Искусство

Published on the occasion of the largest ever Odilon Redon retrospective, held at the Grand Palais in Paris in the spring of 2011, this chunky but pocketbook-size paperback volume reproduces all 256 artworks included in the landmark exhibition. It begins with Redon's "Self-Portrait" of 1867 and then examines his famous suites of lithographs, including Dans le Rêve and the classic illustrations to Poe, Huysmans and Flaubert.

All of the great pastels and oils are here, in full color, as well as lesser-known works like painted screens; throughout, each of the works is accompanied by the captions used in the exhibition, which provide details of provenance and, where relevant, edition size.

A perfect gift for art lovers! Old Masters Memory Game collects the most famous and beloved portrait painters from the 16th and 17th centuries in one fun game. Find the portraits by Rembrandt, Vermeer, and many more.

Old Masters Memory Game collects the most famous and beloved portrait painters from the 16th and 17th centuries in one game that is fun to play, educational, and a feast for the eyes.

The task, as always, is to collect two cards that make one set: in this case, two portrait paintings by the same painter. The sets are clearly recognizable by the posture of the figure, facial expression, the style of painting, and attributes like clothes and hairstyle. To help, there is always the brochure with all the paintings in pairs and a little explanation on the painters.

This is a wonderful gift item for gift shops and all museums that collect the old masters. The game consists of 50 cards of 25 sets featuring world-famous portraits by the likes of Rembrandt van Rijn, Johannes Vermeer, Leonardo da Vinci, Sandro Botticello, Titian, Frans Hals, Albrecht Durer, Goya, and many
others.

About the author:

Mieke Gerritzen is a designer, producer and director of the Dutch Museum of the Image (MOTI). The design is done by her, so be assured that it carries her signature style of highly energetic visual typography.

Stained glass has long been a part of domestic architecture, but in the late 1800s its popularity soared. In part, this was due to new manufacturing techniques and distribution networks, but also it caught the imagination of Victorian, Art Nouveau, and Arts and Crafts designers around the world.

Here over 350 examples of architectural stained glass span several countries and many years. The styles range from Victorian intricacy to the geometry of the Prairie School. This second edition includes etched glass and beveled constructions, in addition to leaded windows.

Each piece is illustrated in color, with dimensions and current market values. Today, stained glass, both old and new, is again finding its way into the home. It makes a delightful accent in a transom or a glorious complete wall.

This book will help readers understand and appreciate many varieties of old stained glass, and will inspire new work by artists.

On Beauty is neither a history of art, nor a history of aesthetics, but Umberto Eco draws on both these disciplines to define the ideas of beauty that have informed us from the classical world to modern times. In terms of form and style, On Beauty has been conceived for a vast and diverse readership. Packed with examples from painting, sculpture, architecture, film, photography, the decorative arts and literature, it offers a rich and intelligent panorama of this huge subject. In On Beauty Eco is at his most captivating and eclectic: we read not only of Botticelli and Michelangelo but of how much the fashion of the 1960s owes to ancient Egyptian dress, and how ancient Roman and eighteenth-century hairstyles have much in common. It makes the familiar new, and sheds a brilliant light on the unfamiliar. On Beauty is illustrated in full colour throughout and produced to the highest standards.

About the Author:

Umberto Eco's first novel, The Name of the Rose (1982), was a huge bestseller which brought him worldwide acclaim. With his subsequent works of fiction, philosophy, literary criticism and semiotics, he has been recognised as one of Europe's finest thinkers. He is currently President of the Scuola Superiore di Studi Humanistici and the University of Bologna. He is also known for his lavishly illustrated anthologies, On Beauty, On Ugliness, The Infinity of Lists and The Book of Legendary Lands.

