Книги з живопису

A visual exploration of the Impressionists’ love affair with the new thinking about garden design that swept 19th-century France

From Manet's earliest depictions of the Tuileries Gardens in Paris to Monet's late waterlilies painted at Giverny, the Impressionists' love affair with gardens has left an exhilarating legacy. As places of rest, relaxtion, beauty and leisure, indeed, they were the Impressionist subject par excellence, offering all the evanescent beauty of colour and light that these artists loved. But what meanings might lie underneath the surface of their works?

This book explores the Impressionist's fascination with gardens, parks and flowers in the context of the 'great horticultural movement' and of the changing political and cultural landscape in France. Drawing on sources such as gardening journals, well-known novels by Zola and Flaubert, poetry by Baudelaire, and the artists' personal letters, it describes how gardens were central to the Impressionists' discovery of their distinctive plein-air (out-of-doors) style, and how they influenced the artists as spaces which were at the same time both 'modern' and imbued with nostalgia. It also brings to life the enchanting tradition of floral symbolism in 19th-century France, and explores - for the first time ever - how this infiltrated the work of key Impressionists such as Monet. A final chapter covers the spread of Impressionist garden painting outside France, exploring the exciting developments in Britain, Germany, North America and Japan.

With its new discoveries about familiar works by Manet, Renoir, Degas, Monet and Pissarro, thorough coverage of less familiar Impressionists such as Bazille, Caillebotte and Guillaumin, and spectacular illustrations, including period photographs, engravings from journals and cartoons, as well as paintings and drawings, this book will appeal equally to the scholar, student, art lover or gardening enthusiast.

Contents List:
1. Flowers of Tradition
2. Horticulture and Pleinairisme
3. Private Gardens in Early Impressionism
4. Painting the Parisian ‘Bouquet’
5. Sunshine, Shadows and Sanctuary
6. The Social Garden
7. The Working Garden
8. Cultivating Inspiration
9. The Impressionist Garden Beyond France

Isaak Levitan (1860-1900) was born into a poor Jewish family in Lithuania and was able to enrol at the Moscow School of Painting in 1873. He made rapid progress, the great merchant collector Pavel Tretyakov buying one of his paintings when he was only nineteen. In 1886 Levitan sketched in the Crimea and from 1887 he spent several summers painting in the Volga region. These years saw the development of his great friendship with the future playwright Anton Chekhov and the creation of his first 'mood landscapes'. Levitan travelled extensively, if briefly, in Europe, visiting Berlin, Paris, the Riviera, Italy, Switzerland, Munich and Vienna. He was thus, unlike many of his contemporaries, well aware of artistic trends in the west, his experience of European art adding to the breadth of his vision. In both his joyful commemorations of the Russian spring and his quiet scenes of fields and forests, lakes and rivers, often seen at twilight, Levitan employed simple, well-loved motifs of the Russian countryside, an expressive brushwork and a subtle tonality. His work was greatly admired by Diaghilev, the revolutionary theatre manager Stanislavsky and the great operatic singer Chaliapin. Towards the end of his short life Levitan, exhibiting with the Wanderers (the Russian association for travelling exhibitions) and the Munich Secession, was responsible for revitalising the teaching of landscape in Moscow. This revised edition of the author's Isaak Levitan Lyrical Landscape (2004 and 2006), also focuses on Levitan's still lifes, portraits and cityscapes. The creative thinking behind some of his most outstanding works is explored and certain parallels are drawn with the landscapes of Monet, who, while Levitan painted on the shores of the Volga, lived and worked near the river Seine. AUTHOR: Averil King is an independent art historian with a particular interest in the art of the late nineteenth and early twentieth centuries. Her previously published books are Isaak Levitan Lyrical Landscape, 2004, re-issued 2006, Newlyn Flowers: the Floral Art of Dod Procter, RA, 2005 (both Philip Wilson Publishers), and Paula Modersohn-Becker, 2009 (Antique Collectors' Club).

The delicate splendour and fairytale beauty of Islamic art

The art which arose from the 7th century in the Islamic empires reached from Spain and Morocco to the borders of China. It bore the stamp above all of Arabs, Persians and Turks, but outstanding contributions also came from Egypt and India. "Islamic Art" presents prominent examples: luxury ceramics, prayer mats, goldsmithery, as well as witnesses to the decorative arts and calligraphy – and above all the masterpieces of the splendidly colourful courtly book illumination of Persia and the Mughal emperors of India. The book examines the contributions of the different countries and how they influenced each other, and in this way vividly illustrates the unfolding of the delicate splendour and fairytale beauty of Islamic art from its beginnings into the modern era.

