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Twisted Brilliance. Obsessive, radical, disturbing: Egon Schiele

With his revolutionary and liberated view of the naked body and sexuality, Egon Schiele emphatically wrote himself into the history of art at the beginning of the last century. Even today, the women and self-portraits painted by the enfant terrible of the Viennese modern age still have an exciting and bold effect. They were all created during the last decade of his short life.

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, extreme 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.

This monograph, first published in an XL edition, is now available in a slightly abridged, more compact edition to celebrate TASCHEN’s 40th anniversary and features the paintings and drawings that retrace the fertile last decade of Schiele’s life. These works are accompanied by essays introducing his life and oeuvre, situating the Austrian master in the context of European Expressionism and charting his extraordinary legac

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.

About the series:

TASCHEN is 40! Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible publishing, helping bookworms around the world curate their own library of art, anthropology, and aphrodisia at an unbeatable price. Today we celebrate 40 years of incredible books by staying true to our company credo. The 40 series presents new editions of some of the stars of our program — now more compact, friendly in price, and still realized with the same commitment to impeccable production.

This volume assembles the Expressionist master draughtsman's works on paper for the first time.

Apart from his few hundred paintings, Schiele created nearly 3,000 drawings and watercolours, but limited access to these fragile works has made a comprehensive survey of his work a rarity. Here then is a unique opportunity to study his astonishing artistic development over the 12 years of his brief career.

Jane Kallir, the author of Schiele’s catalogue raisonné, introduces each year of the artist’s output, discussing his step-by-step progression from child prodigy to master of the human form and expression.

Egon Schiele (1890-1918) was one of the greatest artists of the twentieth century.

A superb draftsman and colourist, he produced images of startling emotional power. Following the lead of his mentor, Gustav Klimt, Schiele created figurative works of uncanny intimacy and brought a new openness to the art of his time. Schiele's premature death at the age of 28 has added a mythic quality to his artistic achievements. Egon Schiele: Portraits focuses on five groupings of the artist's work: family and academy, fellow artists, sitters and patrons, lovers and allegory. In addition, it features a special section on a traumatic and pivotal period in Schiele's life: his arrest and imprisonment during the summer of 1912. Documenting the artist's changing style, both pre- and post-imprisonment, the book features many key works that have been assembled for this exhibition from both American and European museums and private collections.

About the Author:

Alessandra Comini is University Distinguished Professor of Art History Emerita at Southern Methodist University and a specialist in the work of Egon Schiele.

A joyful and celebratory gift book devoted to the work of the much-loved English artist Eric Ravilious (1903–1942) and the influence of natural forms and themes in his work.

Eric Ravilious was a designer, painter, printmaker and illustrator best known for his depictions of the English landscape, particularly the South Downs. Often described as a particularly ‘English’ artist, key to his style was an ability to convey in watercolour the mild vagaries of the British climate. His engagement with nature, though romantic rather than precise, pervades his works in many different techniques. This book explores his appreciation of the natural world and the techniques he used in a variety of media to convey those elements.

Drawing on the V&A’s collections, more than 100 beautiful images capture Ravilious’s deep enjoyment of everything in nature, from dewponds, cockerels, grassy hills, owls, greenhouse geraniums, cornsheaves and snow, to the rainy seas, airport-runway puddles and tideswept beaches of his later work as a war artist. The book includes sections on weather, plants, landscape, animals and birds, and ends with a section devoted to man in the landscape, showcasing Ravilious’s love of rusting machinery and other signs of human presence within nature, not least his famous depictions of hillside chalk figures.

This book will appeal to those with a love of English landscapes, flora and fauna or an interest in British art and design in the interwar period.

About the Author:

Ella Ravilious is Curator of Architecture and Design at the Victoria and Albert Museum, having worked there in various roles since 2005. She is the granddaughter of Eric Ravilious and Tirzah Garwood.
 

Sharp angles, strange forms, lurid colours, and distorted perspectives are classic hallmarks of Expressionism, the twentieth-century movement that prioritized emotion over objective reality. 

