Сборники работ по искусству

The Mexican painter Frida Kahlo (1907–1954) is one of the most famous artists of all time. However, while much has been written about Kahlo’s striking self-portraits (of which some 80 are known), her still-life paintings (of which 40 or so are documented) have not been subjected to such close scrutiny until now. In this groundbreaking study, noted Kahlo scholar Salomon Grimberg explores in detail and interprets all of the artist’s still lifes, including some that have come to light only recently. Offering provocative new perspectives on Kahlo’s creative process, and revealing how the still lifes reflected her internal reality and complement her self-portraits, this book represents an indispensable contribution to the literature on an enduringly popular artist.

The only complete study of Kahlo’s still lifes, indispensable to understanding the artist, her internal reality and her work
Offers original interpretations by a leading authority on Kahlo
Includes stunning reproductions of every known still life painted by Kahlo, as well as other relevant works and photographs

110 illustrations, 60 in colour

Sublime stillness

Capturing nature's moody splendor

The solitude of man and the bleak beauty of nature are prominent themes in the work of Caspar David Friedrich (1774-1840), the great romantic painter whose importance and influence have often been underestimated. Now widely considered to be the most important German artist of his generation, Friedrich died in obscurity and wasn’t fully appreciated until the early 20th century. An important precursor to the Expressionists, Friedrich once wrote that an artist must “close your bodily eye so that you may see your picture first with the spiritual eye. Then bring to the light of day that which you have seen in the darkness so that it may react upon others from the outside inwards.”

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

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

After starting a career as a bank broker, Paul Gauguin (1848–1903) turned to painting only at age twenty-five. After initial successes within the Impressionist circle, he broke with Vincent van Gogh and subsequently - when private difficulties caused him to become restless - embarked on a peripatetic life, wandering first through Europe and finally, in the search for pristine originality and unadulterated nature, to Tahiti.

The paintings created from this time to his death in 1903 brought him posthumous fame. In pictures devoid of any attempt at romantically disguising the life style of the primitive island peoples, Gauguin was able to convey the magical effect that both the landscapes and life of the natives - their body language, charm and beauty - had on him. Wearying of his reputation as a South Sea painter, Gauguin finally determined to return to France, but died of syphilis on the Marquis Islands before his departure.

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

Einzige lieferbare Monografie zu Leben und Werk des großen französischen Erneuerers der Kunst des 20. Jahrhunderts auf dem deutschen Buchmarkt.

Das Werk von Georges Braque (1882–1963), dem bedeutenden Wegbereiter der Moderne, ist viel komplexer und aufregender, als dies die bisherige kunstwissenschaftliche Literatur oft vermuten ließ: Die starke Betonung der Verbindung des Künstlers mit Picasso und die Gleichsetzung seines Werkes mit dem Kubismus haben seine Bedeutung nur unzureichend beschrieben, auch wenn seinen bahnbrechenden kubistischen Arbeiten eine außerordentliche Stellung eingeräumt werden muss.
Der retrospektiv angelegte Band bietet eine profunde Neubewertung des gesamten Œuvres von Georges Braque. Mit über 80 Gemälden und zentralen druckgrafischen Arbeiten wird die Einzigartigkeit seines malerischen Abenteuers umfassend veranschaulicht: Braque im Umkreis der Fauves, Braque – der Methodische, Braque als Erfinder des Papier collé , Braques Anleihen bei der Dekorationsmalerei, in der er ausgebildet wurde, Braque als Meister des modernen Stilllebens und nicht zuletzt Braque – der »lyrische Konstrukteur«.

A new, multifaceted examination of Georges Braque’s complete oeuvre, whose complexity has yet to receive its due.

