Книги по живописи

Edward Hopper, born in Nyack in 1882, remains one of the most important American painters. After studying to be an illustrator, he entered the famous New York School of Art, where he studied under the direction of Robert Henri, whose influence on Hopper’s work was fundamental, as he was the one who encouraged Hopper to paint scenes from American life. In his works, Hopper poetically expressed the solitude of man confronted to the American way of life as it developed in the 1920s. Inspired by the movies and particularly by the various camera angles and attitudes of characters, his paintings expose the alienation of mass culture. Done in cold colours and inhabited by anonymous characters, Hopper’s paintings also symbolically reflect the Great Depression. Despite his numerous trips to Europe, he remained impervious to the major trends revolutionizing painting at the time, such as cubism or surrealism. Dedicated to a very personal approach to his subjects, he modelled himself on classical painters, such as Rembrandt, Degas, or Daumier.

His paintings of gas stations, motels, and scenes from everyday life represent an aesthetic testimony to individualism, wide-open spaces, and the fundamental values of the American nation. He died in 1967, leaving behind a definitive imprint on American art.

Edward Hopper, born in Nyack in 1882, remains one of the most important American painters. After studying to be an illustrator, he entered the famous New York School of Art, where he studied under the direction of Robert Henri, whose influence on Hopper s work was fundamental, as he was the one who encouraged Hopper to paint scenes from American life. In his works, Hopper poetically expressed the solitude of man confronted to the American way of life as it developed in the 1920s. Inspired by the movies and particularly by the various camera angles and attitudes of characters, his paintings expose the alienation of mass culture. Done in cold colours and inhabited by anonymous characters, Hopper s paintings also symbolically reflect the Great Depression. Despite his numerous trips to Europe, he remained impervious to the major trends revolutionizing painting at the time, such as cubism or surrealism. Dedicated to a very personal approach to his subjects, he modelled himself on classical painters, such as Rembrandt, Degas, or Daumier. His paintings of gas stations, motels, and scenes from everyday life represent an aesthetic testimony to individualism, wide-open spaces, and the fundamental values of the American nation. He died in 1967, leaving behind a definitive imprint on American art.

Egon Schiele (1890–1918) is considered to be one of the pioneers of Austrian modernism together with Gustav Klimt and Oskar Kokoschka. Coinciding with the start of the commemoration of the centenary of his death, this volume will approach Schiele’s fascinating works from a new perspective and will also introduce a paradigm change in the interpretation of his oeuvre.

Inspiration from Schiele’s private circumstances as well as from the art of antiquity, the Byzantine period and even the age of the Baroque will help to provide the key to understanding Schiele’s pictorial allegories, which have remained enigmatic to this day. In the light of the latest Schiele research the artist will no longer be presented as the disturbingly penetrating portraitist of existential loneliness, but at the same time also as a champion of lofty ethics and passionate spirituality.

 - New approaches to the interpretation of Schiele's allegorically encoded works
 -  A unique overview of Schiele's development as a graphic artist and watercolourist
 -  To mark the centenary of Schiele's death in 2018: with works from the Albertina, complited by prestigious loans

In this comprehensive and lavish volume, a renowned authority on Egon Schiele focuses on the artist’s images of women, offering new and revelatory perspectives.

During his brief yet prolific career, Egon Schiele created hundreds of drawings, watercolours, and oil paintings of the women in his life. His work is generally regarded as expressionistic, emotional, intense, autobiographical, and highly sexual. In this elegant and beautifully illustrated book, Jane Kallir examines Schiele’s depictions of women to argue that there is more to these images than we realize.

Drawing from the latest research as well as her own exhaustive familiarity with Schiele’s entire oeuvre, Kallir explores four distinct periods, each characterized by a single figure or series of women: the artist’s mother and sisters; the often anonymous models of the "breakthrough" years, 1910–11; his lover, Wally Neuzil; and his wife, Edith, and her sister, Adele.

Weaving together historical context, biographical information, and observations of the works, Kallir demonstrates how these women relate not only to Schiele’s development but to the larger issue of feminine representation.

Kallir offers a panoply of significant insights into a central aspect of the artist’s achievement, which has never before been the subject of a focused study. Schiele’s fans will treasure this beautiful and groundbreaking addition to the literature on this important artist.

Twisted Brilliance. The 1909–1918 catalogue of Egon Schiele, as never seen before

A century after his death, Egon Schiele continues to stun with his contorted lines, distorted bodies, and eroticism. This XXL-sized book features the complete catalogue of his paintings from 1909–1918. Nearly 600 illustrations are presented, many of them newly photographed, alongside expert insights and Schiele’s personal writings in this decisive monograph.

