Книги з живопису

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.

The transformation of reality

A specifically German artistic revolution

Anxious Angles. The pioneers and masterworks of “degenerate” Expressionism

Amid a frenzy of lurid colour and distortion, discover a calm, authoritative overview of German Expressionism. From the leading collectives of Die Brücke and Der Blaue Reiter to regional schools and lesser-known artists, Dietmar Elger leads us through the protagonists and principles of this vivid 20th-century movement — its stylistic cacophony, its rage against bourgeois values, and its tussle with modern industrial reality.

German Expressionists were uneasy and angry. Emerging at the dawn of the 20th century, they railed against Christian and bourgeois values as much as rampant urban industrialization. Anti-imperialist, they were dispersed, shattered, and depleted by the horrors of the First World War, and rallied their efforts only to be officially erased by the Nazi “Degenerate Art” exhibition of 1937.

In this comprehensive TASCHEN collection, Head of the Gerhard Richter Archive Dietmar Elger gathers the many artists and elements of this urgent, scattered, complex movement into one authoritative overview of its protagonists, principles, and essential role in 20th-century modernism. Finding a critical calm amid the frenzy of colour and distortion, the book distils Expressionism’s leading collectives, Die Brücke and Der Blaue Reiter, as well as its regional characteristics across its Berlin and Munich hubs, and it's North German, Rheinland, and Viennese variants.

Along the way, we compare and contrast themes and stylistic choices as this dispersed group of artists wrestled with their modern industrial reality. We find luminous streaks from Wassily Kandinsky, and the sickly hues of Ernst Ludwig Kirchner, the futurist facets of Franz Marc, and a partial Impressionist throwback in the gaudy dabs of Emil Nolde. We walk into seedy bars with bloated old men and then enter a claustrophobic yellow room occupied by an awkwardly posed nude. We are crushed in a cacophony of city sound and smoke and then left alone with woods, a lake, and silence.

Spanning this richness and range in Expressionist output, Elger features such well-known figures as Beckmann, Kandinsky, Kirchner, Kokoschka, Nolde, Schiele, while taking care to present inadequately studied artists such as Conrad Felixmüller, Ludwig Meidner, and Marianne von Werefkin. The result is an expansive, inclusive, dependable digest of a vivid, often violent mode of expression, and the yearning and unease behind its frenzied paintwork.

The author:

Dietmar Elger studied art history, history, and literature at the University of Hamburg. In 1984/85, he was secretary of Gerhard Richter’s studio and between 1989 and 2006 curator for painting and sculpture at the Sprengel Museum, Hanover. He has organized numerous exhibitions on modern and contemporary art and has directed the Gerhard Richter Archive at the Staatliche Kunstsammlungen Dresden since 2006. For TASCHEN he has authored the volumes Expressionism, Dadaism, and Abstract Art.

Otherworldly works

This book brings together a colorful mixture of various works focusing on themes of the fantastic and surreal, starting with Böcklin’s "Toteninsel" and including Dorothea Tanning, Max Ernst, Hans Bellmer`s dolls, the Australian painter Sidney Nolan, Giger’s monsters, Cattelan’s pope, and the Chapman brothers` hybrids, as well as surreal painting from Magritte and Delvaux, the mystical and sensual work of Gustav Klimt, and Frida Kahlo`s dreamlike self-portraits.

Artists featured: Balthus, Hans Bellmer, Arnold Böcklin, Fernando Botero, Maurizio Cattelan, Jake and Dinos Chapman, Salvador Dalí, Paul Delvaux, Peter Doig, Alfred Kubin, James Ensor, Max Ernst, Ernst Fuchs, Frida Kahlo, Gustav Klimt, Joan Miró, Sidney Nolan, Odilon Redon, Dorothea Tanning, Franz von Stuck, Andrew Wyeth

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

• 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 of which is presented on a 2-page spread with a full-page image and with an interpretation of the respective work, plus a portrait and brief biography of the artist
• approximately 100 colour illustrations with explanatory captions

The author:
Walter Schurian studied psychology, sociology, and anthropology. Based in Vienna, he has been professor of psychology at Westfälische Wilhelms-Universität in Münster since 1973 and is the author and editor of numerous publications focusing mainly on Austrian contemporary art.

Посмотреть русскоязычное издание книги Fantastic Art - Фантастическое искусство

Ботеро здобув міжнародну популярність, вловлюючи химерність життя, малюючи масивні, а часом і комічні фігури. Розширеність його предметів надає фігурам абстрактного, нереального і навіть гротескного виміру. Дослідження краси й жаху, монументальні постаті Ботеро можуть бути чуттєвими, і багато з них сповнені болем і смутком.

Ця монографія представляє картини, створені за останні тридцять років і створені з використанням його власної унікальної мови, яка є відмінною рисою його творчості та надзвичайного поєднання латиноамериканської традиції та європейського живопису.

