Книги з живопису

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.

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.

This generously illustrated and comprehensive book examines German and Austrian artists in the 1930s as they reacted to a time of crisis and dissent.

The 1930s in Germany and Austria were marked by economic crisis, political disintegration, and social chaos. This beautifully illustrated catalog surveys the development of the arts in these two countries between the two world wars. Presenting nearly 150 paintings and works on paper, this book reveals artistic developments that foreshadowed, reflected, and accompanied the beginning of World War II. Works by Max Beckmann, Otto Dix, Max Ernst, Oskar Kokoschka, and Alfred Kubin are presented alongside pieces by lesser-known artists such as Friedl Dicker-Brandeis, Albert Paris Gütersloh, Karl Hubbuch, Richard Oelze, Josef Scharl, Franz Sedlacek, and Rudolf Wacker. This book features essays about the appropriation of artistic idioms, the reactions of artists toward their historical circumstances, and major political events that shaped the era.

About the Author:

Olaf Peters is Professor of Modern Art at Martin Luther University in Halle-Wittenberg and the author of Degenerate Art: The Attack on Modern Art in Nazi Germany 1937 and Berlin Metropolis: 1918-1933 (both by Prestel).

This lavishly illustrated book examines Berlin in-depth during a period of explosive growth between the two world wars.

Between 1871 and 1919, the population of Berlin quadrupled, and the city became the political center of Germany, as well as the turbulent crossroads of the modern age. This was reflected in the work of artists, directors, writers, and critics of the time. As an imperial capital, Berlin was the site of violent political revolution and radical aesthetic innovation. After the German defeat in World War I, artists employed collage to challenge traditional concepts of art. Berlin Dadaists reflected upon the horrors of war, and the terrors of revolution and civil war. Between 1924 and 1929 as the spirit of modernity took hold, jazz, posters, magazines, advertisements, and cinema played a central role in the development of Berlin’s urban experience. The concept of the “Neue Frau” — the modern, emancipated woman–helped move the city in a new direction. Finally, Berlin became a stage for political confrontation between the left and the right and was deeply affected by the economic crisis and mass unemployment at the end of the 1920s. This book explores in numerous essays and illustrations the artistic, cultural, and social upheavals in Berlin between 1918 and 1933, and places them in a broader historical framework.

About the Author:

Olaf Peters is Professor of Modern Art at Martin Luther University in Halle-Wittenberg and the author of Degenerate Art: The Attack on Modern Art in Nazi Germany 1937 and Before the Fall: German and Austrian Art in the 1930s (both by Prestel).

An authoritative guide to one of the world's most important collections of African-American art, with works by artists from Romare Bearden to Kehinde Wiley.

The artists featured in Black Refractions, including Kerry James Marshall, Faith Ringgold, Nari Ward, Norman Lewis, Wangechi Mutu, and Lorna Simpson, are drawn from the renowned collection of the Studio Museum in Harlem. Through exhibitions, public programs, artist residencies, and bold acquisitions, this pioneering institution has served as a nexus for artists of African descent locally, nationally, and internationally since its founding in 1968. Rather than aim to construct a single history of "black art," Black Refractions emphasizes a plurality of narratives and approaches, traced through 125 works in all media from the 1930s to the present.

An essay by Connie Choi and entries by Eliza A. Butler, Akili Tommasino, Taylor Aldridge, Larry Ossei Mensah, Daniela Fifi, and other luminaries contextualize the works and provide detailed commentary. A dialogue between Thelma Golden, Connie Choi, and Kellie Jones draws out themes and challenges in collecting and exhibiting modern and contemporary art by artists of African descent. More than a document of a particular institution's trailblazing path, or catalytic role in the development of American appreciation for art of the African diaspora, this volume is a compendium of a vital art tradition.