Though particularly present in Germany and Austria, the movement's approach flourished internationally and is today hailed as one of the most influential shifts in art history. 

With leading groups Die Brucke (The Bridge) and Der Blaue Reiter (The Blue Rider), and key players such as Wassily Kandinsky, Egon Schiele, and Emil Nolde, the Expressionists disowned Impressionism, which they regarded as "man lowered to the position of a gramophone record of the outer world, to depict instead a raw and visceral experience of life as it was felt, rather than seen on the surface. Their paintings brim with emotive force conveyed in particular through intense and non-naturalistic colour palettes, loose brushwork, and thick textures. 

Covering the group's stylistic tendencies, influences, and most important protagonists, this introductory book explores the Expressionist panorama of moods, ideas, and emotions and their abiding quest for deep authenticity.

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 Swiss artist Félix Vallotton (1865-1925) was born in Lausanne, but spent much of his working life in France. Closely associated with Pierre Bonnard and Édouard Vuillard, and a fellow member of the avant-garde group Les Nabis, Vallotton has nonetheless sometimes been overshadowed by his more famous contemporaries. Although he produced some of his most important work in Paris in the 1890s, his original and innovative approach persisted throughout his career.

Texts by leading authorities look at Vallotton's life, work and reception. Generously illustrated throughout with the finest exemplars of the artist's paintings and prints, this book accompanies a new presentation of Vallotton's oeuvre that aims to re-evaluate his output and legacy, and includes works never seen in public before.

Exhibition organised by the Royal Academy of Arts, London, and The Metropolitan Museum of Art, New York, in collaboration with Fondation Félix Vallotton, Lausanne.

About the Authors:

Dita Amory is curator at The Metropolitan Museum of Art, New York, and author of Madame Cézanne (2014). Philippe Büttner is Keeper of the Collection at the Kunsthaus Zürich. Ann Dumas is curator at the Royal Academy of Arts, London. Patrick McGuinness is a novelist, critic and poet, and Professor of French and Comparative Literature at the University of Oxford. Katia Poletti is Director of the Vallotton Foundation. Christian Rümelin is Keeper of Prints and Drawings at the Cabinet d'arts graphiques du Musée d'art et d'histoire in Geneva. Belinda Thomson is an honorary fellow at the University of Edinburgh and an independent art historian.

A comprehensive and sumptuous survey that celebrates the beauty and appeal of flowers throughout art, history, and culture

Take a journey across continents and cultures to discover the endless ways artists and image-makers have employed floral motifs throughout history. With 316 color illustrations showcasing the diversity of blooms from all over the world, Flower spans a wide range of styles and media - from art, botanical illustrations, and sculptures to floral arrangements, film stills, and textiles - and follows a visually stunning sequence with works, regardless of period, thoughtfully paired to allow interesting and revealing juxtapositions between them. Flower follows in the footsteps of Plant, Exploring the Botanical World, which Martha Stewart Living described as "breathtaking."

Featuring large-scale images and accessible texts Flower offers a comprehensive introduction to the subject and includes both much-loved works together with examples that may prove more surprising discoveries, even for specialists. Selected by an international panel of art historians, museum curators, botanists, florists, horticulturalists, and more, works by a diverse range of both lesser-known and iconic artists and image-makers are featured, including: Nobuyoshi Araki, Cecil Beaton, Georg Ehret, David Hockney, Horst P. Horst, Nick Knight, Yayoi Kusama, Leonardo da Vinci, Robert Mapplethorpe, Henri Matisse, Claude Monet, Cedric Morris, William Morris, Georgia O'Keeffe, Irving Penn, David Hockney, Pierre-Joseph Redouté, Rachel Ruysch, Constance Spry, and Flora Starkey.

