Книги по живописи

Longtime music icon John Mellencamp’s artistic expression has never been limited to song.

The acclaimed singer-songwriter John Mellencamp has been an accomplished painter for more than four decades. This definitive survey — curated by Mellencamp himself — of his large-scale oil portraits and mixed-media assemblages documents America’s heart and soul, revealing unsettling but beautiful truths with an antiestablishment frown and a rich sense of narrative.

“Although we may primarily know Mellencamp as a rock star, one of the highest-selling of all time and a Hall of Famer, he is also a great painter, as this book shows. Not a musician who also paints... No, John legitimately belongs in the modern art pantheon,” says Bob Guccione Jr. in his essay that delineates the connection of Mellencamp’s music and art, both imbued with the earnest voice of America’s heartland.

About the Authors:

John Mellencamp, award-winning singer-songwriter and member of the Rock & Roll Hall of Fame, is also a painter, collector, and longtime activist who has exhibited his work in galleries and museums across the United States. Dr. Louis A. Zona is the executive director and chief curator of the Butler Institute of American Art, in Youngstown, Ohio. David L. Shirey is a former foreign correspondent, critic, and editor with Newsweek magazine, a critic and cultural writer for the New York Times, and former chair of the MFA Fine Arts program at New York City’s School of Visual Arts. Award-winning editor and publisher Bob Guccione Jr. has created and managed some of America’s most iconic publishing brands, including Spin magazine and Gear magazine.

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Пролистать книгу John Mellencamp: American Paintings and Assemblages

The classic monograph on a much-loved artist — reissued in a spectacular oversize format

In the early work of John Singer Sargent (1856–1925), Henry James saw “the slightly ‘uncanny’ spectacle of a talent which on the threshold of its career has nothing more to learn.” Sargent’s talent, nay, genius was indeed uncanny, sustained with equal intensity through his famed society portraits, like the scandalous Madame X; his full-size showpieces, like The Daughters of Edward Darley Boit; his thousands of watercolors executed en plein air from Venice to Corfu to Maine to Montana; and his ambitious mural decorations for the public monuments of Boston.

In Carter Ratcliff, Sargent has found a biographer and critic of fitting style and subtlety. Ratcliff expertly evokes the expatriate American milieu into which the artist was born, and offers penetrating insights into every phase of his career and every aspect of his work. Now, for the first time, this landmark monograph is offered in a special oversize format, with all of its 310 illustrations reproduced in full color, many at full-page size. It also includes a new preface by the author and an updated bibliography.

About the Author:

Carter Ratcliff is a poet, art critic, and contributing editor of Art in America. His books on art include The Fate of a Gesture: Jackson Pollock and Postwar American Art; Out of the Box: The Reinvention of Art; and monographs on Andy Warhol, Georgia O’Keeffe, Gilbert & George, and others. He has also published numerous volumes of poetry and a novel, Tequila Mockingbird.

Squaring the Square

Josef Albers’s groundbreaking series Homage to the Square comprises roughly two thousand oil paintings. His continuous reflections and refinements for more than 25 years inspired numerous young minimal and conceptual artists in their search for a reduced formal language. This outstanding catalogue explores the secret of Albers’s subtle aesthetic and unearths its preconditions: What is the significance of the square? How does his impression of color and its use as a material change during this period? Featuring studies on paper, archival materials, as well as essays by internationally leading Albers experts such as Jeannette Redensek and Heinz Liesbrock, this richly illustrated publication sheds light on the various inspirations that influenced Albers early on in Europe and later in America, and illustrates the lasting impact of his art and thinking.

As an influential teacher, writer, painter, and color theorist Josef Albers (1888, Bottrop–1976, New Haven, CT) is one of the leading pioneers of twentieth-century modernism. From 1923 onwards he taught at the Bauhaus, and continued to do so after his emigration to the USA in 1933 at Black Mountain College in North Carolina, and at Yale University, where he worked on his Homage to the Square from 1950 until his death. 

Heinz Liesbrock (*1953) was the long-standing director of the Josef Albers Museum Quadrat in Bottrop. He has written extensively on Albers and his influence on art history.