About the Authors:

Connie H. Choi is the Associate Curator of the Permanent Collection at The Studio Museum in Harlem. Previously, she was Assistant Curator of American Art at the Brooklyn Museum. Thelma Golden has become a driving force in the art world. Since disrupting the status quo with her 1994 exhibition, Black Male: Representations of Masculinity in Contemporary American Art, Golden has continued to create challenging dialogues around art and artists, making her one of the most respected curators in America. Golden took up a new challenge in 2000, joining the Studio Museum in Harlem and becoming executive director and chief curator in 2005. Kellie Jones Dr. Kellie Jones is Associate Professor in Art History and Archaeology and the Institute for Research in African American Studies (IRAAS) at Columbia University. Dr. Jones has received numerous awards for her work and in 2016 she was named a MacArthur Foundation Fellow. She is the author of two books published by Duke University Press, EyeMinded: Living and Writing Contemporary Art and South of Pico: African American Artists in Los Angeles in the 1960s and 1970s (2017).

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Пролистать книгу Black Refractions: Highlights from The Studio Museum in Harlem

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. 

An in-depth exploration into the immense popularity of William-Adolphe Bouguereau's work in America throughout the late 19th and early 20th centuries Seeking to bring Gallic sophistication and worldly elegance into their galleries and drawing rooms, wealthy Americans of the late 19th and early 20th centuries collected the work of William-Adolphe Bouguereau (1825-1905) in record numbers.

This fascinating volume offers an in-depth exploration of Bouguereau's overwhelming popularity in turn-of-the-century America and the ways that his work-widely known from reviews, exhibitions, and inexpensive reproductions-resonated with the American public. While also lauded by the French artistic establishment and a dominant presence at the Parisian Salons, Bouguereau achieved his greatest success selling his idealized and polished paintings to a voracious American market.

In this book, the authors discuss how the artist's sensual classical maidens, Raphaelesque Madonnas, and pristine peasant children embodied the tastes of American Gilded Age patrons, and how Bouguereau's canvases persuasively functioned as freshly painted Old Masters for collectors flush with new money.

A gorgeous celebration of the beauty of Venice as conveyed in the paintings of Canaletto and his followers.

Among the renowned Old Master paintings at the Wallace Collection in London is an important group of 27 eighteenth-century views of Venice, known as vedute, by Canaletto and his followers, including Francesco Guardi. They hang together in a dedicated gallery known as the Canaletto Room, but until recently the majority had not been cleaned since the nineteenth century and their original beauty was obscured by multiple layers of discoloured varnish.

The paintings have now been restored and rephotographed, following a multi-year conservation and research project that has also led to a reappraisal of them. This book presents these pictures in their renewed splendour. It features essays and commentaries by Charles Beddington, the global expert on vedute, and by Wallace Collection curator Lelia Packer. Together they provide fresh insights into the artists’ creative processes, the dating of pictures and their authorship.

About the Authors:

Lelia Packer was previously the Curator of Dutch, Italian, Spanish, German and Pre-1600 Paintings at The Wallace Collection.

Charles Beddington is an independent scholar and art dealer based in London who is a world authority on Venetian vedute.

Carrie Moyer’s first major monograph expansively represents the influential abstract painter’s work and queer agitprop.

Carrie Moyer consciously centers her painting as a practice about painting, with history as a subtext. Known for her incursions into Color Field painting, Moyer also traces her influences to iconic female artists of the twentieth century, such as Georgia O’Keeffe, and surrounding questions of taste, once quipping of her paintings that “[Helen] Frankenthaler and [Fernand] Léger met in a dark corner and had Elizabeth Murray.”

Moyer’s complex work merges abstract aesthetics and legible imagery: vividly colored and textured forms are embedded with a range of historical, stylistic, and physical references to Surrealism, Modernism, 1960s and ’70s counterculture graphics, and ’70s feminist art. Moyer often works on the floor, pouring, rolling, stippling, mopping the paint, and embellishing with glitter. An exploration of acrylic’s unique properties is a driving force in her work. Beginning as an intern at HERESIES, the pioneering feminist art magazine, Moyer has also engaged in critical practices beyond the studio.

This monograph enriches a deep dive into Moyer’s painting practice, in particular her work of the past decade, with a portfolio of the artist’s agitprop from the 1990s, including Dyke Action Machine! (DAM!), one of the first lesbian public art projects.