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:
Annette Hagedorn studied the history of oriental art, German literature, and art history at the universities of Bonn and Mainz. She has held part-time teaching posts at the universities of Bonn, Mainz and Utrecht. In 1991 she was awarded the Alice-Boner-Memorial Prize from the Alice Boner Foundation in Zurich for her dissertation on Islamic metalwork in the 13th and 14th centuries. Since 2000 she has been co-editor, responsible for art history and archaeology, of the journal Zeitschrift der Deutschen Morgenländischen Gesellschaft.

Italian Frescoes: The Age of Giotto представляє двадцять два видатних цикли фресок. Створені наприкінці тринадцятого та на початку чотирнадцятого століть, ці цикли встановлюють нові стандарти живопису та інноваційного бачення людини, прокладаючи шлях до монументальних досягнень епохи Відродження. Саме в цей час фресковий живопис замовляли не лише для церков і каплиць, але й для таких світських місць, як ратуші та королівські резиденції з гуманістичними, окрім релігійних тем. Цикли фресок, представлені тут, включають блискучі роботи Джотто в Ассізі, Падуї та Флоренції; драматичні картини Чімабуе, якого вважали вчителем Джотто; П'єтро Кавілліні в Римі; а також сієнські художники Сімоне Мартіні та П’єтро та Амброджо Лоренцетті — усі ці роботи досі можна побачити на стінах і стелях палаців і церков по всій Італії від Венето до Риму.

Автори описують та ілюструють такі відомі місця, як церква Святого Франциска в Ассізі, каплиця Скровеньї в Падуї, Громадський палац у Сієні та папська капела Sancta Sanctorum у Римі. Кожен із двадцяти двох розділів стислий і авторитетний, пропонує описовий і тлумачний нарис про всі аспекти фрескового живопису, охоплюючи художників та їхніх меценатів у контексті їх культурної та політичної історії. Кожне есе завершується схемою об’єкта, за якою йде серія повносторінкових і двосторінкових кольорових табличок, що показують увесь цикл, багато з яких відтворено з нових фотографій нещодавно відреставрованих фресок.

Досі жоден видавець не намагався зібрати разом і задокументувати всі важливі фрескові цикли італійського мистецтва від кінця тринадцятого до сімнадцятого століть. Незважаючи на те, що цей том є попередником попередніх книг, «Італійські фрески: епоха Джотто» цілком можна назвати шедевром мистецтва та науки, який буде вітатися як істориками мистецтва, так і любителями мистецтва.

П’ятий і останній том єдиного в сучасності комплексного огляду збережених італійських фресок епохи бароко, 1600–1800 років, ця новаторська робота є досягненням у науковій та видавничій сферах такого ж масштабу, як «Мистецтво Флоренції» Аббевіля та «Мистецтво та дух Парижа».

Після успіху попередніх томів із цієї надзвичайної серії «Італійські фрески» — The Age of Giotto, The Early Renaissance, The Flowering of the Renaissance, та The High Renaissance and Mannerism — це нове видання містить двадцять п’ять циклів фресок, кожен з яких є значним досягненням в історії мистецтва.Представлені цикли фресок включають блискучі роботи Доменікіно, Себастьяно Річчі, Гверчіно та Тьєполо, усі вони досі помітні на стінах і стелях палаців і церков по всій Італії від Венеції до Неаполя.

Автори представляють такі знамениті місця, як палац Барберіні в Римі та палац Пітті у Флоренції, а також менш відомі дорогоцінні камені. Кожен із розділів є стислим і авторитетним, пропонує описовий та інтерпретаційний нарис про всі аспекти циклу фресок, охоплюючи художників та їхніх меценатів у контексті їхньої культурної та політичної історії. Кожне есе завершується схемою об’єкта, за якою йде серія повносторінкових і двосторінкових кольорових табличок, що показують увесь цикл, багато з яких відтворено з нових фотографій нещодавно відреставрованих фресок.

Дотепер жоден видавець не намагався зібрати разом і задокументувати всі важливі фрескові цикли італійського мистецтва від кінця тринадцятого до вісімнадцятого століття. Незважаючи на те, що цей том є продовженням попередніх книг, «Італійські фрески: епоха бароко», безумовно, є неймовірною скарбницею мистецтва та наукових досліджень, яку охоче збиратимуть історики мистецтва та любителі мистецтва.

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Italian Frescoes: The Baroque Era містить двадцять п’ять циклів фресок, кожен з яких є значним досягненням в історії мистецтва. Представлені фрескові цикли включають блискучі роботи Доменікіно, Себастьяно Річчі, Гверчіно та Тьєполо — усі вони досі помітні на стінах і стелях палаців і церков по всій Італії від Венеції до Неаполя.