Encompassing the entire career of the American surrealist painter Kay Sage, this catalogue raisonné features all her known mature works and the latest scholarship on a brilliant artist.

While her career as a painter was often eclipsed during her lifetime by that of her husband, Yves Tanguy, recent scholarship posits that the influence was mutual and that Kay Sage’s work was distinct from Tanguy’s. The full extent of Sage’s talent is laid bare in this stunning slip-cased book that includes many works that have not been viewed publicly since the 1940s and 1950s. An insightful essay explores Sage’s involvement with the Surrealists and her marriage to Tanguy, as a partner and sounding board. A generously illustrated chronology includes personal and archival material that reveals much about her life and practice. The paintings, collages, and works on paper — haunting, evocative, and original — are reproduced to full effect, each with comprehensive provenance and exhibition history. Impeccably researched and engagingly written, this monograph brings to life an intrepid and hugely gifted artist whose talent is long overdue for recognition.

About the Authors:

Jessie Sentivan is an independent art historian and curator. She has held positions at the Williams College Museum of Art and the Arthur Dove Catalogue Raisonné Project, and was a contributing editor of the Hans Hofmann Catalogue Raisonné of Paintings.

Stephen Robeson Miller has written extensively about Kay Sage and her art in publications such as Art International, Dada & Surrealism, and various galleries catalogues around the world. He was co-curator of the landmark traveling exhibition Double Solitaire: The Surreal Worlds of Kay Sage and Yves Tanguy in 2011. He is also the author of Kay Sage: The Biographical Chronology and Four Surrealist One-Act Plays. His research papers on Sage, including interviews, are located at the Archives of American Art, Smithsonian Institution.

Mary Ann Caws is Distinguished Professor Emerita of Comparative Literature, English, and French and Resident Professor at the Graduate School of the City University of New York. She is an Officier of the Palmes académiques, a Chevalier dans l'ordre des Arts et des Lettres, and a recipient of the Albert Nelson Marquis Lifetime Achievement Award. She is the author of The Eye in the Text: Essays on Perception, The Modern Art Cookbook, Blaise Pascal: Miracles and Reason, The Surrealist Look: an Erotics of Encounter, and Creative Gatherings: The Meeting Places of Modernism, among others.

An updated and expanded edition of the definitive monograph on R. B. Kitaj (1932–2007), a major figure of the School of London alongside Lucian Freud, David Hockney and Francis Bacon

R. B. Kitaj (1932-2007) is recognized universally as a modern master. His powerful, controversial and highly personal paintings, pastels and drawings reflect his unfashionable commitment to the human figure as a subject and his complex involvement with the art of the past, with political and social issues and with his own Jewish identity. 

In the fourth and final edition of his definitive and much-praised monograph on the artist, Marco Livingstone has updated his text to include a survey of Kitaj's work from 1999 to 2007. 30 illustrations of recent works and 20 additional illustrations of earlier works have been added. Virtually all of the illustrations that were in black-and-white in earlier editions are now reproduced in full colour. 30 new 'prefaces' written by Kitaj himself have been added, some of them never before published. A full catalogue of every work from his entire career completes the book. 

This updated edition is a significant extension of the volume's scope, providing a more complete picture of the artist's work as a life achievement, as well as greatly enhancing the beauty of the book itself. The previously essential monograph on Kitaj is now the definitive volume.

The Kunstmuseum Bern owns one of the most important art collections in Switzerland. Since the foundation of the Staatliche Kunstsammlung in Bern in 1809 and the opening of the first museum building in 1879 the collection has grown continuously and has attained world renown. Over 170 masterpieces of the collection are assembled in a single publication for the first time and made accessible to a broad public through new art-historical analyses and numerous colour illustrations.

The Kunstmuseum Bern houses prestigious works of Swiss and international art from the late thirteenth century until the present day. The collection contains over 3,000 paintings and sculptures and 48,000 works on paper and videos, including, for example, masterpieces by Duccio di Buoninsegna, Paul Cézanne, Salvador Dalí, Ferdinand Hodler, Ernst Ludwig Kirchner, Franz Paul Klee, Franz Marc, Henri Matisse, Meret Oppenheim, Pablo Picasso and Felix Vallotton. The works assembled in this volume are presented with full-page illustrations and are re-examined by some 70 international authors. A historical survey describing the development of the museum and its collection opens and introduces the publication.

