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Among the pictorial genres, still life, which depicts in detail the common objects of domestic life (fruit, vegetables, food, but also animals and tableware), holds an important place. It is an art form which gives us valuable insights into changes of mentality and philosophy. Each still life is emblematic of a specific time and place and of a certain metaphysical perspective. This condensed, well-priced overview of the genre features some sixty works from antiquity to the present and analyzes the history and significance of each.

Setting up a still life may take no more than gathering a few objects on a table, but infusing its depiction with depth, texture, feeling, and even beauty takes great skill. The origins of the still life can be traced back at least to classical antiquity (such wall paintings have been found in the ruins of Pompeii) but the genre's name wasn't coined until the 17th century in Holland, a few centuries after it was re-popularized during the Renaissance. This book explores a stimulating selection of still lifes from the 15th century to the modern day, revealing the historical importance and creative possibilities of this genre.

Featured artists:
Meister der Maria von Burgund, Ludger tom Ring the Younger, Annibale Carracci, Michelangelo Merisi da Caravaggio, Juan Sánchez Cotán, Jan Bruegel the Elder, Frans Snyders, Pieter Claesz Rembrandt, Sebastian Stoskopff, Jan Fyt, Evaristo Baschenis, Jan Davidsz de Heem, Willem Kalf, Otto Marseus van Schrieck, Giuseppe Maria Crespi, Jean-Siméon Chardin, Luis Eugenio Meléndez, Théodore Géricault, Eugène Delacroix, Adolph Menzel, Edouard Manet, Vincent van Gogh, John Haberle, Paul Cézanne, Pablo Picasso, Georges Braque, Henri Matisse, Umberto Boccioni, Giorgio De Chirico, Giorgio Morandi, Chaïm Soutine, Salvador Dalí, Daniel Spoerri, and Gerhard Richter

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

This beautifully illustrated new volume on the Surrealist movement uncovers the influence magic, myth and the occult had on its development.

Like no other 20th-century movement, Surrealism was keenly inspired by tropes of magic, myth and the occult. In their engagement with the irrational and the unconscious, numerous of its members looked to magic as a poetic and deeply philosophical discourse, related to both arcane knowledge and individual self-empowerment. In their works, they heavily drew on esoteric symbols and cultivated the image of the artist as a magician, visionary, and alchemist. This catalog explores the myriad ways, in which magic and the occult informed the development of the Surrealist movement in international perspective, from the “metaphysical paintings” of Giorgio de Chirico through to works of the post-war period. Lavishly illustrated, it combines longer research essays with focused chapter introductions, all penned by leading scholars in the field.

Amongst the many fascinating artists included in the volume are Victor Brauner, Leonora Carrington, Salvador Dalí, Paul Delvaux, Enrico Donati, Max Ernst, Leonor Fini, Wifredo Lam, René Magritte, Roberto Matta, Roland Penrose, Kay Sage, Kurt Seligmann, Dorothea Tanning, Yves Tanguy, and Remedios Varo.

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Symbols of a deeper reality

"A book like the rooms of an imaginary museum." - La Libre Belgique, Brussels

"To clothe the idea in perceptible form," proposed the poet Jean Moréas in his 1886 Manifesto of Symbolism.

It was in France and Belgium, the cradles of literary Symbolism, that Symbolist painting was born. It plunged headlong into the cultural space opened up by the poetry of Baudelaire and Mallarmé and by the operas of Wagner. Symbolist painters sought not to represent appearances but to express "the Idea," and the imaginary therefore plays an important part in their work. "Dream" was their credo; they execrated, with a fanatical hatred, impressionism, realism, naturalism, and the scientistic. The main principle of Symbolism, that of "correspondences," was to attain harmony between all the different arts, or even to realise the total work of art (Gesamtkunstwerk) that Wagner had dreamt of creating.

What we rediscover today, after a period of neglect, is this: Symbolist painting is essential to our understanding of modern art, not only because it spread across the world like wildfire, creating disciples from Russia to the United States, from Northern Europe to the Mediterranean, but because it was the source of a series of mutations without which modern art would not be what it is.