About the Author:

Carrie Moyer is the director of Hunter College’s MFA program in Studio Art. Lauren O’Neill-Butler is a New York–based writer, editor, and educator. Katy Siegel is Eugene V. and Clare E. Thaw Endowed Chair in Modern American Art at Stony Brook University. Johanna Fateman is a writer, musician, and founding member of the rock band Le Tigre.

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Пролистать книгу Carrie Moyer

Ця чудова нова книга, розкішно створений та проілюстрований том про суперечливого художника-романтика XIX століття, звертається до сучасних критиків Каспара Давида Фрідріха, водночас поглиблюючи нашу вдячність за його винятковий геній.

«Картина повинна стояти як картина, створена рукою людини, — писав Каспар Давид Фрідріх, — а не прагнути маскуватися під природу». Один із найпопулярніших художників свого покоління, Фрідріх уявляв пейзажі потужної краси та духовності в межах своїх студій. Ця захоплююча монографія, наповнена чудовими репродукціями та деталями його картин, підтверджує репутацію Фрідріха як піднесеного художника та інтерпретатора природи. У своєму вдумливому та добре дослідженому коментарі автор Йоганнес Граве досліджує унікальний підхід Фрідріха до пейзажного живопису, а також його революційні думки про те, як ці картини мають сприймати глядачі. Уважно розглядаючи такі роботи, як «Чернець біля моря», «Абатство в Дубовому лісі» та «Вівтар Тетшена», Грейвз показує, як Фрідріх розробив новаторський підхід до пейзажного живопису, який передав нове відчуття простору та часу та залучав глядача до унікального естетичного досвіду.

Читабельний, проникливий і щедро проілюстрований у розкішному томі, цей переконливий новий погляд проливає вирішальне світло на знамениту роботу Фрідріха.

Через 250 років після народження художника цей розкішний каталог виставки пропонує зазирнути в таємницю переважно посмертної популярності Фрідріха, а також останні дослідження його підготовки та техніки.

Каспар Давид Фрідріх, якого за життя здебільшого ігнорували, був скрупульозним художником, який писав емоційно провокаційні пейзажі, часто зображуючи самотні фігури чи групи людей на фоні драматичних пейзажів. Його роботи надихають багатьох митців до сьогодні, і цей том досліджує роль, яку зіграла Національна галерея Берліна у виведенні Фрідріха на передовий край історії сучасного мистецтва. Це також проливає світло на дивовижне використання Фрідріхом пар у картинах — у тому числі його найвідоміші пари «Чернець біля моря» та «Абатство в Дубовому лісі», — які він використовував для вираження різноманітних точок зору та концепції змін. Нарешті, у ньому розглядаються останні дослідження техніки Фрідріха: його раннє навчання в Копенгагені; його ескізи, підготовчі креслення та підкреслення; і його нетрадиційний вибір і використання пігментів.

У цій монографії читачі знайдуть приголомшливі репродукції шістдесяти картин, у тому числі кількох культових робіт, і п’ятдесяти малюнків, які представляють колекції з усього світу. У поєднанні з останніми дослідженнями вони поєднуються, щоб запропонувати абсолютно сучасну оцінку надзвичайного таланту Фрідріха та його безсумнівного статусу піонера сучасного мистецтва.

За участю Біргіт Вервібе, Йоганнеса Граве, Гілмара Франка, Вернера Буша, Анни Марі Пфефлін, Герда-Хельге Фогеля, Крістіни Месль, Ральфа Глейса, Синтьє Геріке.

Про авторів:

Біргіт Вервібе є куратором Старої національної галереї в Берліні для живопису першої половини XIX століття та експертом з Каспара Давида Фрідріха.

Раплф Ґлейс є директором Старої національної галереї в Берліні з численними публікаціями про мистецтво XIX століття.

A monumental volume devoted to one of the world’s largest and most spectacular collections of Cézannes.