This volume is considered the most comprehensive monograph about the life and career of the female pioneer who integrated abstract painting, music, and dance, Lalan.

Born in Guizhou, Xie Jinglan (nicknamed “Lalan”) was a multidisciplinary artist trained across various art forms, including painting, music, and dance. Excelling in all such categories, Lalan united these fields in her artistic practice to create an oeuvre that epitomized “synthesized art.” Her lifelong explorations resulted in an unusual kind of exhibition/performance named Spectacle, which assimilates dance and music within her artworks. Her works can be found in important Western and Asian museums, such as the Centre Pompidou Musée National d’Art Moderne, and Musée d’Art Moderne de la Ville de Paris, Shanghai Art Museum, and others.

This book reviews her entire career by selecting her most representative masterpieces and celebrating her life journey as the backdrop, between dream and drama. The materials in this book have been collected by a dedicated research team through a painstaking process lasting more than two years.

Lalan’s paintings are a melting pot of many important features inspired by traditional Chinese culture on the one hand (including the spirit of Taoism, the practice of qigong, and the essence of ink landscapes during the Song Dynasty), and Western abstract painting on the other.

About the Author:

Lalan studied music, dance, and art and produced works combining all three disciplines from the 1960s onward. Véronique Bergen is a philosopher, novelist, poet, and author of monographs and articles on contemporary artists.

Accompanying catalogue of an exhibition at Gagosian Gallery, Paris. The catalogue includes a fully illustrated, comprehensive listing of the paintings, drawings, and prints in Lichtenstein’s Expressionism series. Among the styles and movements appropriated by Lichtenstein, his borrowing of Expressionist motifs — from Alexei Jawlensky’s close-up, pensive faces to Ernst Ludwig Kirchner’s jagged, feline figures — strikes the clearest irony. Including key paintings, sculpture, drawings, and woodcuts, this catalogue demonstrates the bold paradox that Lichtenstein posed by translating Expressionist subjects into the primary colors and pop flatness of his signature style.

About the Authors:

Brenda Schmahmann is a research professor in the Faculty of Art, Design, and Architecture at the University of Johannesburg. She is the author of many articles and books, the most recent of which is Picturing Change: Curating Visual Culture at Post-Apartheid Universities. Hans Ulrich Obrist is a curator, critic, and art historian. He is codirector of exhibitions and programs and director of international projects at the Serpentine Gallery, London. Mayen Beckmann is the granddaughter of Max Beckmann and the editor of several publications that focus on the artist. Ruth Fine is a curator at the National Gallery of Art, Washington, D.C., and the author of the introduction to The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948–1993. Sidney B. Felsen is cofounder and codirector of Gemini G.E.L., an artists’ workshop and publisher of limited-edition prints and sculptures in L.A., and it had a long-standing publishing relationship with Roy Lichtenstein.

A sumptuous single-volume edition of Phaidon's acclaimed overview of one of the greatest painters of our time

Larger-than-life British artist Lucian Freud enjoyed a career lasting over seven decades. He worked almost until the day he died, when he left a portrait of friend and studio assistant David Dawson unfinished.

Now available for the first time in one elegantly combined edition, this acclaimed celebration of Freud's work from the 1930s to his death in 2011 includes hundreds of paintings, drawings, sketches, and etchings - even personal photographs and illustrated private letters.

A comprehensive overview of his life and work in one luxurious volume, this book is a gorgeous addition to the shelves of art lovers everywhere. Created in collaboration with the Lucian Freud Archive and David Dawson, Director of the Archive, and edited by Mark Holborn.

About the Authors:

Martin Gayford is a writer and art critic for The Spectator magazine. He sat for a portrait by Freud, an experience recounted in Man with a Blue Scarf (2010).

Painter David Dawson is represented by Marlborough Fine Art, London. Freud's assistant from 1991 until his death, he was a frequent model for his paintings.