Georges Braque (1882–1963), one of the major pioneers of modernity, produced work that is much more complex and compelling than art historians have often led us to believe: the strong emphasis on his close association with Picasso and the equation of his work with Cubism have not done sufficient justice to his relevance, even though his pioneering Cubist works ought to be accorded extraordinary status.
This retrospective offers a profound re-evaluation of Braque’s complete oeuvre. Featuring about eighty paintings and key prints, this volume takes a comprehensive look at his unique adventures: Braque among the Fauves; Braque, the methodical artist; Braque as the inventor of the papier collé; Braque’s appropriations from decorative painting, in which he was originally trained; Braque as master of the modern still life; and last but not least, Braque, the “lyrical constructor.”

The inventor of pointillism, presented through an extensive selection of drawings and paintings.

Georges Seurat (1859–1891), a man of consistently proper disposition, was called “the notary” by his painter colleagues, and yet he was a trailblazing avant-garde artist. No other visual theme so well illustrates the tremendous innovations in Seurat’s paintings and drawings as the focus of this volume: the figure in space. The artist’s dense weave of pencil strokes cover the paper, making his indeterminate, floating motifs either stand out or disappear, while distinct light and dark contrasts surround and accentuate the figures. In his paintings, Seurat transposed his subjects into his technique, Pointillism, as well as into his innovative compositions. In later pieces, he even repeated and varied human forms within a single work. For his increasingly geometrical visual composition, which subordinates the individual elements to a system, he earned the admiration of the Bauhaus.

The catalogue is published on the occasion of the first individual exhibition of Georges Vantongerloo in Spain. The catalogue reveals the grounding of his work in the re-conceptualisation of pictorial and sculptural space that marked the abstract tendencies in art of the early 20th century. In the 1920s an important part of the Vantongerloo´s investigation was centred on colour as physical and perceptive phenomenon. Later, Vantongerloo will conceive his works according to strictly geometric rules, algebraic afterwards, to turn, thus, into the founder of the mathematical thought in art in our epoch. Genuine pioneer in the abstract sculpture field, the artist will continue, after 1945, proposing peculiar versions of that kind of sculpture, abandoning all the reference to a built geometry, and opening to a subjective approach to the universe of cosmology.

This comprehensive survey of the work of the Swiss-born modern master Alberto Giacometti offers a fresh and incisive account of his creative output. Published on the occasion of Giacometti’s first major museum presentation in the US in over a decade, the volume brings together nearly 200 sculptures, paintings, and drawings to trace the artist’s wide-ranging and hugely innovative engagement with the human form across various mediums.

While Giacometti may be best known for his distinct figurative sculptures that emerged after World War II, including a series of elongated standing women, striding men, and expressive busts, this volume devotes equal attention to the artist’s early and midcareer development. It explores his lesser-known engagement with Cubism and Surrealism as well as African, Oceanic, and Cycladic art, while also highlighting his remarkable talents as a draftsman and painter alongside his sculptural oeuvre. Of particular focus is Giacometti’s studio practice, which is examined through rarely seen plaster sculptures that highlight the artist’s working process, in addition to historical photographs documenting his relationship with the Solomon R. Guggenheim Museum — which hosted the artist’s first US museum exhibition, in 1955 — and with New York City.

One of the world's foremost artists of Fantastic Realism H. R. Giger is recognized as one of the world's foremost artists of Fantastic Realism. Born in 1940 in Chur, Switzerland, he studied architecture and industrial design at the School of Applied Arts in Zurich. By 1964 he was producing his first artworks, mostly ink drawings and oils, leading to his first solo exhibition in 1966, followed by the worldwide distribution of his first published posters in 1969. Shortly after, he discovered the airbrush and his own signature, freehand, style, and created his most well-known works, which formed the cornerstone of his fame. Giger's first book, Necronomicon, published in 1977, served as the visual inspiration for director Ridley Scott's blockbuster movie Alien, Giger's first film assignment, earning him the 1980 Oscar for "Best Achievement in Visual Effects", for his designs of the film's title character and its otherworldly environment. Giger's album covers for Debbie Harry and the band ELP were voted among the 100 best in music history in a survey of rock journalists. Throughout his career, Giger also worked in sculpture and, in 1992, created his first total environment, the Giger Bar in Chur. The Museum H.R. Giger in Château Saint-Germain was opened in Gruyères in 1998. Today, Giger continues to live and work in Zurich with his companion in life Carmen, where his current projects include the realization of his museum bar in Gruyères. The H.R. Giger portfolio features high-quality prints that beg to be framed. Tucked in the portfolio are 14 large-format reproductions, each with a brief description. Images included: No. 312, Biomechanoid Landscape, No. 358, Illuminatus I, 1978, No. 305, Safari, 1973-76, No. 271, National Parc, 1975, No. 351, Cataract, No. 341, Witches' Dance, No. 292, Dune IV, 1976, No. 256, Minon, 1974, No. 350, Hommage à Böcklin, 1977, No. 272, Baphomet (after Eliphas Lévi), No. 274, A. Crowley (The Beast 666), No. 252, Biomechanoid I, No. 344, Mirror Image, No. 251, Li II, 1974.

