commentary reveals the technical tricks employed by the artist to achieve particular effects, such as the placement of the subject, the lighting and the style of brushstrokes.

The book also looks at the themes and external and personal factors influencing the creation of an artwork – everything from the broad socio-economic context in which the artist operated, to personal, individual circumstances at the time of the work’s creation, which are often of great relevance.

The book examines 100 works of art down the ages, from Giotto’s 14th-century fresco Adoration of the Magi, to a twenty-first-century pastel by Paula Rego. It approaches each work not only, to quote Matthew Arnold, ‘as in itself it really is’, but also as part of a tradition that links the oldest work of art to the most recent, as artists pass a metaphorical baton down through the ages.

About the Author:

Susie Hodge is an art historian, author, artist and journalist with more than 100 books to her name. She has an MA in the History of Art from Birkbeck, University of London, and is a Fellow of the RSA. She has twice been named the No. 1 art writer by the Independent.

For centuries, great artists have been drawn together in friendship and in love. In Artists in Love, curator and writer Veronica Kavass delves into the passionate and creative underpinnings of the art world's most provocative romances. From Picasso and Francoise Gilot to Lee Miler and Man Ray to Saul Steinberg and Hedda Sterne, Kavass' graceful and daring text provides a generous glimpse into the inspiring and sometimes tempestuous relationships between celebrated artists throughout the 20th and 21st centuries. 

From poetic beginnings to shocking endings (and vice-versa), the various dimensions of the artist couple archetypes are ceaselessly explored.  Some are enduring and collaborative, yielding astonishing parallel bodies of work, as with Robert and Sonia Delaunay and Christo and Jeanne-Claude. Others are adoring and explosive, such as Frida Kahlo and Diego Rivera and Robert Rauschenberg and Jasper Johns. Essays revealing what compelled these dynamic artists to partner, how their pairing influenced their work, and why their love may have faltered, are accompanied by lush illustrations of their art and documentary photographs of the couple. 

The first visual book to explore this subject in such epic scope, Artists in Love is a revelatory and riveting journey into the hearts and minds of artists in love. 

Artists featured include:
Wassily Kandinsky & Gabriele Münter
Robert & Sonia Delaunay
Alfred Stieglitz & Georgia O’Keeffe
Jean Arp & Sophie Taeuber-Arp
Anni & Josef Albers
Frida Kahlo & Diego Rivera
Lee Miller & Man Ray
Jacob Lawrence and Gwendolyn Knight
Barbara Hepworth & Ben Nicholson
Elaine & Willem de Kooning
Pablo Picasso & Françoise Gilot
Jackson Pollock & Lee Krasner
Dorothea Tanning & Max Ernst
Nancy Spero & Leon Golub
Jasper Johns & Robert Rauschenberg
Robert Motherwell & Helen Frankenthaler
Christo & Jeanne-Claude
Bernd & Hilla Becher
Eva Hesse & Tom Doyle
Charles and Ray Eames 
Kay Sage and Yves Tanguy
Saul Steinberg and Hedda Sterne
Robert Smithson & Nancy Holt
Niki de Saint Phalle & Jean Tinguely
Marina Abramović & Ulay
Claes Oldenburg & Coosje van Bruggen
Bruce Nauman & Susan Rothenberg
David McDermott and Peter McGough

About the Author

Veronica Kavass holds a masters in curatorial practice and critical writing from Chelsea College of Art in London, and has trained as an oral historian through her work with StoryCorps.  Her first book, The Last Good War: The Faces and Voices of WWII, was a powerful chronicle of American veterans' experiences during the war, and was a recipient of Foreword Magazine's Book of the Year award. She currently lives between New York City and Nashville, Tennessee where she writes about local art for the newspaper The Nashville Scene.

An insightful, lavishly illustrated history of self-portraits by well-known artists including Velázquez, Edgar Degas and Frida Kahlo

In his fascinating survey, art historian Omar Calabrese reveals that self-portraits through the ages are both a reflection of the artist and of the period in which the artist lived. Organized thematically, the author first presents a basic definition of the genre of the self-portrait, interpreting the picture to be a manifestation of self identity, and including examples from an Egyptian tomb painting and pictures on stained-glass during the Middle Ages and continuing to modern times.

The next chapter focuses on the turning point in the establishment of the genre during the Renaissance when the status of the painter or sculptor was raised from artisan to artist and, as a result, portraits of the artist were considered worthwhile pictures. At first a self-portrait was hidden in a narrative painting: an artist would paint his image as part of a crowd scene, for example, or as a mythological figure. On the other extreme, once the genre was accepted, it was practised by some artists― Rembrandt, van Gogh, Munch, and Dali, for instance―as almost an obsession. In contemporary art the self-portrait can become a deconstructed genre with the artist hiding or satirizing himself until he nearly disappears on the canvas.

Among the 300 pictures featured here are examples by such artists as Albrecht Dürer, Velàzquez, Elisabeth Vigée-Lebrun, Ingres, Degas, Toulouse-Lautrec, Gainsborough, Matisse, James Ensor, Egon Schiele, Frida Kahlo, Man Ray, Henry Moore, Robert Rauschenberg, Norman Rockwell, and Roy Lichtenstein.

This intriguing book is a fresh way to appreciate the history of art and to understand that a self-portrait is far more complex and meaningful than merely a portrait of the artist.

About the Author:

Omarr Calabrese is a professor of art and semiotics at the University of Siena. He has also taught at Yale University, the Sorbonne, a university in Berlin and served as a curator for a number of television programs about art. He has written several books , including Neo-Baroque: A Sign of the Times (Princeton University Press) and edited Italian Style: Forms of Creativity (Skira) and other volumes.

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.
 

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.

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