With One Million Tattoos: Designs to Create and Colour you can print out unique combinations of original tattoo designs from the CD-ROM to colour and incorporate into your own artwork, or adapt and create your own designs to take to a tattooist. Over a million combinations are possible! There are classic Sailor Jerry-style banners, anchors, hearts, and birds, along with popular tribal designs, motifs and animals, that can be mixed-and-matched. The book explains how to colour the tattoos using professional techniques and how to insert them into existing art, while also acting as a visual catalogue of the tattoo designs that are on the disc.

Пролистать книгу можно на сайте издательства.

Tracey Emin has stirred controversy as well as acclaim since she rose to fame as the most highly publicized of the infamous Young British Artists.

Though denounced by conservative critics at the outset, Emin’s work has attracted serious critical attention since the early 1990s for being consistently engaging, original, and startlingly direct. Her work has succeeded over the years in many media - from films to appliqués, embroideries, and installations - but it is in her works on paper that the honesty and frankness that have come to characterize her work are most fully realized.

Edited by the artist herself from an archive of work stretching back before the beginnings of her career in the late 1980s, A Thousand Drawings is at once a collection of Emin’s works on paper, an exposé of her life as an artist, and a collectible artifact in itself. Many of these works on paper shed light on well-known multimedia pieces, previously studied in Works 1963–2006, published by Rizzoli in 2006. Stripped of the distractions of form and context, her bare and enigmatic drawings are presented on bible-thin paper in a uniquely beautiful slipcased volume, with an introduction by the artist.

From considered self-portraits to pen-and-ink drawings and informal studies on lined notebook paper, this remarkable collection is as much a catalogue of Emin’s preoccupations as it is a monument to her raw and evocative talents as an artist.

About the Author:

Tracey Emin was born in London in 1963. Nominated for the Turner Prize in 1999 and chosen to represent Britain at the 52nd Venice Biennale in 2007, Emin is also a member of the Royal Academy of Arts. The author of several books, including Strangeland, her memoir, she contributes regularly to The Independent newspaper and lives and works in London.

In recent years, Manga has seen phenomenal success, not only in Japan, where it dominates the publishing industry, but also in the West, where it is steadily growing in popularity and influence. As swift and sudden as the popularity of this graphic art form may seem, Manga has, in fact, deep roots in Japanese culture, drawing on centuries-old artistic traditions. As early as the twelfth century, Emakimono scrolls existed, a narrative form in which stories of all kinds - romantic, fantastic, even comic - were told through the combined use of text and illustration. Japanese art continued to change as profound political, social, and economic transformations remade the country in the centuries to follow. Today there is little doubt as to the meaning of the term Manga - nor to the astonishing popularity of the form - but few in the West understand the long artistic history that gave birth to this phenomenon and the social factors that continue to shape it today. One Thousand Years of Manga is both an informative account of the genesis of the form and a visual delight. Through its captivating illustrations and enlightening text, the book situates Manga in its proper context, appreciating it for what it truly is: an integral part of Japanese art and culture that is as rich and revealing as it is popular.

Birds and flowers are important subjects in classical Chinese painting. While western paintings of birds and flowers put emphasis on form, structure, colour and perspective to create vivid images, Chinese bird-and-flower paintings aim to deliver the essence of the subject and the spirit of the artist, demonstrating a unique oriental beauty. 

Featuring both the classical style of Qing Dynasty masters such as Yung Shouping and Yu Zhi, and the oriental style of Japanese woodblock prints (or Ukiyo-e) of the 17th and 18th century, these exquisite paintings present a strong decorative sense.

Nineteenth-century Europe was fascinated by the Orient. Napoleon's Egyptian campaign of 1798 initiated this phenomenon, and its history included the Greek uprising against the Turks in 1821 and the French taking of Algiers in 1830. Artists of the period, too, were captivated by these events, and the rich body of imagery they produced is the subject of this volume.