The author:

Michael Gibson is an art critic, art historian, anthropologist, writer, independent scholar and philosopher (currently editor in chief of UNESCO's World Heritage Review) who has been writing on art over the past forty years for numerous publications, including the International Herald Tribune. He has published numerous books, including studies of Bruegel, Gauguin, Duchamp and Calder.

The editor:

Gilles Néret (1933–2005) was an art historian, journalist, writer and museum correspondent. He organized several art retrospectives in Japan and founded the SEIBU museum and the Wildenstein Gallery in Tokyo. He directed art reviews such as L'Œil and Connaissance des Arts and received the Elie Faure Prize in 1981 for his publications. His TASCHEN titles include Salvador Dalí: The Paintings, Matisse, and Erotica Universalis.

Emotional intelligence. A synthesis of form and feeling

First applied to the poems of Stéphane Mallarmé and Paul Verlaine in 1886, the term symbolist was soon applied to the visual arts where a realistic depiction of the natural world gave way to imaginary dream scenes of psychological, sexual, and mystical content.

Symbolism was a broad international phenomenon but particularly present in France, where painters such as Gustave Moreau and Odilon Redon turned their backs on realism, naturalism, and impressionism to populate their canvases with esoteric, often erotic, visions. In place of Monet s light-suffused landscapes or the frank working-class subjects of Courbet, the Symbolists turned to figures from literature, the Bible, and Greek mythology to express experiences of love, fear, anguish, death, sexual awakening, and unrequited desire.

With featured work from Edward Burne-Jones, Puvis de Chavannes, Gustav Klimt, James Abbott McNeill Whistler, Gustave Moreau, Odilon Redon and many more, this book introduces Symbolism s great reach, intensity, and influence.

About the series

Each book in TASCHEN's Basic Genre series features:

- approximately 100 colour illustrations with explanatory captions
- 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

This oversized collector’s edition showcases antique paintings and drawings of birds and animals from the most important natural history collection in France.

An unparalleled collection of the most beautiful—yet scientific—depictions of flora and fauna ever produced, these artworks document three centuries of exploration of the far reaches of the world—a rich visual record harking back to a time when science relied upon painstaking human illustration as the only way to record exotic plants and unknown animals observed during voyages of discovery.

All the artworks included here were depicted on vellum, a high-quality, long-lasting parchment that fell out of use around 1900 when it was supplanted by photography. France’s national collection consists of over 7,000 such artworks and is among the world’s finest. Flora and fauna from every corner of the globe are represented in precisely rendered color and detail.

Sadly, many of the species depicted in these masterful yet hauntingly accurate portraits are now endangered, threatened—or in many cases, already extinct. This volume is both a celebration of the human quest for knowledge and an epitaph for a fast disappearing world—as well as a feast for the eyes for anyone who loves birds or vintage natural history art. This exquisite and timeless book is beautifully presented in a jacketed volume within a slipcase and luxuriously packaged within an illustrated mailer with a handle for portability.

About the Author:

Pascale Heurtel is chief curator and director of libraries and Michelle Lenoir is honorary director of the Muséum national d’histoire naturelle in Paris.

This deluxe reconsideration of mid-19th-century painting casts a newly appreciative eye on Salon painting — whose masterpieces have been largely dismissed from the canon of modern art, in favor of those that were famously rejected by the artistic establishment of the time.

The Paris Salons of the mid-19th century are more famous today for the paintings that were rejected than for those that were actually shown. The rejected works form today’s canon of art history and are regarded as heralds of a modern age. This book looks to reassess the other side of the art history of the 19th century. Salon painting has often been dismissed as overly academic or staid. Art historian Norbert Wolf turns back the pages of history as he reintroduces readers to the artistry and excellence of Salon painting in Europe, Britain, Russia and the US. In an opulent new book, illustrated throughout with gorgeous reproductions of masterpieces by Cabanel, Manet, Biertstadt, the Pre-Raphaelites, and Sargent, naming a few, Wolf looks at Salon painting from a variety of perspectives, such as the rise of the bourgeoisie and Paris’s position as Europe’s cultural capital. He explores styles and themes that were especially prevalent in Salon painting: history painting; portraits from home and in society; the rise of »Orientalism«; and the nationalism of landscape. Readers will come away from this well-researched and absorbing book with a steadfast appreciation of the Salon’s disciplined and academic approach to painting, and an understanding of why these works were once so revered by the general public