Автори представляють такі знамениті місця, як палац Барберіні в Римі та палац Пітті у Флоренції, а також менш відомі дорогоцінні камені. Кожен із розділів є стислим і авторитетним, пропонує описовий та інтерпретаційний нарис про всі аспекти циклу фресок, охоплюючи художників та їхніх меценатів у контексті їхньої культурної та політичної історії. Кожне есе завершується схемою об’єкта, за якою йде серія повносторінкових і двосторінкових кольорових табличок, що показують увесь цикл, багато з яких відтворено з нових фотографій нещодавно відреставрованих фресок.

Дотепер жоден видавець не намагався зібрати разом і задокументувати всі важливі фрескові цикли італійського мистецтва від кінця тринадцятого до вісімнадцятого століття. Незважаючи на те, що цей том є продовженням попередніх книг, Italian Frescoes: The Baroque Era, безумовно, є неймовірною скарбницею мистецтва та наукових досліджень, яку охоче збиратимуть історики мистецтва та любителі мистецтва.

Деякі італійські фрескові цикли, зокрема капела Бранкаччі у Флоренції Мазаччо, Мазоліно та Філіппіно Ліппі, добре відомі. Інші, такі як робота П’єро делла Франческа в Ареццо та капела волхвів Беноццо Гоццоліса у Флоренції, були відтворені незліченну кількість разів. Проте жоден видавець — дотепер — не намагався зібрати разом і задокументувати на великих фотографіях основні цикли фресок раннього італійського Відродження. Список робіт охоплює регіони Італії, від гірських районів Альп до Апулії, з акцентом на Тоскані та Флоренції, мистецькому центрі, який дав життя Ренесансу.

Italian Frescoes: The Early Renaissance відкривається стислим вступним текстом, у якому обговорюються різні аспекти фрескового живопису п’ятнадцятого століття: художники, меценатство, культурні та історичні умови, технічні методи та питання місцевої традиції. У центральному розділі книги розглядається двадцять один цикл фресок, кожен з яких є найкращим досягненням у цій галузі. Описовий та інтерпретаційний нарис представляє кожен цикл і супроводжується серією повносторінкових і двосторінкових кольорових табличок (багато з них – нові фотографії нещодавно відреставрованих фресок), які охоплюють всю роботу. Цей парад барвистих шедеврів у поєднанні з авторитетним текстом Штеффі Реттгенс утворює блискучий том, який буде цінуватися як науковцями, так і шанувальниками мистецтва.

The artists of the renaissance were the first to use the term "Gothic", clearly intended in a derogatory way in reference to the style initialy known as opus francigenum, meaning "made in French style": the term was used as a synonymum for "barbarian" by those who considered themselves to be the upholders of the aesthetic and technical perfection of the classical era.

In December 2003 the painter Jack Vettriano, a coalminer's son, met his parents off the train from Scotland on his way to collect an OBE. Over the last few years Vettriano has had a meteoric rise to fame -- emerging from the unlikely background of the Scottish coalfields, unknown and untutored, he has become Scotland's most successful and controversial contemporary artist. Appearing on posters and cards, mugs and umbrellas, prints of his work outsell Van Gogh, Dali and Monet and his paintings have been acquired by celebrities around the world.

'The Singing Butler', Britain's most reproduced painting, fetched a record GBP744,800 at auction on April 2004.

Vettriano's images have an often mysterious narrative and are a gateway to an alluring yet sinister world. Daylight scenes of heady optimism, painted against backdrops of beaches and racetracks, are counterbalanced by more disquieting canvases of complex night-time liaisons in bars and clubs, bedrooms and ballrooms. Both sexes are clearly styled -- the men hard-edged and mysterious, the women seductive and enigmatic. Yet beneath the confident posturing, Vettriano recognizes our inherent human frailty, that there is no victor in the struggle between duplicity and desire. Men and women are ultimately trapped by the machinations of intense love and passion with little control over their destiny.

'Jack Vettriano: A Life' presents about thirty new images, as well as some recently surfaced works, plus the best of the paintings previously published in 'Lovers and Other Strangers' and 'Fallen Angels', also by Pavilion.

In December 2003 the painter Jack Vettriano, a coalminer's son, met his parents off the train from Scotland on his way to collect an OBE. Over the last few years Vettriano has had a meteoric rise to fame -- emerging from the unlikely background of the Scottish coalfields, unknown and untutored, he has become Scotland's most successful and controversial contemporary artist. Appearing on posters and cards, mugs and umbrellas, prints of his work outsell Van Gogh, Dali and Monet and his paintings have been acquired by celebrities around the world.