Pleasantly plump

With whimsical irony and a style reminiscent of the old masters, Fernando Botero (b.1932) began painting caricatured animals and corpulent bodies with disproportionate heads at a time when his contemporaries were fervently rejecting figurative work in favor of abstraction. More recently he has expanded into sculpture, creating delightful large-scale bronze works portraying the same sorts of voluminous figures he so loved to paint. Like the writings of Gabriel García Márquez or the music of Astor Piazzola, Botero’s work has come to represent modern Latin American culture.

About the Series:
TASCHEN portfolios feature high quality prints that beg to be framed. Tucked in each portfolio are 14 large-format reproductions, each with a brief description. Guaranteed to brighten any day, they also make great gifts for art lovers!

Flemish painting flourished from the early 15th century until the 17th century to Belgium and Holland. Flanders delivered the leading painters in Northern Europe and attracted many promising young painters from neighbouring countries. The most famous painters of the period were from Flanders and their influence went across all of Europe.

Перше велике дослідження художниці Кетрін Бредфорд, відомої своїми повністю особистими картинами плавців, купальщиків та супергероїв.

Відома своєю яскравою палітрою та ексцентричними композиціями, Кетрін Бредфорд стала відомою пізно в житті, коли її унікальний стиль живопису нарешті отримав схвалення критиків у світі мистецтва. Картини художниці населені різноманітними персонажами — від плавців до супергероїнь і, останнім часом, матерів — які є опорою та пов'язують її творчість з різними часами та засобами масової інформації. Її постаті, які часто кидають виклик суспільним очікуванням щодо жінок (та іншим гендерним нормам), таким чином служать сурогатами дорослішання матері, художниці та лесбійки на рубежі двадцять першого століття. Flying Woman: The Paintings of Katherine Bradford, що містить понад двадцять років її творчості, розглядає численні теми художниці, її постійне дослідження різних живописних стилів та її захоплення кольором протягом усього життя.

Про автора:

Хайме ДеСімон — куратор сучасного мистецтва Роберта та Елізабет Нанович у Портлендському музеї мистецтв у штаті Мен. Ненсі Прінсенталь — арт-райтерка з Нью-Йорка.

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Погортати книгу Flying Woman: The Paintings of Katherine Bradford

Concepts in space. Artworks as visual explanations of ideas

Italian artist Lucio Fontana tore apart the modern art establishment — literally. Trained initially as a sculptor, Fontana (1899-1968) blurred the lines between painting and sculpture by creating works that combined both form and color in a spatial context, most famously exemplified by his slashed canvases of the 1950s and 60s. Fontana`s work was truly conceptual, in that the ideas he wanted to express were more important than the actual work itself; with titles like Concetto Spaziale (Spatial Concept) and Scultura Spaziale (Spatial Sculpture), his pieces served as visual explanations of his ideas. From his early work in collaborating with architects through his years in Buenos Aires (where, in the mid-1940s, he published the famous "White Manifesto" and "Technical Manifesto of Spatialism," among others), his experimental light installations of the early 1950s, and his later experiments with various media, this book covers the entire career of Italy`s pioneering abstract artist.

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:
Barbara Hess (b. 1964) is an art historian, critic and translator, resident in Cologne. Her numerous articles on contemporary art have featured in Camera Austria, Flash Art, Kunst-Bulletin and Texte zur Kunst. She co-curated the touring exhibition Ready to Shoot: Fernsehgalerie Gerry Schum/videogalerie schum at the Kunsthalle Düsseldorf and the Musée d’Art Moderne de la Ville de Paris. Her TASCHEN titles include a monograph on Willem de Kooning.

Guido di Petro was born in 1387 in Tuscany, near Fiesole. While still very young, he joined the Observant Dominican order, making the vow of absolute poverty and obedience. His talent soon proved useful as he began to paint miniatures for missals and other religious books.

In 1436, along with several other friars, he moved to the convent of San Marco in Florence. There he painted frescos in the cloister and in the chapel. His move to Florence established a fundamental change for him, as he was plunged into the effervescence of a major artistic centre under the protection of Medici family – the most influential patrons of the arts of the time.

He was among the first to use the techniques of perspective proposed by Leon Battista Alberti. His method of depicting movement, as well as his use of colour and facial expressions to highlight grace and emotion, place him among the major painters of European Gothic and early Renaissance, with such brilliant works as the Annunciation, and The Last Judgement. Gentile da Fabriano may have been one of his students.

By the end of his life, he was an archpriest in Florence and died in 1455 in Rome. Called “Blessed Angelico for a long time (Vasari dates this name back to 1469), he was not officially beatified until 1984 by Pope John Paul II.

Through a series of magnificent illustrations, combined with artistic and biographical analysis, Etienne Beissel unravels the talent of this unique artist, who alone knew how to paint a Christian soul, and whom André Malraux considered to be the painter who marked the severance between the sacred art of the Middle Ages and the new art born with the Renaissance.