Mark Holborn is an editor, designer, and writer who has worked with many leading artists over the last 30 years.

Intimate portraits from one of the most innovative figurative artists of the twentieth century and the master of painted flesh.

Curated by the artist's longtime studio assistant and friend, David Dawson, this important volume features twenty major and rarely seen paintings by Lucian Freud (1922-2011). The book begins with works from 1990 when Freud began painting the performance artist Leigh Bowery: these large-scale portraits of Bowery ushered in a new sense of monumentality in the artist's oeuvre. Inspired by Bowery's impressive physique, Freud began working on a larger scale, which emphasized the physical presence of his subjects. Despite their grand scale, Freud's subjects are still depicted with a sense of intimacy, penetrating honesty, and psychological depth.

The naked body is a subject that has special significance in Freud's oeuvre. Nakedness was a way for Freud to get a more truthful portrait. Freud's probing oils get fresh consideration in this monograph and Dawson provides insights and stories about Freud working on these portraits, giving an intriguing behind-the-scenes look at the life of a contemporary master of representational art.

About the Author

David Dawson is a painter who worked with Lucian Freud for twenty-five years. He is the author of A Life with Lucian Freud. 

Philippe de Montebello is a director of Acquavella Galleries in New York, focusing on special exhibitions and publications. Montebello was the former director of the Metropolitan Museum of Art in New York from 1977 to 2008.

The exhibition catalogue of Lucian Freud: The Self-portraits, which opens at the RA in October 2019. Expert authors – including those who knew and worked with Freud – reveal an approach to the genre that is both unexpected and intriguing.

This 152-page hardback catalogue was published to accompany the exhibition Lucian Freud: The Self-portraits at the Royal Academy of Arts, 27 October 2019 to 26 January 2020.

The first to focus on Freud’s self-portraits, the book provides a fascinating insight into the psyche of this enigmatic yet extremely private artist. Expert authors David Dawson, Joseph Leo Koerner, Jasper Sharp and Sebastian Smee reflect on Freud’s place within the history of self-portraiture and the role self-portraits play within his wider oeuvre.

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In 1964 Lucian Freud set his students at the Norwich College of Art an assignment: to paint naked self-portraits and to make them 'revealing, telling, believable... really shameless'. It was advice that the artist was often to follow himself. Visceral, unflinching and often nude, Freud's self-portraits give us an insight into the development of his style as a painter. The works provide the viewer with a constant reminder of the artist's overwhelming presence, whether he is confronting the viewer directly or only present as a shadow or in a reflection.

Essays by leading authorities - including those who knew him well - explore Freud's life and work, and analyse the importance of self-portraiture in his practice and the intensity that he maintained when studying his own.

Accompanies an exhibition at the Royal Academy of Arts, London (27 October 2019 to 26 January 2020) and the Museum of Fine Arts, Boston (22 February to 25 May 2020). Exhibition organised by the Royal Academy of Arts, London, in collaboration with the Museum of Fine Arts, Boston.

About the Authors:

David Dawson is a painter and photographer, and Freud's former studio assistant. Joseph Leo Koerner is the Thomas Professor of History of Art and Architecture and Senior Fellow of the Society of Fellows, Harvard University. Jasper Sharp is Adjunct Curator for Modern and Contemporary Art at the Kunsthistorisches Museum, Vienna. The Pulitzer Prize-winning art critic Sebastian Smee is author of The Art of Rivalry: Four Friendships, Betrayals and Breakthroughs in Modern Art (2016).

A revelatory look at this Italian-American modernist painter of highly realistic and romanticized still lifes, landscapes, and portraits drawn from his life in the gay New York scene and rural Vermont.

This first comprehensive survey of the life and work of Luigi Lucioni (1900–1988) places him in the context of fellow Regionalist painters Grant Wood, Charles Sheeler, and Maxfield Parrish. Lucioni is known for meticulously rendered still lifes, landscapes, and arresting portraits drawn from his close-knit circle of queer New York artists and cultural figures, including Paul Cadmus, Jared French, George Platt Lynes, and Lincoln Kirstein. In the early 1930s, Lucioni discovered Vermont, whose landscapes reminded him of northern Italy. It was there that he met Electra Havemeyer Webb, who was to become his single most important patron. For more than 50 years, the New York City–based artist spent every summer painting landscapes of trees, barns, and buildings in Vermont with sharply observed realism and a cool, precise style.