'The Singing Butler', Britain's most reproduced painting, fetched a record GBP744,800 at auction on April 2004.

Vettriano's images have an often mysterious narrative and are a gateway to an alluring yet sinister world. Daylight scenes of heady optimism, painted against backdrops of beaches and racetracks, are counterbalanced by more disquieting canvases of complex night-time liaisons in bars and clubs, bedrooms and ballrooms. Both sexes are clearly styled -- the men hard-edged and mysterious, the women seductive and enigmatic. Yet beneath the confident posturing, Vettriano recognizes our inherent human frailty, that there is no victor in the struggle between duplicity and desire. Men and women are ultimately trapped by the machinations of intense love and passion with little control over their destiny.

'Jack Vettriano: A Life' presents about thirty new images, as well as some recently surfaced works, plus the best of the paintings previously published in 'Lovers and Other Strangers' and 'Fallen Angels', also by Pavilion. In March 2004 Melvin Bragg's The South Bank Show broadcast a programme dedicated to Jack entitled Jack Vettriano: The People's Painter.
Now reissued in smaller user-friendly format.

Jack Vettriano was born in Scotland in 1954. He left school at fifteen, became an apprentice mechanical engineer the following year and worked for five years in the Fife coalfields. He began painting in his spare time at the age of 21. In 1989 he submitted two paintings to the Royal Scottish Academy annual exhibition: both pieces were accepted, hung and sold. This exposure led to his first solo exhibition in 1992 - since then he has had exhibitions in London, South Africa and Hong Kong. He has been featured in many radio programmes, including The Usual Suspects, Home Truths, Postscript and Midweek on Radio 4. His work was featured in BBC 2's coverage of the 1995 Edinburgh Festival, Edinburgh Nights.

A tragic icon of Abstract Expressionism, Jackson Pollock (1912-1956) took influences from Picasso and Mexican surrealism and developed his own way of seeing, interpreting, and expressing. Though his name inevitably conjures up images of the drip paintings for which he is most famous, this technique was only developed midway through his career. The progression from his earlier work to his final "action" paintings - a veritable revolution of painting as a concept - reveals the genius of this tortured artist whom many call the greatest modern American painter.

About the Series:
Every book in TASCHEN's Basic Art Series features:
* a detailed chronological summary of the artist's life and work, covering the cultural and historical importance of the artist
* approximately 100 color illustrations with explanatory captions
* a concise biography

Jackson Pollock (1912–1956) was a major figure in the abstract expressionist movement and the most influential American painter of the twentieth century. Although he died at the age of 44, he left an unsurpassed body of work.Throughout his life, Pollock wrote very little about his own art or that of others. Nevertheless, in the few writings we do have, and in a few unpublished, undated notes – all of which are gathered together in this volume – the themes are remarkably similar. After acknowledging his initial debt to the Native American sand painters, who gave him the idea for putting the canvas on the floor and working it “in the round”, Pollock routinely referred to his interest in the unconscious as the source of modern art, as it enabled the direct expression of an “inner world,” of individual feeling and experience of the modern age. Moreover, it is clear from his statements that Pollock himself was open to the possibility of such a subjective approach to painting as an international enterprise. He never suggested that the modern world, characterized, in his words, by “the airplane, the atom bomb, the radio,” and which the modern artist had the responsibility to express, was specifically American, but rather that these were features of modern life in a much broader sense. In her in-depth essay, Nancy Jachec sketches an accurate profile of the artist and takes a closer look at his work, as well as detailing the enormous number of studies on the artist.

Woodblock Wonders. A visual history of 200 Japanese masterpieces

The Japanese woodblock print is a phenomenon with no Western equivalent, one where breathtaking landscapes exist alongside blush-inducing erotica; where demons and otherworldly creatures torment the living; and where sumo wrestlers, kabuki actors, and courtesans are rock stars. This XXL book lifts the veil on a much-loved but little-understood art, revealing the stories and people behind the 200 most exceptional prints from 1680–1938. Drawing from the finest impressions in museums and private collections around the world, it features the work of 89 artists as well as 17 fold-outs.

From Edouard Manet’s portrait of naturalist writer Émile Zola sitting among his Japanese art finds to Van Gogh’s meticulous copies of the Hiroshige prints he devotedly collected, 19th-century pioneers of European modernism made no secret of their love of Japanese art. In all its sensuality, freedom, and effervescence, the woodblock print is single-handedly credited with the wave of japonaiserie that first enthralled France and, later, all of Europe — but often remains misunderstood as an “exotic” artifact that helped inspire Western creativity.