After Egon Schiele (1890-1918) freed himself from the shadow of his mentor and role model Gustav Klimt, he had just ten years to inscribe his signature style into the annals of modernity before the Spanish flu claimed his life. Being a child prodigy quite aware of his own genius and a passionate provocateur, this didn’t prove to be too big a challenge.

His haggard, overstretched figures, drastic depiction of sexuality, and self-portraits in which he staged himself with emaciated facial expressions bordering between brilliance and madness, had none of the decorative quality of Klimt's hymns of love, sexuality, and yearning devotion. Instead, Schiele’s work spoke of a brutal honesty, one that would upset and irreversibly change Viennese society.

Although his works were later defamed as “degenerate” and for a time were almost forgotten altogether, they influenced generations of artists – from Günter Brus and Francis Bacon to Tracey Emin. Today, his then-misunderstood oeuvre continues to fetch exorbitant prices on the international art market.

Presented in a voluminous format that captures all of the intensity and emotional truth of his work, Egon Schiele. All paintings from 1909-1918 feature 221 paintings and 146 drawings that retrace the fertile last decade of Schiele’s life. With many pieces newly photographed for this edition, these works are paired with excerpts from his countless writings and poems, as well as essays introducing his life and oeuvre, to situate the Austrian master in the context of European Expressionism and trace his extraordinary legacy.

About the author:

Tobias G. Natter is an internationally acknowledged expert on art in “Vienna around 1900.” For many years he worked at the Austrian Belvedere Gallery in Vienna, latterly as head curator. He also worked as guest curator at the Tate Liverpool, the Neue Galerie New York, the Hamburger Kunsthalle, the Schirn in Frankfurt am Main, and the Jewish Museum in Vienna. From 2006 to 2011, he directed the Vorarlberg Museum in Bregenz, and from 2011 to 2013 was director of the Leopold Museum in Vienna. In 2014 he founded Natter Fine Arts, which specializes in assessing works of art and developing exhibition concepts. He is the author of TASCHEN’s Gustav Klimt. Complete Paintings, Art for All. The Colour Woodcut in Vienna around 1900 and Egon Schiele. The Complete Paintings 1909–1918.

Twisted Brilliance. The definitive 1909–18 catalogue of Egon Schiele

After Egon Schiele (1890–1918) freed himself from the shadow of his mentor and role model Gustav Klimt, he had just ten years to inscribe his signature style into the annals of modernity before the Spanish flu claimed his life. Being a child prodigy quite aware of his own genius and a passionate provocateur, this didn’t prove to be too big a challenge.

His haggard, overstretched figures, drastic depiction of sexuality, and self-portraits in which he staged himself with emaciated facial expressions bordering between brilliance and madness had none of the decorative quality of Klimt’s hymns of love, eroticism, and yearning devotion. Instead, Schiele’s work spoke of a brutal honesty, one that would upset and irreversibly change Viennese society.

Although his works were later defamed as “degenerate” and for a time were almost forgotten altogether, they influenced generations of artists — from Günter Brus and Francis Bacon to Tracey Emin. Today, his formerly misunderstood oeuvre continues to fetch exorbitant prices on the international art market.

Derived from the best-selling XXL edition for which many works were newly photographed, this definitive book retraces the fertile last decade of Schiele’s life in nearly 600 illustrations. The 221 paintings and 146 drawings are accompanied by excerpts from Schiele’s countless writings and poems, as well as essays introducing his life and oeuvre, to situate the Austrian master in the context of European Expressionism and trace his extraordinary legacy.

The editor:

Tobias G. Natter is an internationally acknowledged expert on art in “Vienna around 1900.” For many years he worked at the Austrian Belvedere Gallery in Vienna, latterly as head curator. He also worked as guest curator at the Tate Liverpool, the Neue Galerie New York, the Hamburger Kunsthalle, the Schirn in Frankfurt am Main, and the Jewish Museum in Vienna. From 2006 to 2011, he directed the Vorarlberg Museum in Bregenz, and from 2011 to 2013 was director of the Leopold Museum in Vienna. In 2014 he founded Natter Fine Arts, which specializes in assessing works of art and developing exhibition concepts. He is the author of TASCHEN’s Gustav Klimt. Complete Paintings, Art for All. The Colour Woodcut in Vienna around 1900 and Egon Schiele. The Complete Paintings 1909–1918.

Featuring over 140 masterpieces, this new book draws on the unsurpassed Schiele collection of Vienna’s Leopold Museum

This book gathers some 140 paintings, watercolors and drawings by Egon Schiele from the Leopold Museum in Vienna, which famously possesses the world’s most comprehensive and eminent collection of works by this most beloved of modern artists. It covers all periods of Schiele’s oeuvre, with examples of his earliest creations, his renowned Expressionist period and the work created shortly before his untimely death. Among the classic Schiele paintings housed in the collection are the Seated Male Nude (a self-portrait) of 1910 and The Hermits of 1912 (probably depicting Schiele with Gustav Klimt). Cityscapes constitute another emphasis in Schiele’s oeuvre as well as landscapes including Houses by the Sea. Throughout the book, numerous full-page illustrations afford exceptional insight into Schiele’s genius for line and colour.