The Barnes Foundation’s holdings of works by the renowned Post-Impressionist Paul Cézanne (1839–1906) — sixty-one oils on canvas and eight works on paper — are among the most significant in the world. The Barnes Foundation was established in 1922 by scientist, entrepreneur, and educator Dr. Albert C. Barnes, a passionate supporter of European modernism. His virtually unrivaled collection, which can only be viewed at the Barnes Foundation, also includes exceptional paintings by Pierre-Auguste Renoir, Henri Matisse, Pablo Picasso, and many others.

Beginning in 1912, Barnes acquired works by Cézanne from major Paris dealers such as Paul Durand-Ruel and soon ranked among the artist’s most prominent collectors. At the time, this expressed a pioneering taste that Barnes shared with only a small group of enthusiasts, even though Cézanne had been posthumously hailed as a father of modern art at the turn of the twentieth century. The foundation’s impressive holdings of Cézannes — never before published in a single study in their entirety — span every period of the artist’s career and include his largest rendition of The Card Players and one of the three versions of The Large Bathers, one of his signal testaments.

This lavishly illustrated landmark volume is both a work on Cézanne and his time, and an impetus for further study of an artist whose oeuvre is at once luminous, austere, challenging, and deeply confounding.

About the Author:

André Dombrowski is Frances Shapiro-Weitzenhoffer Associate Professor of 19th-Century European Art at the University of Pennsylvania. Nancy Ireson is Deputy Director for Collections and Exhibitions and Gund Family Chief Curator at the Barnes Foundation, Philadelphia. Sylvie Patry is Chief Curator and Deputy Director for Curatorial Affairs and Collections at the Musée d’Orsay.

A gorgeous new edition with the cover printed on silver. Towards the end of his life and much inspired by Japanese water gardens, Monet spent a great deal of time in his beloved Giverny. Adorned with poppies, blue sage, dahlias and irises, the waters were disturbed only by bamboos and water lilies. His water garden was originally created to satisfy a need to be near water, and to provide a visual feast that could be enjoyed from his house. 

The pond was fed by the river Ru, and weeping willow and silver birch hung over its edges, caressing the fronds of the greenery and blossoms below. Its famous green wooden footbridge was built across the water and it became the central focus of many of his works. He said, ‘It took me some time to understand my water lilies. I planted them for pleasure.’ and so he began to work on what is probably the most famous series of paintings the world has ever seen.

Складна творчість американського художника Сая Твомблі (1928-2011) охоплює період близько шести десятиліть, протягом якого він ніколи не втрачав своєї виразної сили. Твомблі був одним із найпродуктивніших художників в історії новітнього мистецтва. Визнаний одним із найважливіших художників другої половини 20 століття, він поєднав спадщину американського абстрактного експресіонізму з європейською та середземноморською культурою.

Книга зосереджена на його головних циклах, якого ніколи раніше не було: «Дев’ять промов про Коммода» (1963), «П’ятдесят днів в Іліамі» (1978) та «Коронація Сезостріса» (2000). Розвиток митця в цілому простежується на основі майже 200 картин, скульптур, малюнків, фотографій. Таким чином, це забезпечує унікальне уявлення про загальне інтелектуальне та чуттєве багатство творчості. Від його ранніх робіт на початку 1950-х років, які характеризуються використанням тексту, до його композицій 1960-х років, його реакції на мінімалістське мистецтво та концептуальне мистецтво 1970-х років до його останніх картин, огляд творчості підкреслює значення серій і циклів, у яких Сай Твомблі заново винайшов історичний живопис.

Завдяки поліфонічній концепції монографія пропонує численні підходи з есеями, які проливають світло на різні аспекти та етапи шляху Твомблі як художника. До нього входять та ін. роздуми та особисті враження інших художників, а також спогади його помічника Нікола Дель Россіо. Ці різноманітні свідчення дозволяють відкрити Сая Твомблі не лише як художника, а й як особистість.

Про авторів:

Йонас Сторсве – історик мистецтва та головний куратор відділу графіки в Національному музеї сучасного мистецтва в Центрі Помпіду. Раніше він був куратором шоу про Йозефа Альберса, Аліну Шапочніков і Джима Ходжеса, а також багато писав про сучасне мистецтво.