Книги з історії мистецтва

Impassioned, polemical, and rebellious, the Futurist movement exalted the modern world by placing machines, speed, and technology at the heart of its artistic experimentations. Futurism embodied the same reality that it tried to capture: a dynamism that reflected the changing structure of the visible world.

This landmark survey, published to commemorate the 100th anniversary of Filippo Tommaso Marinetti's Manifesto of Futurism, traces the movement from its origins in Italy to the international creative forum.

Richly illustrated with 130 works by luminaries such as Boccioni, Balla, Picasso, Braque, Leger, Sonia and Robert Delaunay, Duchamp, and Malevich, the book explores different modes of expression within shared themes: the lighting of modern cities, dance, crowd movement, and the speed of new mechanical means of transport.

Featuring essays by the world's leading authorities on Futurism and the avant-garde, Futurism is a radical reassessment of the movement and essential for understanding the genesis of many of modernism's greatest works

Fast and furious. The action men of modernism

With motion and machines as its most treasured tropes, Futurism was founded in 1909 by Filippo Tommaso Marinetti, along with painters Giacomo Balla, Umberto Boccioni, Carlo Carrà, and Gino Severini. With affiliate painters, sculptors, designers, architects, and writers, the group sought to subsume the dusty establishment into a new age of sleek, strong, purified modernity.

Futurism's place in art history is as ambivalent as it is important. The movement pioneered revolutionary methods to convey movement, light, and speed, but sparks controversy in its glorification of war and fascist politics. Their frenzied, almost furious, canvases, are as remarkable for their macho aggression as they are for their radical experimentation with brushstrokes, texture, and colour in the quest to record an object moving through space.

With key examples from the Futurists prolific output and leading practitioners, this book introduces the movement that spat vitriol at all -isms of the past and, in so doing, created an -ism of their own.

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

В лице Гауди родился выдающийся художественный гений, который с самых первых шагов своей профессиональной деятельности обладал неповторимым стилем. Многие считали его сначала интересным, а позднее - просто невероятным. Недостаточно сказать, что Гауди внес свой вклад в развитие архитектуры. Он пошел намного дальше и коренным образом изменил ее стиль и структуру. Он работал, не думая об оригинальности или о ниспровержении существующих эстетических норм, а лишь подчиняясь безудержному порыву своей творческой одаренности. Воинствующие мастера-авангардисты XX века, например Аполлинер, Бретон, Дали, Мэн Рей, Элюар, преклонялись перед творчеством Гауди и после его смерти провозгласили архитектора сюрреалистом.
Антонио Гауди, всю жизнь проповедовавший свободу в своей профессии и никогда не принадлежавший ни к одному из художественных сообществ, так и не удостоился почестей и наград от какой-либо академии и в отличие от многих своих коллег никогда не примыкал к какой-либо политической организации. Он был выдающимся самобытным художником, который работал с невероятной четкостью, даже если она, казалось бы, порождалась безудержным воображением. Плоды этого воображения и через 80 лет после смерти архитектора продолжают оставаться главными достопримечательностями Барселоны, где сосредоточены наиболее значительные и самые прекрасные творения удивительного и всеобъемлющего таланта Гауди.
Появление такого феномена, как Антонио Гауди, положило начало беспрецедентному этапу в развитии не только искусства Каталонии, но и всего мира. Подлинное значение творчества архитектора было осознано лишь несколько десятилетий спустя.

Посмотреть русскоязычное издание книги Gaudi: Complete Works 1852-1900 (2 vol) - Гауди: Полное собрание работ в 2-х томах

This is the only book to provide a complete overview of the long history out of which today’s rich and varied gay culture has emerged. Historians from nine countries consider the evidence for same-sex relationships throughout the centuries, charting shifting attitudes towards homosexuality and the gradual emergence of a concept of self-identity.

For thousands of years, men and women have felt a desire for emotional and physical intimacy with those of their own sex. Their story, for many years forgotten, erased, ignored or rewritten, has in recent years become the focus of an extraordinary outpouring of research. Completely new avenues of inquiry have opened up and old assumptions have been challenged. Gay Life and Culture draws upon these findings to present a lively and thought-provoking account of what, until recently, could have been termed a ‘secret history’.

From ancient Greece and Rome right up to the present day with its issues of gay rights, AIDS and civil partnerships, this book also considers same-sex relationships in non-Western cultures, through history and across the globe. From homoerotic Persian poetry to tales of cross-dressing women in 18th-century Italy, from the wild, hedonistic delights of between-the-wars Berlin to concepts of a third gender in Asia and Native North America – all are discussed and recounted from memoirs, letters, archives, and works of art and literature.