Essays by Elisabeth Leopold, Rudolf Leopold, Franz Smola and Birgit Summerauer outline the milieu and career of this provocative artist but also highlight Schiele’s place among the great masters of the 20th century.

Austrian painter Egon Schiele was a gifted artist, mentored by the great Gustav Klimt. 

Inspired by the human form, he is best known for his figurative works, particularly of women, with their defiantly confrontational air and their bold contortions. Schiele’s nudes are shockingly direct in the way they face us: frank, unabashed and defiant in their gaze. To be as resolutely transgressive as Schiele is an artistic achievement in itself. 

Egon Schiele Masterpieces of Art features a fascinating introduction to the life and art of this talented artist, as well as showcasing his key portraits, nudes, landscapes and still lifes in all their glory.

Treasures from the ancient land of the Pharaohs

The art of ancient Egypt that has been handed down to us bears no names of its creators, and yet we value the creations of these unknown masters no less than the works of later centuries, such as statues by Michelangelo or the paintings by Leonardo da Vinci. The present volume introduces a series of such masterpieces, ranging from the Old Kingdom, or the 3rd millennium B.C., to the Late Period in the 9th century B.C. The works in question are sculptures, reliefs, sarcophagi, murals, masks, and decorative items, most of them now in the Egyptian Museum in Cairo, but some occupying places of honor as part of the world cultural heritage in museums such as the Louvre in Paris, the British Museum in London, the Egyptian Museum in Berlin and the Metropolitan Museum in New York.

Featured works include: Seated statue of King Djoser, wood relief of Hesire on a dining table, the statue of a scribe made of various materials, funerary relief of Aschait, a Sphinx of Sesostris III, a robed statue of Cherihotep, reliefs from the Temple at Carnac, sarcophagus of Queen Hatshepsut, murals from Thebes, seated figure of the goddess Sachmet, precious statue of Queen Teje, head of Akhenaten (Amenophis IV), Queen Nefertiti, golden mask of Tutankhamun , Ramses II from Abu Simbel, Horus-falcon made of granite, stone relief on the temple ambulatory at Edfu

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

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

Посмотреть русскоязычное издание книги Egypt Art - Искусство Древнего Египта

A painter ahead of his time

Cretan-born painter Domenikos Theotokopoulos, better known by his Spanish nickname, El Greco (c.1541-1614), studied under Titian in Venice before settling down in Toledo. Commissioned by the church and local nobility, El Greco produced dramatic paintings marked by distorted figures and vibrant color contrasted with subtle grays. Though his work was appreciated by his contemporaries, especially intellectuals, it wasn’t until the 20th century that it was widely embraced and admired, influencing in particular the Expressionist and Cubist movements.

About the Series:
Each book in TASCHEN’s Basic Art Series features:

• a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance
• a concise biography
• approximately 100 colour illustrations with explanatory captions

The author:
Michael Scholz-Hänsel studied art history, history, theatre studies, and Hispanic studies in Berlin and Hamburg, earning his doctorate in 1984. He has taught at Leipzig University since 2002 and has published widely, especially on topics relating to the Hispanic world. His research focuses on cross-cultural influences in the Mediterranean area, for example in the work of El Greco and Jusepe de Ribera.

Посмотреть русскоязычное издание книги El Greco - Эль Греко

A prophet of modernism

Strong colors and sinuous figures

El Greco (1541–1614) was born Doménikos Theotokópoulos in Crete in 1541. He arrived in Venice in 1566, where his work was greatly influenced by Titian and Tintoretto. However when he made an offer to the Pope to paint over Michelangelo’s Last Judgement in the spirit of the Counter Reformation, he incurred the wrath of Roman artists to such an extent that a career in Italy was no longer conceivable. El Greco settled in Spain, in Toledo, where he received numerous commissions from the Church and the nobility. Between 1586 and 1588 he created one of the great works of European painting, the monumental Burial of the Count of Orgaz for a chapel altar in the parish church of Santo Tomé in Toledo. El Greco confined his palette to a small number of very expressively used shades, with an evident preference for pale purple, pink, and yellow and greyish tones. He located the iconographical events in a space that he dramatized by means of light and atmospheric phenomena. His œuvre had a wide-ranging impact on art up to and including modern 20th-century painting. Paul Cézanne and later Picasso and the Expressionists regarded El Greco as a prophet of modernism. A prophet of modernism

About the Series:
Each book in TASCHEN’s Basic Art series features:
a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance
a concise biography
approximately 100 illustrations with explanatory captions

To his contemporaries in late 16th-century Venice, El Greco (1541­–1614) was a contrary fellow, an innate artist blessed with extraordinary talent, but stubborn in the pursuit of his own path. Throughout his career, as he progressed from Crete to Venice, to Rome and ultimately Toledo, Spain, “The Greek” stood apart from his peers, merging different Western art traditions to create a unique pictorial language.