Master of Horror. Discover HR Giger’s arsenal of fear

Discover HR Giger’s inimitable universe in this definition introduction to the master that gave expression to the collective horrors and fantasies of our time. From his childhood fears to Alien, Giger personally guides us through his multifaceted career with intimate autobiographical essays, detailed reproductions and designs, and a foreword by Timothy Leary.

Swiss artist HR Giger (1940–2014) is most famous for his creation of the space monster in Ridley Scott’s 1979 horror sci-fi film Alien, which earned him an Oscar. In retrospect, this was just one of the most popular expressions of Giger’s biomechanical arsenal of creatures, which consistently merged hybrids of human and machine into images of haunting power and dark psychedelia.

The visions drew on demons of the past, harking back as far as Giger’s earliest childhood fears as well as evoking mythologies for the future. Above all, they gave expression to the collective fears and fantasies of his age: fear of the atom, of pollution and wasted resources, and of a future in which our bodies depend on machines for survival.

From surrealist dream landscapes created with a spray gun and stencils to album cover designs, from guillotine-like sculptures to self-designed bars, Giger personally guides us through his multi-faceted universe in this definitive introduction to a master of horror. Detailed reproductions and designs and a foreword by Timothy Leary complement Giger’s intimate autobiographical texts.

The artist:

HR Giger (1940–2014) was a Swiss painter, sculptor, and designer, who combined surrealist influences and dark fantasies to create his very own biomechanical universe. He first received acclaim in the 1960s with his airbrushed fantasies of post-apocalyptic creatures and landscapes and rose to fame through high profile movie work, most notably the creation of the monster in Alien, which won the Academy Award for Best Visual Effects. HR Giger was named in the Science Fiction and Fantasy Hall of Fame in 2013.

About the series:

Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. 

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

A magnificently illustrated study of the greatest painter of the early Renaissance.

Vasari famously wrote that Giotto "recovered the true method of painting, which been lost for many years before him," and indeed he is traditionally considered a founder of the Italian Renaissance. Producing a series of commissioned works for the church and upper classes in his native Tuscany and surrounding regions, Giotto changed the course of European art by breaking away from the rigid, stereotyped figures of the Byzantine and Giotto medieval traditions. His innovation was to give his characters natural movement and expression. His great fresco cycles, such as the lives of the Virgin and Christ in the Scrovegni (or Arena) Chapel, Padua, are populated with realistic depictions of three-dimensional figures; secondary characters, both comic and tragic, display the range of the painter's wit and invention. And Giotto's treatment of perspective was just as revolutionary as his approach to the human form. The dramatic power of his scenes is heightened by the convincing illusionistic spaces in which he places them.

In this authoritative survey of Giotto's life and work, Professor Francesca Flores d'Arcais draws on an impressive range of sources, from fourteenth-century documents to the most recent art - historical investigations. Her research leads her to important re-attributions of Giottesque paintings and to new conclusions regarding the execution and dating of both famous and lesser-known works. This second edition also includes a discussion of the earthquake of September 29, 1997 that damaged the frescoes of the Upper Basilica of San Francesco in Assisi - some of which are attributed to the artist in the early phase of his career - and the restoration effort that followed.