The Blaue Reiter (“Blue Rider”) group of artists was formed in Munich in 1911 on the initiative of two leading artists of Modernism: Wassily Kandinsky, the pioneer of purely abstract painting, and Franz Marc, the creator of mysterious, abstracted animal pictures. The Russian and the German, together with many other visionary painters in their train, hoped to pursue a new spirit in art. They wanted nothing less than an apotheosis of the spiritual in art. The outbreak of the Great War seemed to put a brutal end to what was at the time the most important avant-garde movement in Germany, but its influence continued unabated and inspired whole generations of international artists to create similar utopias.

Featured Artists: Wladimir Burljuk, Heinrich Campendonk, Robert Delaunay, Alexej Jawlensky, Wassily Kandinsky, Paul Klee, Alfred Kubin, August Macke, Franz Marc, Gabriele Münter and Marianne von Werefkin.

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

To see the great art galleries, stately homes and museums up and down Britain today is to witness the rich story of the British as art collectors, a narrative that mirrors the history of the country. In this remarkable new book, James Stourton and Charles Sebag-Montefiore present a comprehensive survey of British art collectors down the centuries.

The major collecting landmarks covered include Henry VIII, who harnessed the arts in the service of the crown, Charles I and the Whitehall Circle, the Grand Tour and the country house boom, the bonanza created by the Napoleonic Wars and the Industrial Revolution, French taste, the collecting of Spanish art, the passion for Florence, the 19th-century heyday for the creation of museums, the private collectors who sparked the belated British love affair with Impressionism, the State's role in patronage and collecting after World War II, and the manner in which London has recently become a metropolis of contemporary art. Yet the authors' strengths lie not only in these grand themes, but also in their mastery of detail through the different eras. They write with equal authority about the royal patronage and collecting of the Tudor period, with which they begin, and the collectors of today.

Includes over 300 illustrations, including many of the greatest works of art to have featured in British collections.

Pieter I Bruegel the Elder was born around 1525, probably near Breda, and died in 1569 in Brussels. In Antwerp, he studied as an apprentice under Pieter Coeck, and later visited Italy to understand the reason for the growing influence of the Italian masters, but his style remained rather different from theirs. Fascinated by people, this "painter of peasants" did not hesitate to paint scenes from the life of common people, as well as Biblical themes, the humour and restlessness of which strongly invoke Hieronymus Bosch.
The contrast between the fineness of his canvases and the apparent simplicity of his subjects, characteristic of the great works of realism, testifies to the careful observation and great precision with which he created his pictures. He is credited with making a major contribution to the evolution of Dutch landscape painting.

Pieter the Younger, his older son, was fascinated with the grotesque and the ugly, for which he was nicknamed "Hell Brueghel." He was the best copier of his father's works and made his career in Antwerp. He kept the letter "h" in his last name, as did other members of the family, in order to distinguish himself from Pieter the Elder.

Jan I, the younger son, also visited Italy before settling in Antwerp. Having worked with Rubens and created works different from those of his father, since he concentrated on colour and lustre, becoming a master of still life. The delicacy of execution and the infinite care with which he painted his flowers earned him the nickname of "Velvet Brueghel."

This work covers a century of Flemish painting through the history of one family, emblematic of art history as a whole. With the help of more than two hundred reproductions of the three masters and their contemporaries, the author provides an exhaustive overview of this family's contribution to the evolution of the history of painting and to the marvel of the Flemish artistic tradition.

All of Dürer's works in three mediums are reproduced in this edition. Among them are his most famous works, Knight, Death and Devil; Melencolia I; and St. Jerome in His Study. Also included are portraits of his contemporaries, including Erasmus of Rotterdam and Frederick the Wise, as well as six engravings formerly attributed to Dürer.