Advisory panel: Lugene B. Bruno, Dr James Compton, Shane Connolly, Anne-Pierre d'Albis-Ganem, Celia Fisher, Susan M. Fraser, Victoria Gaiger, Elizabeth Hammer, Daisy Helman, Catherine Hess, Pascale Heurtel, Dr Lisa Hostetler, Lyndsey Ingram, Professor Dr Hans Walter Lack, Dr Fred G. Meijer, Colleen Morris, Polly Nicholson, Lynn Parker, Anna Pavord, Gill Saunders, Lindsey Taylor, Anatole Tchikine and Betsy Wieseman

Additional texts: Giovanni Aloi, Louise Bell, Lugene Bruno, Shane Connolly, Clare Coulson, Louisa Elderton, Celia Fisher, Diane Fortenberry, Victoria Gaiger, Daisy Helman, Pascale Heurtel, Lyndsey Ingram, Hans Walter Lack, Fred G. Meijer, Alison Morris, Colleen Morris, Polly Nicholson, Michele Robecchi, Rebecca Roke, Gill Saunders, James Smith, Lindsey Taylor, David Trigg and Martin Walters

About the Author:

Anna Pavord's books include her globally bestselling The Tulip and The Naming of Names, and more recently The Seasonal Gardener, published by Phaidon. Her gardening column in the Independent newspaper in the UK ran for thirty years from the paper's launch in 1986 until the last print edition. Today she writes for the Sunday Times and is an Associate Editor of Gardens Illustrated magazine. Pavord lives in West Dorset and was awarded the Gold Veitch medal from the Royal Horticultural Society in 2001.

Shane Connolly is the founder of Shane Connolly & Company Flowers, London and Royal Warrant holder to HM The Queen and HRH the Prince of Wales.

Tearing Things Up. The radical gestures of Lucio Fontana

Italian artist Lucio Fontana literally tore the art establishment apart. Trained as a sculptor, he combined form and colour in radical spatial gestures, most famously his slashed canvases of the 1950s and ’60s. Regarded as the father of midcentury Spatialism, his provocative practice channelled postwar innovation in a pioneering synthesis of art, technology, and science.

Lucio Fontana (1899 –1968) was an Italian sculptor, painter, and ceramicist, regarded as the father of Spatialism, a midcentury modern movement that linked artistic experimentation with scientific principles and theories.

Debuting in Milan, Fontana settled in Paris in the mid-1930s, where he joined the Abstraction-Création group and created expressionist sculptures in ceramic and bronze. He later moved to Argentina, where he developed his highly influential Technical Manifesto of Spatialism, a modernist marvel, characteristic of postwar innovation and fueled by a forward-looking synthesis of art, technology, and science. With Spatialism, the artist sought to project colour and form into spaces, most famously in his minimally ripped or slashed canvases, such as his extensive Spatial Concept Waiting series.

This dependable artist introduction follows Fontana on his personal and artistic journey to explore the evolution of his pioneering ideas as well as their remarkable legacy on conceptual and performance art.

The author:

Barbara Hess (b. 1964) is an art historian, critic, and translator and resides in Cologne. Her numerous articles on contemporary art have been 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.

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

Unflinching truth. Portraits which scrutinized beneath the skin

Lucian Freud (1922–2011) was interested in the telling of truth. Always operating outside the main currents of 20th-century art, the esteemed portrait painter observed his subjects with the regimen and precision of a laboratory scientist. He recorded not only the blotches, bruises, and swellings of the living body, but also, beneath the flaws and folds of flesh, the microscopic details of what lies within: the sensation, the emotion, the intelligence, the bloom, and the inevitable, unstoppable decay.

Despite rejecting parallels between him and his renowned grandfather, the correlation between Lucian Freud's sitting process for portraiture and Sigmund Freud's psychotherapy sessions is a fascinating element to this figurative oeuvre. Despite the thickness of the impasto surfaces, Freud's portraits of subjects as varied as the Queen, Kate Moss, and an obese job center supervisor, penetrate the physicality of the body with a direct and often disarming insight. The result is as much a psychological interrogation as it is an uneasy examination of the relationship between artist and model.