More than three hundred illustrations, most in full color and some on double gatefold pages, reproduce all of Giotto's important frescoes in exquisite detail, as well as his moving crucifixes and jewel-like polyptychs. These illustrations are based on new photography of Giotto's paintings, many of which have recently been restored to their original brilliance, making this the definitive monograph on the greatest of trecento masters.

"Vers 1855, un célèbre café historique, le Caffé Michelangelo, vit l'éclosion et l'épanouissement d'un mouvement artistique qui, malgré sa courte vie, a marqué l'histoire de l'art italien. Il a fleuri et s'est éteint en l'espace d'une génération d'artistes tout en laissant des traces profondes sur les générations suivantes, au moins jusqu'aux premières décennies du XXème siècle.

(...) Dans ce groupe de jeunes artistes se détache la figure de Giovanni Fattori (Livourne, 1825 - Florence, 1908), considéré comme le représentant principal de ce courant qu'une critique hostile de l'époque gratifia du nom péjoratif de "Macchiaioli", nom qui leur fut attribué dans l'histoire de l'art italien pour caractériser la période 1855-1870.

(...) Giovanni Fattori a manifesté un grand intérêt pour l'histoire contemporaine, immortalisant dans ses premières peintures les grandes batailles du Risorgimento. Ses thèmes de prédilection étaient la Toscane, les paysages agrestes, les hommes au travail dans les champs, les animaux attelés, la mer, la région côtière ou Maremma, avec ses gardiens de troupeau à cheval.
Dans ces superbes portraits, nous saisissons toujours une touche subtile de mélancolie, reflet de l'état d'âme de l'artiste lui-même, qui préfigura le malaise existentiel de l'homme du XXème siècle."
Francesca Giampaolo

Beau choix de 65 oeuvres - huile, crayon graphite, eau-forte, fusain -, bien représentatif des thèmes chers à l'artiste.
La plupart des reproductions sont à pleine page ; les huiles sont reproduites en couleurs.

Explores the life and work of the Russian artist and stage designer Natalia Goncharova (1881-1962).

A contemporary of Picasso, Matisse and Kandinsky, Goncharova is now recognised as one of the leading Russian artists of the twentieth century. This book traces the development of her art from its impressionist origins, through a provocative phase of 'primitive' style paintings on peasant themes to highly innovative abstract works that rivalled the most daring experiments of the Cubists and Futurists. As a woman artist, she was galvanised by gender issues and addressed these directly in her work. In both her paintings and her behaviour she questioned accepted conventions and scandalised Russian society. Arrested in 1909 on the grounds of the 'pornographic' content of her paintings, accused of heresy against the Orthodox Church in 1914 because of her religious work and branded a Futurist because she walked about in public with a painted face, her large-scale retrospective in Moscow in 1913, in which she exhibited over 700 works, demonstrated to public and critics alike that she was, unquestionably, one of the greatest painterly talents that Russia had ever produced.

In 1914 Diaghilev, the director of the famous "Ballets Russes" invited Goncharova to make designs for The Golden Cockerel which was staged at the Paris Opera. The staggering success of this production opened up new creative horizons for her and she remained in Paris to become one of Diaghilev's 'resident' designers. Her work of this period reveals her gifts not only as a superb stage designer but also as a designer of women's fashions for the haute-couture industry of Art Deco Paris. Her work is now in the collections of museums and galleries across the world and is so highly sought that she has achieved the highest sale price ever recorded at auction for a woman artist.

Contents: Life and work in Moscow, Impressionism and Symbolism, Goncharova and gender, Neo-primitivism, Abstraction, futurist books, life and work in Paris, designs for the stage, fashions and textiles, graphic work, and later paintings.

Dr. Anthony Parton is a specialist in Russian avant-garde art of the early 20th century. He is the author of Mikhail Larionov and the Russian Avant-garde, editor of Women Artists of Russia's New Age and has contributed many scholarly essays on the subject of Russian modernism to exhibition catalogues, journals and reference works. He is a lecturer in the History of Art at Durham University.