El Greco’s single-minded style rejected naturalism and rejected accessibility. Works such as The Disrobing of Christ (1577–79), The Burial of the Count of Orgaz (1586–88), and The Vision of St John (1608–14) reveal elongated, twisted figures; unreal colours; and an experimental rendering of space — all resistant to easy viewing and intent, instead, on an art of epic grandeur and intellectual beauty.

Frequently regarded with suspicion and criticism during his lifetime, El Greco was revived by a troop of ardent modern admirers, including Pablo Picasso, Roger Fry, and Der Blaue Reiter pioneer Franz Marc. Today, the artist belongs to the privileged group of great old master painters, as much an anomaly of his age, as a reference point across the centuries.

This essential introduction from TASCHEN Basic Art 2.0 explores the influences and the ingredients of El Greco’s radical and singular vision, from the symbolic world of Byzantine icons and the humanistic values of the Renaissance to the nascent beginnings of conceptual practice.

About the series:

Each book in TASCHEN's Basic Art series features:

- a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance
- a concise biography
- approximately 100 illustrations with explanatory captions

Catalogue on the sensational exhibition featuring about 40 of El Greco’s works

The sensational oeuvre of El Greco (1541-1614) was first introduced to a broader German audience in 1910 through Julius Meier-Graefe’s journal, The Spanish Journey. Numerous artists subsequently caught “Greco fever” when they first saw larger groups of his works in exhibitions in Munich in 1911 and Düsseldorf in 1912. Max Beckmann, Oskar Kokoschka, Max Oppenheimer, Ludwig Meidner, and especially members of the Blaue Reiter - August Macke, Franz Marc, Albert Bloch, and others - recognized in El Greco a father figure for the Modernist movement, mentioning him in the same breath as Paul Cézanne.

This volume presents a general selection of over forty paintings by El Greco from the most famous museums around the world. At the same time, the young artists’ exploration of the paintings and visual spheres of the exceptional Spanish painter are discussed, opening up a fascinating view of the battle for Modernism.

The paintings of Willem van Aelst (1627–1683) are known for their fine finish, innovative compositions, sumptuous subject matter, and rich, jewel-toned palette. Published on the occasion of an unprecedented traveling exhibition, this book celebrates Van Aelst’s achievements and his significant impact on Dutch still-life painting. 

Van Aelst masterfully depicted arrangements of fresh fruit and flowers, displays of dead game, and evocations of the forest floor, as well as elegant objects such as nautilus cups, distinctive silver vessels, and Venetian glassware. This book features twenty-five paintings from throughout his career. Catalog entries and a biographical essay are provided by Tanya Paul, James Clifton writes about the Medici court, Julie Berger Hochstrasser analyzes Van Aelst’s choice of subject matter, Arthur K. Wheelock Jr. discusses Van Aelst’s time in Amsterdam, and a team of conservators reveals his technical process.

About the Author

Tanya Paul is the Ruth G. Hardman Curator of European Art at the Philbrook Museum of Art, in Tulsa, Oklahoma. James Clifton is director of the Sarah Campbell Blaffer Foundation and curator of Renaissance and Baroque painting at the Museum of Fine Arts, Houston. Julie Berger Hochstrasser is associate professor of art history at the University of Iowa. Arthur K. Wheelock Jr., is curator of Dutch and Flemish paintings at the National Gallery of Art, Washington, D.C.

Although Emil Nolde is famous for his dramatic ocean views and colorful flower gardens, his love of the fantastical and grotesque has received less attention to date. Yet, it is clear from his autobiography and many letters that they had a significant impact on his artistic work. Besides his first oil painting, the Bergriesen (Mountain giants, 1895/96), his alpine postcards from before 1900 also display his fascination with the imaginary: here, the Swiss mountains appear as bizarre human physiognomies. His turning away from reality in favor of a grotesque, alternative world can be seen throughout his oeuvre, from its beginnings, to the Grotesken (1905) and watercolors from 1918/1919, to the years when he was forbidden to practice his profession under the Nazis.

The exhibition catalogue, which presents works of art never before shown, is also the first to discover a fascinating side of the great painter and water colorist.Exhibition: 30.4.-9.7.2017, Internationale Tage Ingelheim at Museum Wiesbaden; 23.7.-15.10.2017, Buchheim Museum der Phantasie, Bernried am Starnberger See