The fact is that the Japanese woodblock print is a phenomenon of which there exists no Western equivalent. Some of the most disruptive ideas in modern art — including, as Karl Marx put it, that “all that is solid melts into air” — were invented in Japan in the 1700s and expressed like never before in the designs of such masters as Hokusai, Utamaro, and Hiroshige in the early 19th century.

This book lifts the veil on a much-loved but little-understood art form by presenting the 200 most exceptional Japanese woodblock prints in their historical context. Ranging from the 17th-century development of decadent ukiyo-e, or “pictures of the floating world,” to the decline and later resurgence of prints in the early 20th century, the images collected in this edition make up an unmatched record not only of a unique genre in art history, but also of the shifting mores and cultural development of Japan.

From mystical mountains to snowy passes, samurai swordsmen to sex workers in shop windows, each piece is explored as a work of art in its own right, revealing the stories and people behind the motifs. We discover the four pillars of the woodblock print — beauties, actors, landscapes, and bird-and-flower compositions — alongside depictions of sumo wrestlers, kabuki actors, or enticing courtesans — rock stars who populated the “floating world” and whose fan bases fueled the frenzied production of woodblock prints. We delve into the horrifying and the obscure in prints where demons, ghosts, man-eaters, and otherworldly creatures torment the living —stunning images that continue to influence Japanese manga, film, and video games to this day. We witness how, in their incredible breadth, from everyday scenes to erotica, the martial to the mythological, these works are united by the technical mastery and infallible eye of their creators and how, with tremendous ingenuity and tongue-in-cheek wit, publishers and artists alike fought to circumvent government censorship.

Three years in the making, this XXL edition presents reproductions of the finest extant impressions from the vaults of museums and private collections across the globe — many newly photographed, especially for this project. Some 17 stunning fold-outs invite us to study even the subtlest details, while extensive descriptions guide us through this frantic period in Japanese art history.

Features:

- The work of 89 artists, from the world-renowned to the unfamiliar
- 7 chapters organized chronologically to trace the history of the medium from 1680 to 1938
- 17 fold-outs, which had to be hand-folded due to their size and specifications
- Exclusive reproductions from museums and private collections
- An appendix listing all artists and works

The author:

Andreas Marks studied East Asian art history at the University of Bonn and obtained his PhD in Japanese studies from Leiden University with a thesis on 19th-century actor prints. From 2008 to 2013 he was director and chief curator of the Clark Center for Japanese Art in Hanford, California, and since 2013 has been the Mary Griggs Burke Curator of Japanese and Korean Art, head of the Department of Japanese and Korean Art, and director of the Clark Center for Japanese Art at the Minneapolis Institute of Art.

Japan's impact on Western art was as immediate and almost as cataclysmic as the influence of the West on Japanese life. After Commodore Perry opened Japan's door to the outside world in 1858, a wealth of visual information from the Japanese traditions of ceramics, metalwork and architecture, as well as printmaking and painting, reached the West and brought electrifying new ideas on composition, colour and design. This is a study of how Japanese ideas have inspired artists such as Monet, Degas, Whistler and Van Gogh. Japanese conventions of symbolism underlie the use of decorative motifs in European symbolism and art nouveau, and the Zen idea of spontaneity is the ultimate source of both the apparently capricious shapes of art nouveau ware and the development of an abstract "calligraphy" in abstract expressionism.

From his early years spray painting the walls of lower Manhattan to his first solo show in 1982 and his untimely death at the age of 27 in 1988, Jean-Michel Basquiat has become a symbol of the 1980s New York art scene

Now, more than a quarter-century since his death, this book considers Basquiat’s works in light of their transformative power. Exquisitely reproduced full-page color illustrations of his paintings cover the full thematic range of Basquiat’s work. From the autobiographical elements of "Untitled" (1981) and the powerful critique of racial justice that is "Irony of a Negro Policeman" to an exploration of black heroes, "Untitled" (1982) and the tongue-in-cheek social commentary of "A Panel of Experts", Basquiat’s limitless palette of observation, criticism, and cultural references endows his art with lasting and provocative power. Author Dieter Buchhart explores how Basquiat’s success paved the way for an entire generation of black artists and how street culture has spread into popular culture. Texts by curators, art dealers, and cultural critics discuss the significance of Basquiat’s oeuvre and show how his approach and subject matter continue to influence artists around the world.

This book is published by DelMonico Books in association with the Art Gallery of Ontario, Toronto.