Книги з живопису

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

This exhibition catalog takes readers inside the world of early 16th-century Europe, where Maximilian I (1459–1519), known as the "Last Knight", helped launch the German Renaissance.

One of Maximilian’s most important legacies is the work created in his honor by some of the greatest artists of his time, most notably Albrecht Dürer. Today many of these works reside in the Albertina Museum in Vienna, and they are featured in this elegant volume.

In addition to works by Dürer, the book includes reproductions of the extraordinary "Triumphal Procession" of Albrecht Altdorfer and his workshop, and the monumental woodcut "Arch of Honor".

This book explores the artistic culture of Maximilian’s era, with numerous examples from the Albertina's own collection as well as painted portraits, exquisite illuminated manuscripts, precious sculptures, and splendid tapestries from some of the world’s leading museums. Brought together in this elegant volume, these works offer valuable insight into Maximilian’s public relations machinery.

The book also features scholarly articles devoted to Maximilian’s complex artistic projects that will become key to the literature on Emperor Maximilian and the art of his time.

An Expressionist before the term was coined, James Ensor (1860–1949) was the classic insider-outsider enigma. He knew all the right art-world figures but loathed most of them. His style lurched from the Gothic fantastical to the Christian visionary. He was a cosmopolitan trailblazer of modernism, but lived reclusively in an attic room in the resort town of Ostend.

For all his elusiveness, Ensor influenced generations of artists through his vivid often gruesome paintings, prints, and drawings. He is cited in particular for his use of dark satire and allegory, his innovative lighting, and for his interest in carnival and performance, showcased in The Entry of Christ into Brussels in 1889 as well as in his repertoire of self-portraits in which he employs masking, travesty, and role-playing to adopt such varied guises as Christ on the Cross and a gender-bending dandy.

This introduction to Ensor explores the richness and variety of his imagery through key examples of his macabre, maverick oeuvre.

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

The first retrospective look at the irreverent and boisterous artwork of painter Erik Parker

With deep roots in alternative comics, illustration, and graffiti, internationally acclaimed artist Erik Parker’s work bridges underground culture and the pop-surrealism movement. Erik Parker: Colorful Resistance presents his intense compositions, originating from word clusters, viscera-like forms, and animated figurines.

Parker’s work aggressively takes on the issues of the day through an antiauthoritarian approach to established ideologies. "[Parker’s] unpredictable forms are contained by, but also disrupt, relatively geometric framing devices whose radiating curves and bands of color bring to mind proscenium arches or movie marquees. In nearly every painting we seem to be witnessing the emergence of some extravagant freak of nature or perhaps consciousness - a hallucination of the first order." - Roberta Smith, New York Times

"Kunst ist viel mehr häßlich oder schön. Die Kusnt gestaltet das innere Leben, das unter der Oberfläche des Äußeren fließt, es ist mit Verstand und Logik überhaupt nicht faßbar. Die so gewonnene Form ist auch nie ein Abbild, sondern immer Gleichnis, das der Künstler unbewußt schafft und oft erst nach Jahren seinen Sinn versteht ..." (Ernst Ludwig Kirchner, 12.März 1929)

M.C. Escher was born in 1898 in Leeuwarden (Netherlands). He received his first drawing lessons during secondary school from F.W. van der Haagen, who also taught him the block printing, thus fostering Escher's innate graphic talents.

From 1912 to 1922 he studied at the School of Architecture and Ornamental Design in Haarlem, where he was instructed in graphic techniques by S. Jessurun de Mesquita, who greatly influenced Escher's further artistic development. Between 1922 and 1934 the artist lived and worked in Italy. Afterwards, Escher spent two years in Switzerland and five in Brussels before finally moving back to Barn in Holland, where he died in 1972.

M.C. Escher is not a surrealist drawing us into his dream world, but an architect of perfectly impossible worlds who presents the structurally unthinkable as though it were a law of nature. The resulting dimensional and perspectival illusions bring us into confrontation with the limitations of our sensory perception.