An artist both of and before his time

The Old Master who ushered in the modern era

Francisco José de Goya y Lucientes (1746-1828), one of Spain’s most revered and controversial painters, is known for his intense, chilling, and sometimes grotesque paintings depicting the injustice of society with brutal sincerity. A court painter to the Spanish crown, he captured, through his works, a snapshot of life in Spain in the late 18th and early 19th centuries. Coming at the tail end of the Old Masters period, Goya, with his audacious, subversive, and highly influential works, can be considered the first painter of the modern era. His influence can be seen in the works of artists as varied as Pablo Picasso and Francis Bacon.

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

"Dans la plénitude de son talent, Guillaume Vogels se révèle le chantre du climat nordique, des ciels plombés, de la lumière mouvante. Dans ses paysages, ses vues de ville, ses marines, la richesse de sa palette de gris colorés, la vigueur de la touche, la spontanéité ferme des empâtements dégagent une émotion première qui déplace les frontières du sujet et en accentue l'expressivité. Son oeuvre tranche sur le naturalisme descriptif de l'époque par une étonnante nouveauté.

Après une brève formation à l'Académie des Beaux-Arts de Bruxelles, Vogels est attiré par la peinture de plein air. Il peint sur le motif à Ostende et à Bruxelles. En 1879, il se lie d'amitié avec James Ensor et Jan Toorop. Dès 1884, il participe aux expositions du Groupe des XX en compagnie de Cézanne, Monet, Renoir, Gauguin et Van Gogh.

Ce portrait d'un artiste qui fut une des figures majeures de l'école belge de peinture du XIXème siècle éclaire aussi le caractère spécifique de la peinture de plein air telle qu'elle s'épanouit dans un pays riche de traditions picturales."
Constantin Ekonomidès

Réunion de 70 oeuvres - huile, crayon, mine de plomb, aquarelle -, dont certaines relèvent de l'impressionnisme (Dunes, Nieuport-bains, L'Église des Minimes), d'un important artiste à redécouvrir.
Signalons de belles vues de Tervuren, Ostende, Anderlecht, Ixelles...

La plupart des reproductions sont à pleine page ; les huiles et aquarelles sont reproduites en couleurs.

Quelques reproductions de James ENSOR, Périclès PANTAZIS et un portrait par Jan TOOROP.

Defining Decadence. The legacy of Gustav Klimt

Fall under the spell of Gustav Klimt. The complete catalogue of his paintings, including new photographs of the Stoclet Frieze, this book follows the Viennese master through his prominent role in the Secessionist movement, his candid rendering of the female body, and the lustrous “golden phase” behind such shimmering works as The Kiss and Portrait of Adele Bloch-Bauer I.

A century after his death, Viennese artist Gustav Klimt (1862–1918) still startles with his unabashed eroticism, dazzling surfaces, and artistic experimentation. This monograph gathers all of Klimt’s major works alongside authoritative art historical commentary and privileged access to the artist’s archive.

With top-quality illustration, including new photography of the celebrated Stoclet Frieze, the book follows Klimt through his prominent role in the Secessionist movement of 1897, his candid rendering of the female body, and his lustrous “golden phase” when gold leaf brought a shimmering tone and texture to such beloved works as The Kiss and Portrait of Adele Bloch-Bauer I, also known as The Woman in Gold.

Through luminous spreads and carefully curated details, the monograph traces the repertoire of Japanese, Byzantine, and allegorical stimuli that informed Klimt’s flattened perspectives, his symbolic vocabulary, and his mosaic-like textures. Drawing upon contemporary critics and voices, the book also examines the art world’s polarized reception to Klimt’s pictures as much as his own stylistic trajectory. From his landscape painting to erotic works to the controversial ceiling for the Great Hall of the University of Vienna, we see how Klimt’s admixture of tradition and daring divided the press and public — becried by some as a pornographer, hailed by others as a modern maestro.

The editor and author:

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.