Key scholars examine Lucioni’s oeuvre, materials, techniques, and his role in American modernism.

About the Author:

David Brody is Professor of Design Studies at Parson School of Design at the New School. Thomas Denenberg is Director of Shelburne Museum. Katie Wood Kirchhoff is Associate Curator at Shelburne Museum. Alexander Nemerov is Carl and Marilynn Thoma Provostial Professor in the Arts and Humanities and Chair of the Department of Art and Art History at Stanford University. Nancie Ravenel is Object Conservator, Preservation and Conservation at Shelburne Museum. Richard Saunders is Director of the Middlebury College Museum of Art.

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Пролистать книгу Luigi Lucioni: Modern Light

Thirty-five contemporary artists create their own version of Le Déjeuner sur l’herbe.

Édouard Manet’s Le Déjeuner sur l’herbe (1863) is generally cited as the first modern painting. The entry slide in art history lectures about modernism, the work remains among the “most audacious painting[s] ever seen in France,” as Ross King described it in The Judgement of Paris (2006).

As Manet did with Le Déjeuner sur l’herbe, the most provocative painters today collapse the historical and the contemporary onto one plane. Jeffrey Deitch invited a group of these influential artists to create their own versions, combined here with historical responses to Manet’s painting. The slim volume features these often biting and satirical works alongside essays discussing Le Déjeuner sur l’herbe’s enduring influence on contemporary figurative painting.

About the Authors:

Jeffrey Deitch has helped to build the careers of some of many leading contemporary artists as a gallerist and curator. He is the former Director of the Museum of Contemporary Art, Los Angeles.

Aruna D'Souza writes about modern and contemporary art; intersectional feminisms and other forms of politics.

Marina Molarsky-Beck studies twentieth-century art, with a focus on interwar photography and histories of gender and sexuality.

Thomas E. Crow is an American art historian and art critic who is best known for his influential writing on the role of art in modern society and culture.

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Пролистать книгу Luncheons on the Grass: Reimagining Manet's Le Déjeuner Sur L'Herbe​ на сайте издательства.

Magritte in 400 images offers a selection of the most iconic paintings by René Magritte, along with a multitude of lesser-known jewels from his expansive oeuvre. The novel choice of works will surprise and delight readers as they continue to uncover ever more facets of the master Surrealist, from his unique gouaches to his painted bottles.

Spanning seven chapters, this book brings together the myriad aspects of Magritte’s pictorial vision. Beginning with his first forays into abstract painting in the 1920s, navigating his search for solace in his Sunlit Period, as well as his brittle ‘Vache’ Period, before finally moving on to his Surrealist masterpieces of the 1950s and 1960s, it gently guides the reader through Magritte’s world.

Each chapter opens with a summary of the artistic stakes at play during that period and Magritte’s place in them, immersing the reader in the contemporary artistic milieu. The 400 reproductions of Magritte’s work are complemented by a unique selection of historical photographs. Alive with images and information, this compact gem is a must-have for all art enthusiasts and connoisseurs.

This major new book on René Magritte offers fresh interpretations of the artist’s use of symbols and imagery to articulate his particular brand of surrealism.

In this beautiful monograph, a collection of revelatory essays focuses on five common images in Rene Magritte’s work — fire, shadows, curtains, words, and the fragmented body. Featuring vibrant reproductions of more than 100 works, this book helps readers understand how the artist employed these images in ways both deceptive and realistic. 

The book explores how he distorted accepted interpretations of classic symbols; why he so often used words as elements of his paintings; and how he applied aspects of the theater in his works. As Magritte’s paintings have become subsumed by the very commercialism they sought to ridicule, this volume takes a fresh look at an artist whose familiarity masks an incredible gift for deception and rapier-like intellect.

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Пролистать книгу Magritte: The Treachery of Images