This book brings together some of Freud's most outstanding and unapologetic portraits, to introduce an artist widely considered one of the finest masters of the human form.

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

Frida Kahlo (1907–1954), as an artist and a woman, has a unique international appeal. Her instantly recognizable work draws extensively on her life and her extraordinarily personal reflections upon it.

On Kahlo’s death, her husband, Diego Rivera (1886–1957), ordered that her most private possessions be locked away until 15 years after his death. The bathroom in which her belongings were stored in fact remained unopened until 2004. Through this incredible archive, Frida Kahlo: Making Her Self Up gives readers a unique window into Kahlo’s life. It will focus on the personal, combining her prosthetics, jewelry, and clothes with self-portraits, diary entries, and letters to build an intimate portrait of the artist through her possessions, setting this in the context of her political and social beliefs.

 - Includes six inset booklets, containing photographs of Kahlo’s most intimate possessions
 - 16 page section showcasing Kahlo’s wardrobe, specially conserved and mounted
 - Spectacular details of embellishments and textiles

About the authors:

Claire Wilcox is Senior Curator of Fashion at the V&A and Professor in Fashion Curation at the London College of Fashion, University of the Arts London. She curated the exhibitions Vivienne Westwood (V&A, 2004), The Golden Age of Couture: Paris and London 1947–1957 (V&A, 2007) and Alexander McQueen: Savage Beauty (2015), and edited the accompanying catalogues.
Circe Henestrosa is an independent curator and Head of the School of Fashion at LASALLE College of the Arts, Singapore. She curated the exhibition Appearances Can Be Deceiving: The Dresses of Frida Kahlo (Museo Frida Kahlo, Mexico City, 2012).

This definitive appreciation of Kahlo’s career features gorgeous full-page reproductions and insightful commentary to illuminate connections between the artist’s life and work.

Few painters have been as celebrated and adopted into popular culture as Frida Kahlo — often to the detriment of her amazing achievements as a painter. In this striking volume, one of the world’s foremost scholars on Kahlo’s art looks past the hype to focus on the artist’s technique and motifs. Reproductions of Kahlo's paintings, along with selected details, are accompanied by illuminating observations about the role of physical and mental suffering in the creative process, Kahlo’s mastery and reinvention of European traditions, and the wealth of coded and metaphorical elements hidden in so much of her work. A rich and rewarding exploration of an artist all too easily reduced to a single narrative, this nuanced study is also an exquisitely produced celebration of Kahlo’s genius.

About the Author:

Helga Prignitz-Poda is an art historian and specialist in Latin American studies and lives in Berlin. She is a specialist on Frida Kahlo and a co-editor of the catalogue raisonné of Frida Kahlo's work.

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Пролистать книгу Frida Kahlo: The Painter and Her Work

A Frenchman in Tahiti. Gauguin’s search for pristine originality and unadulterated nature

Paul Gauguin (1848–1903) was not cut out for finance. Nor did he last particularly long in the French Navy, or as a tarpaulin salesman in Copenhagen who did not speak Danish. He began painting in his spare time in 1873 and in 1876 took part in the Paris Salon. Three years later, he was exhibiting alongside Pissarro, Degas, and Monet.

A querulous, hard-drinking individual, Gauguin often called himself a savage. His close but fraught friendship with the similarly temperamental Vincent van Gogh climaxed in a violent incident in 1888, when van Gogh purportedly confronted Gauguin with a razor blade, and later cut off his own ear. Shortly afterwards, following the completion of a midcareer masterpiece Vision After the Sermon (1888), Gauguin took himself to Tahiti, with the intention of escaping “everything that is artificial and conventional…”On Tahiti, Gauguin’s unfettered joy in the island’s nature, native people, and figurative images soared, spurring a prolific output of paintings and prints. In works such as Woman with a Flower (Vahine no te Tiare, 1891) and Sacred Spring: Sweet Dreams (Nave Nave Moe, 1894), he developed a distinct, Primitivist style that positively oozed with sunshine and colour. In the tradition of exotic sensuality, his thick, buttery lashings of paint lingered in particular over the curves of Tahitian women.