Taschen 25th Anniversary Series

Post-depression America was in desperate need of a defining iconography that would lift it out of the black and white doldrums, and it came in the form of Gil Elvgren's Technicolor fantasies of the American dream. His technique - which earned him a reputation as "The Norman Rockwell of cheesecake" - involved photographing models and then painting them into gorgeous hyper-reality, with longer legs, more flamboyant hair and gravity-defying busts, and in the process making them the perfect moral-boosting eye-candy for every homesick private.

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Посмотреть книгу  1000 Pin-Up Girls

Посмотреть книгу  The Great American Pin-Up

Gothic art originated around 1140 in the Ile-de-France. Initially confined to the cathedrals and the most important abbeys of this region, it was soon regarded as a model for the rest of France and finally for Europe as a whole. This splendidly appointed volume, with nearly 800 color illustrations, describes the development of the Gothic aesthetic in all its diversity, from minutely detailed paintings to the magnificent cathedral of Notre-Dame at Reims. The book traces Gothic architecture from its initial flourishing, while individual essays then follow the formal development of Gothic architecture in England, in the Germanic countries, and in Italy, Spain, Portugal, and the rest of northern and eastern Europe. The text also describes late Gothic architecture in France and the Netherlands, with contributions on stained glass and gold work, and individual studies devoted to such themes as the Cathar heresy, the Papal Palace in Avignon, urban development, and technical knowledge.

After the global hit Ars Sacra, Rolf Toman and his team embark on a journey once more. The famous French cathedrals of Chartres, Reims and Laon are not the only highlights of this volume. Outstanding treasures of medieval imagery such as religious panel paintings, Madonna statues, illumination and goldsmith art; courtly culture also gets attention.

With his passion and meticulousness, photographer Achim Bednorz succeeded to get details in front of his camera that cannot even be perceived on the original locally. The photographs that are exclusive for this volume are particularly well-presented in their large format. The author Bruno Klein wrote his take on Gothic history to fit, and swiftly takes the reader into a past medieval world almost forgotten.

The story and history of the development of Graphic arts from the end of the 19th century through to its many applications in film, animation and forms of media . Many artists chose graphic production. Among them are Magritte, Rodcenko and Warhol. A perfect necessity for the student of graphic arts.

The Visual Encyclopaedia series provide up to 300 beautiful photographic and artwork images, illustrating subjects of perennial cultural interest. Images are accompanied by narrative providing background, brief criticism, and details on relevant museums, brief biographies and time lines.

This is a thought-provoking exploration of the masterpieces of sculpture, drawing and decoration of the last Ice Age. Produced between 40,000 and 10,000 years ago, this is some of the oldest known figurative art in the world. Looking at these artworks provides a fascinating insight into the earliest modern minds and their capacity to express ideas symbolically through art.

Over 100 objects are featured, including small but exquisite sculptures made from mammoth ivory, engraved drawings, ceramic models, decorated objects and jewellery from the age of the great painted caves. Some are celebrated masterpieces such as the Swimming Reindeer (13,000 years old), the so-called Willendorf Venus (25,000 years old), the Vogelherd Horse (32,000 years old) and the Lion Man (32,000 years old); others are lesser- known treasures from the collections of European museums. The author examines them in a new light, as works of aesthetic – not solely archaeological – interest, and as such forming part of an unbroken continuum of human creativity.

The compelling narrative is also illustrated with a wealth of images, from classical sculpture to twentieth-century painting and even contemporary advertising campaigns, which demonstrate surprising aesthetic parallels between these ancient works and familiar modern pieces.

In this way, Ice Age art will bring home the point that the minds that created these objects in all their diversity and inventiveness were modern minds like our own, capable of highly sophisticated thought and expression.

Illuminated manuscripts are widely recognised as among the most beautiful objects of the western world. This is a book about their making: about the many talents involved in producing the missals, Books of Hours, breviaries and bibles that astonish us still with their richness and beauty. The original illuminated manuscripts were collaborative productions, with different specialists contributing script, initials, borders, illustration, and binding to the work.

Rowan Watson’s study is both scholarly and rich in anecdote; he not only brings individual scribes and book dealers vividly to life but throws light on the commercial and religious environments in which they worked, and on the co-operative working practices devised for their production. Having looked at the individual elements of the illuminated page, the author then turns his attention to a sequence of splendid leaves from some of the great illuminated masterpieces in the museum’s collection. He also discusses how early books were marketed and sold, and ends with a look at the survival of illumination after the advent of the printing press and its revival in the nineteenth century at the hands of pioneering designers such as Owen Jones and William Morris.

The illustrations are drawn from the exceptional and largely unpublished collections of the V&A, and the text offers us an entirely new look at the subject, treating illumination as a key to the history of the period, as much as an expression of medieval and Renaissance (and neo-Gothic) styles and sensibility.