Author Christine Peltre's elegant text retraces Orientalism's artistic history, in which the French and British schools predominated. The "high poetry" of the Romantics' Orient strove for dramatic effect, as the works of David Roberts, Alexandre-Gabriel Decamps, and Eugene Delacroix attest. A different brand of imagery was produced by the "ethnographic gaze" of the century's middle years, practiced by artists such as John Frederick Lewis, Eugene Fromentin, Jean-Leon Gerome, A. D. Ingres, and Adolphe Monticelli. Work of this kind was eventually superseded by a "third style", a fusion of European and Eastern elements, as seen in the work of August Macke, Wassily Kandinsky, Paul Klee, and Henri Matisse.

Witnesses to a history that they influenced in subtle ways through their imagery, the Orientalist painters also produced a history of their own, that of a spiritual and formal quest to find in the "East" the ideal of "primitive" purity. Orientalism in Art covers all these facets, making it an indispensable volume for art historians and anyone with a passion for Orientalist art.

This richly illustrated catalogue documents the exhibition organized by the Walters Art Museum, Baltimore, in partnership with the State Russian Museum, St Petersburg. Featuring celebrated paintings by such pioneering artists as Wasilii Kandinsky, Kazimir Malevich, Vladimir Tatlin and Natalia Goncharova, it also includes the work of more than 20 other innovative artists of the Russian avant-garde, some of whose art has rarely been reproduced in colour.

These intriguing paintings are juxtaposed with native Russian arts and crafts, including religious icons, popular prints, textiles, and even children's toys, to explore the influence of folk art on the Russian avant-garde during the early decades of the 20th century.

These objects were avidly collected during this period by artists and intellectuals, who were aware of the gradual disintegration of peasant culture in Russia and eager to preserve its artifacts.

Through a rich array of some 70 paintings, related folk art objects and works on paper, the exhibition and catalogue make clear the intermingling of "high" and "low" forms of visual culture during this exciting phase of avant-garde production.

A recognized prodigy at age 10, world famous by age 23, Orson Welles was a triple magician of theater, radio, and film - and by age 25 a promising figure in American politics. President Franklin Roosevelt encouraged him to try a run for the Senate; newspaper tycoon William Randolph Hearst branded him a pariah. But by the time he turned 30, Orson Welles’ professional success ended irreversibly; from then until the day he died, he endured ridicule and reproach over what many judged his “failure.” Few knew how feverishly he had persisted as an independent filmmaker. Now, decades after his death, “new” work keeps emerging, and his reputation as an undefeated genius and creator only grows.

The Movie Icon series: People talk about Hollywood glamour, about studios that had more stars than there are in heaven, about actors who weren't actors but were icons. Other people talk about these things, TASCHEN shows you. Movie Icons is a series of photo books that feature the most famous personalities in the history of cinema. These 192-page books are visual biographies of the stars. For each title, series editor Paul Duncan has painstaking selected approximately 150 high quality enigmatic and sumptuous portraits, colorful posters and lobby cards, rare film stills, and previously unpublished candid photos showing the stars as they really are. These images are accompanied by concise introductory essays by leading film writers; each book also includes a chronology, a filmography, and a bibliography, and is peppered with apposite quotes from the movies and from life.

Not all art craves attention, some of it hides in the secret places. Some of it is buried treasure, out in the urban wilderness, left scattered in empty rooms of derelict buildings like strange markings left by an unknown tribe. These works are gifts given only to the occasional explorer, found in abandoned factories, warehouses, industrial sites and deconsecrated churches. This is art you have to earn by leaving the designated areas and heading out past the No Entry signs of the urban environment. A diverse range of artists find themselves attracted to these twilight zones and in recent years something of a movement has come to light, huddled around the idea of urban decay and abandonment as the ultimate canvas.

Dinosaurs Are Forever. A pictorial history of paleoart

Despite vanishing from Earth 66 million years ago, dinosaurs are one of our favourite cultural fascinations. In this history of paleoart, writer Zoë Lescaze and artist Walton Ford scour the globe for dinosaur paintings, drawings, prints, mosaics, and murals. Dating from early 19th century to the digital era, this collection is a celebration of one of man’s most imaginative pictorial traditions.