In its most prestigious exhibition to date, the Fondation Beyeler has devoted itself to the early paintings and sculptures of Pablo Picasso (1881-1973) that date from his so-called Blue and Pink periods to early Cubism. The paintings from this stage of his career, all produced between 1901 and 1907, are milestones on the road Picasso took to becoming the most famous artist of the twentieth century. They can be counted among modernism’s most beautiful and most emotional works, and are also some of the most precious works of art ever to exist.

This comprehensive exhibition and its companion catalogue feature around eighty masterpieces, most of which are only rarely loaned out by famous museums and private collections around the world.EXHIBITIONFebruary 3 – May 26, 2019 Fondation Beyeler, Riehen/Basel

This beautiful volume documents an important moment in the history of the watercolour, as its practitioners moved from the tinted drawings to the creation of fully fledged works of art that rivaled oil paintings in their expressiveness and technical brilliance. With its rolling hills, cloud-laden skies and ever-shifting light, Britain was the perfect setting for such a revolution, as artists packed sketchbooks, brushes and paints, and headed for the countryside. Authors Wilton and Lyles document the evolution of the British watercolour, from the more classically inspired eighteenth-century landscapes to the vivid experiments in Naturalism and Romanticism, with their concomitant studies in light and atmosphere. Over 300 exquisite reproductions allow readers to appreciate the delicate colours and fine lines of these important works, while the authors’ authoritative and eminently readable texts enhance the overall experience of witnessing the birth of an independent medium, and some of the most breathtaking examples of watercolours the world has ever known.

A sumptuously illustrated history of the Eternal City — the capital of Italy and world art — as captured by painters from Antiquity through the twentieth century.

Traditionally founded by its namesake Romulus in 753 BC, Rome began modestly, as a little village of thatched huts on the Palatine Hill. By the third century BC, it controlled the entire Italian peninsula, and by the first century BC, much of the known world. Rome’s fortunes have stumbled more than once since then — indeed, there have famously been times when cows grazed on the Forum — but it has always reemerged as a leading city, thanks to its status as the seat of Christendom. Through the centuries, artists from all over Europe have been drawn to Rome, both to work in the service of the Church and to learn from the accumulated masterpieces.

This luxuriously oversized book uses Rome’s artistic riches to chronicle the eventful history of the city itself. We are shown the customs and beliefs of the ancient Romans through their own frescoes and mosaics, and their greatest deeds in the history paintings of later masters such as Poussin and David. We follow the fitful rise of Rome, which eventually blossoms forth into the supreme achievements of Michelangelo and Raphael. With eyes uplifted to frescoed vaults, we watch the great decorators of the Baroque add to the city’s store of monuments, which are then deftly — and sometimes quite imaginatively — recorded by the vedutisti of the eighteenth century. Finally, in canvases by a surprising range of nineteenth- and twentieth-century artists — from Sargent to de Chirico, and even de Kooning — we see Rome in its role as the capital of a unified Italy, and of the modern Western imagination.

With its more than three hundred full-color illustrations, including four spectacular gatefolds; its insightful text, written by leading art historians; and its valuable apparatus, including capsule biographies of 175 artists; The History of Rome in Painting is an important achievement in scholarship and publishing and a fitting tribute to the Eternal City.

Definitive in its scholarship and thrilling in its scope, this lavishly illustrated volume offers the first book-length study of Luca Signorelli (1450-1523), sometimes described as the "least-known major artist" of the Renaissance. Twenty years of painstaking archival research have produced this portrait of Signorelli in public and private life - an adventurous painter who believed art was divinely inspired, and an affectionate family man who participated energetically in public life.

In his paintings - of which the Last Judgement in Orvieto cathedral is his undisputed masterpiece - Signorelli integrated his observations of daily life with a fresh and sensitive approach to representing religious subjects. A student of Piero della Franscesca, Signorelli's work and influence carried over into the early 16th century, though he was ultimately eclipsed by his friends Raphael and Michelangelo.

Signorelli's work is represented in museums around the world, and this book now offers new audiences and scholars a complete picture of one of the Renaissance's most significant and intriguing artists.