Concepts such as the prodigal son and the good Samaritan can be found in art, literature and everyday expressions in cultures around the world. Images from the Bible contains a beautiful collection of Bible illustrations from the 17th to the 19th century that have been chosen for their beauty and their relevance as illustrations of these shared cultural ideas.

All illustrations are stored on the accompanying CD and are ready to use for printed media and web page design. They can also be used to produce postcards, or to decorate letters, flyers, etc. For the vast majority of applications, single images can be used free of charge.

Concepts such as writing on the wall and the wisdom of Solomon can be found in art, literature and everyday expressions in cultures around the world. Images from the Bible contains a beautiful collection of Bible illustrations from the 17th to the 19th century that have been chosen for their beauty and their relevance as illustrations of these shared cultural ideas.

All illustrations are stored on the accompanying CD and are ready to use for printed media and web page design. They can also be used to produce postcards, or to decorate letters, flyers, etc. For the vast majority of applications, single images can be used free of charge.

Luscious dabs of colour and light. Art history’s most delightful movement

Impressionism continues to be one of the most fascinating movements in the history of modern art. It is also the most popular with the general public. Proof of this has been provided in recent years by blockbuster exhibitions of the works of Degas, Gauguin, van Gogh, Renoir, Toulouse-Lautrec, and Monet, and by record sums realized from the sale of Impressionist paintings.

Despite its popularity and a whole host of publications — the majority of them about the most famous names — many areas of Impressionism are still under-researched. Many “second rank” Impressionists have remained unknown or have sunk into oblivion. This monograph fills the gap, as it explores French Impressionism alongside related art movements that flourished simultaneously in the rest of Europe and North America.

Part 1 deals with Impressionism in France, including Post- and Neo-Impressionism. As well as discussing the most renowned artists, its aim is to introduce others who are still little-known today. Among them are the long underrated Gustave Caillebotte, represented by 17 paintings, and artists such as Frédéric Bazille, Marie Bracquemond, Henri-Edmond Cross, Jean-Louis Forain, Eva Gonzalès, Armand Guillaumin, Albert Lebourg, Stanislas Lépine, Maximilien Luce, Berthe Morisot, Lucien Pissarro, Jean-François Raffaëlli, Henri Rouart, and Victor Vignon.

The eight chapters of part 2 focus on paintings inspired by French Impressionism and produced in parallel in the Netherlands, Belgium, Germany, Scandinavia, Eastern and South-Eastern Europe, Italy, Spain, Great Britain, the USA and Canada. Rarely did painters in these countries slavishly copy the ideas emerging from France. Instead, most non-French artists found astonishingly original ways of translating them into the artistic language of their native lands.

The editor:

Ingo F. Walther (1940–2007) was born in Berlin and studied medieval studies, literature, and art history in Frankfurt am Main and Munich. He published numerous books on the art of the Middle Ages and of the 19th and 20th centuries. Walther’s many titles for TASCHEN include Vincent van Gogh, Pablo Picasso, Art of the 20th Century, and Codices illustres. 

Brushwork Revolution. The neglected champions of Impressionism

It was a dappled and daubed harbour scene that gave Impressionism its name. When Impression, Sunrise by Claude Monet was exhibited in April 1874, critics seized upon the work’s title and its loose stylistic rendering of light and motion upon water to deride this new, impressionistic tendency in art.

As with many seminal art movements, the critics got their comeuppance. Today, Impressionism is close contender for the world’s favourite period of painting. With blockbuster exhibitions, record-breaking auction prices, and packed museums, the works once dismissed as unfinished or imprecise are now beloved for their atmospheric evocation of time and place, as well as the stylistic flair of rapid brushstrokes upon canvas.

Despite its popularity and a whole host of publications, many areas and artists of Impressionism remain inadequately researched. This TASCHEN book fills the gap, raising the profile of unjustly neglected pioneers such as Berthe Morisot, Lucien Pissarro, and Gustave Caillebotte, while exploring the characteristics of Impressionism, from painting en plein air to vivid colour contrasts, not only in the movement’s native France but also across the rest of Europe and North America.

About the series:

Bibliotheca Universalis — Compact cultural companions celebrating the eclectic TASCHEN universe at an unbeatable, democratic price!

Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible, open-minded publishing. Bibliotheca Universalis brings together more than 100 of our all-time favourite titles in a neat new format so you can curate your own affordable library of art, anthropology, and aphrodisia.

Bookworm’s delight — never bore, always excite!

The editor:

Ingo F. Walther (1940–2007) was born in Berlin and studied medieval studies, literature, and art history in Frankfurt am Main and Munich. He published numerous books on the art of the Middle Ages and of the 19th and 20th centuries. Walther’s many titles for TASCHEN include Vincent van Gogh, Pablo Picasso, Art of the 20th Century, and Codices illustres.