Gauguin died alone, on Tahiti’s neighboring Marquesas Islands, with many of his personal papers and belongings dispersed in a local auction. It was not until a smart art dealer began curating and showing Gauguin’s work in Paris that the artist’s profound influence began making itself felt, especially to the new breed of French avant-garde artists, such as Picasso and Matisse.

This book offers the essential introduction the artist’s truly colourful life, from the Impressionist salons of 1870s Paris to his final days in the Pacific, productive and passionate to the end.

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

Published in conjunction with the exhibition Gauguin: Metamorphoses at The Museum of Modern Art, this volume explores the remarkable relationship between Paul Gauguin's rare and extraordinary prints and transfer drawings, and his better-known paintings and sculptures in wood and ceramic.

Created in several discreet bursts of activity from 1889 until his death in 1903, these remarkable works on paper reflect Gauguin's experiments with a range of mediums, from radically primitive woodcuts that extend from the sculptural gouging of his carved wood reliefs, to jewel-like watercolour monotypes and large, mysterious transfer drawings. Richly illustrated with approximately 190 works in a range of mediums, Gauguin: Metamorphoses explores the artist's radically experimental approach to techniques and his pivotal place in the history of art. An introductory essay by Starr Figura considers the significance of Gauguin's innovative printmaking and the relationship between his prints and works in painting and sculpture.

About the Authors:

Elizabeth Childs writes on Gauguin's radical wood sculptures, using them as a touchstone from which to further investigate his peripatetic practice.
An essay by Hal Foster addresses Gauguin's primitivism and its aesthetic and cultural implications.
An essay by Erika Mosier offers a conservator's insights into Gauguin's unusual printmaking techniques.

The Saint Louis Art Museum has assembled one of North America’s largest and most comprehensive collections of German Expressionist paintings. Rediscover a defining movement of modern art through this original study of works by 25 artists who span its famously wide arc.

This is the first publication on the Saint Louis Art Museum’s internationally renowned collection of German Expressionist art, which includes major works by the movement’s leading artists and lesser-known figures rarely seen outside of Germany. Engaging entries delve into the paintings’ histories, from their production to their arrival in St. Louis. An introduction traces the collection’s origins to the flood of Expressionist art that entered the United States during World War II. What emerges is a new account of a pivotal era in modern art.

About the Author:

Melissa Venator is assistant curator of modern art at the Saint Louis Art Museum.

This is the most comprehensive volume probing the life and work of the modern art icon Giorgio de Chirico.

Giorgio de Chirico was one of the most controversial and consequential artists of the twentieth century — a key member of the Paris avant-garde, he was a major influence on other artists, especially the nascent surrealists. His repertoire of motifs — empty arcades, elongated shadows, mannequins, trains — created images of forlorn emptiness that became iconic.

Artists inspired by de Chirico’s early work include Yves Tanguy, Pablo Picasso, Max Ernst, Salvador Dalí, and René Magritte. His influence also extended beyond painting and included writers and poets Guillaume Apollinaire, André Breton, John Ashbery, and Sylvia Plath, filmmakers Jacques Prévert and Michelangelo Antonioni, and even David Bowie, who admired de Chirico’s genderless tailors’ dummies that inspired his music videos.

After the Great War, he turned toward neoclassicism and bitterly fell out with the surrealists and the mainstream modernist movement — in the process, becoming an outspoken outsider of the art world.

This in-depth examination of the artist’s life and work by the world’s foremost de Chirico authority is based on new archival research and offers a fresh view of de Chirico’s relationship with surrealism, fascism, forgery, and the European avant-gardes.

About the Author:

Fabio Benzi is considered the world’s foremost expert on Giorgio de Chirico. He is a professor at the University of Chieti-Pescara and a board member of Fondazione de Chirico, and he has curated exhibitions in Rome, Venice, Milan, Moscow, Paris, Vienna, New York, Tel Aviv, Istanbul, and London.