It was 1830 when an English scientist named Henry De la Beche painted the first piece of paleoart, a dazzling, deliciously macabre vision of prehistoric reptiles battling underwater. Since then, artists the world over have conjured up visions of dinosaurs, woolly mammoths, cavemen, and other creatures, shaping our understanding of the primeval past through their exhilarating images.

In this unprecedented new book, writer Zoë Lescaze and artist Walton Ford present the astonishing history of paleoart from 1830 to 1990. These are not cave paintings produced thousands of years ago, but modern visions of prehistory: stunning paintings, prints, drawings, sculptures, mosaics, and murals that mingle scientific fact with unbridled fantasy. The collection provides an in-depth look at this neglected niche of art history and shows how the artists charged with imagining extinct creatures often projected their own aesthetic whims onto prehistory, rendering the primordial past with dashes of Romanticism, Impressionism, Japonisme, Fauvism, and Art Nouveau, among other influences.

With an incisive essay from Lescaze, a preface by Ford, four fold-outs, and dozens of details, the book showcases a stunning collection of artworks culled from major natural history museums, obscure archives, and private collections, and includes new photography of key works, including Charles R. Knight’s seminal paintings in Chicago and little-known masterpieces such as A. M. Belashov’s monumental mosaic in Moscow. From the fearsome to the fantastical, Paleoart is a celebration of prehistoric animals in art, and a novel chance to understand our favourite extinct beasts through an art historical lens.

The editor and author:

Zoë Lescaze is a freelance writer based in New York City, where she was born and raised. She studied art history, studio art, and anthropology at Bowdoin College, and has worked as an archaeological illustrator in Cameroon. Currently an art critic and journalist, her writing has appeared in ARTnews, Artforum, and Even, among other print and online publications.

The contributing author:

Walton Ford, born 1960, studied filmmaking at the Rhode Island School of Design, but soon realized he was a painter. For the last 20 years he has been creating large-scale narrative watercolours. His work has been widely exhibited, including solo shows at the Hamburger Bahnhof in Berlin and the Brooklyn Museum in New York.

Expertly curated by Pantone, the international colour authority, these 35 palettes make colour selection for home decor easy for anyone.

Brief text describes and contextualises each palette, offering fun and practical application for colour combos. A follow-up to the beloved first fan deck, these palettes are the perfect go-to guide for decorating living rooms, kitchens, nurseries or any other room in the house.

--------------------------------

Home decorators rejoice! Interiors can now be brightened with confidence using color combos from the international color experts at Pantone. Selected specifically for décor, these palettes are perfect for color coordinating every room in the house.

A beautiful little book about one of the Ashmolean's most famous paintings at a time when the Ashmolean is very much in the spotlight

The Hunt in the Forest is the foundation of the Ashmolean's distinguished collection of old master paintings, and a magical and enigmatic picture. The artist, Paolo Uccello, had a lifelong interest in geometry and perspective, and together with his skill in depicting animals and landscape this helped to form this jewel-like swansong from the last decade of his career.

This book, written by Dr Catherine Whistler, examines Uccello's life and work, the process of making The Hunt in the Forest, the subject of the painting, its original setting, and its use of perspective and rhythm.

Contents:
Paolo Uccello: life and work
The making of The Hunt in the Forest
The subject of the painting
The original setting of the painting
Perspective and rhythm in The Hunt in the Forest

Aboutthe Author:

Dr Catherine Whistler is a curator in the Department of Western Art, Ashmolean Museum. She is responsible for the collections of Italian and Spanish paintings and drawings and the textile collection, and her curatorial duties include work on exhibitions, gallery displays and the planning of paintings conservation. Apart from the Ashmolean's collections, her research interests lie in 18th-century Italy and Spain.