Сборники работ по искусству

One big slice of cheesecake. Pin-up travels the long road from barracks wall to high art

In the 15 years since TASCHEN released The Great American Pin-up, international interest in this distinctly American art form has increased exponentially. Paintings by leading artists such as Alberto Vargas, George Petty, and Gil Elvgren that sold for $ 2,000 in 1996 are going for $ 200,000 and more today. Pin-up: drawings, paintings and pastels of an idealized female face and figure intended for public display, was produced between 1920 and 1970, for use on calendars, and magazine covers and centerfolds. The majority of original paintings were discarded by publishers and calendar companies after printing, making the surviving art that much more precious. Today it’s popularity is huge, and ripe for an equally huge and truly comprehensive collector’s edition.

Formidably sized, The Art of Pin-up is an impressive book that will be coveted by casual fans as well as hardcore pin-up collectors. The top 10 artists are profiled in depth. Each chapter opens with a tipped-in reproduction of an original calendar or magazine cover by that artist. The reproduction quality of the paintings, pastels, and preparatory sketches that follow — largely sourced from the original art — invites the viewer to trace the brush strokes, while the exquisite period calendars, vintage prints, and original model photos document the artists’ creative process. Much of these ephemera were photographed on-site at the historic Brown & Bigelow Company, home to the world’s largest archive of vintage pin-up calendars.

In addition to the chapters on the 10 featured artists, the book includes thumbnail bios and representative art of 85 additional artists, the most complete compendium of pin-up artists ever compiled. All this adds up to a hard-to-beat book on this popular subject.

One Big Slice of Cheesecake. Pin-up travels the long road from barracks wall to high art

Since TASCHEN released The Great American Pin-up, international interest in this distinctly American art form has increased exponentially. Paintings by leading artists such as Alberto Vargas, George Petty, and Gil Elvgren that sold for $ 2,000 in 1996 are going for $ 200,000 and more today. Pin-up — drawings, paintings, and pastels of an idealized female face and figure intended for public display — was produced between 1920 and 1970 for calendars, magazine covers, and centerfolds. The majority of original paintings were discarded by publishers and calendar companies after printing, making the surviving art that much more precious.

Based on the formidably sized Art of Pin-up, this accessible edition gathers nearly 100 artists alongside in-depth showcases of the top 10 names in the game. Each chapter opens with a reproduction of an original calendar or magazine cover by that artist. The reproduction quality of the paintings, pastels, and preparatory sketches that follow — largely sourced from the original art — invites the viewer to trace the brushstrokes, while the exquisite period calendars, vintage prints, and original model photos document the artists’ creative process. Much of these ephemera were photographed on-site at the historic Brown & Bigelow Company, home to the world’s largest archive of vintage pin-up calendars.

In addition to the chapters on the 10 featured artists, the book includes bios and art of 85 painters, the most complete compendium of pin-up artists ever compiled. All this adds up to a hard-to-beat book on this popular subject.

The editor:

Dian Hanson produced a variety of men’s magazines from 1976 to 2001, including Juggs, Outlaw Biker, and Leg Show, before becoming TASCHEN’s Sexy Book Editor. Her titles include the “body part” series, The Art of Pin-up, Psychedelic Sex, and Ren Hang.

The contributing authors:

Sarahjane Blum is an author, cultural historian, and co-owner of Grapefruit Moon Gallery, which specializes in original American illustration art. She lives in Minneapolis, Minnesota.

Louis Meisel is owner of one of the oldest pin-up and illustration art galleries in New York. He is the co-author of TASCHEN’s The Great American Pin-up and Gil Elvgren: All his Glamorous American Pin-ups.

Robert E. McGinnis began his career in 1947 as a cartoonist, and produced his first cover illustrations for 1956 issues of the magazines True Detective and Master Detective. Then in 1958, he painted his first paperback book cover, and from that day forward his work was in demand.

The emergence of the “McGinnis Woman” — long-legged, intelligent, alluring, and enigmatic — established him as the go-to artist for detective novels. His work appeared on Mike Shayne titles and the Perry Mason series, and he produced 100 paintings for the Carter Brown adventures. Yet McGinnis became famous for his work in other genres as well: espionage, romance, historicals, gothics, and Westerns.

McGinnis’s first major magazine assignments were for The Saturday Evening Post, and his work has graced the pages of Cosmopolitan, National Geographic, Good Housekeeping, Guideposts, and others. McGinnis women frequently cropped up in the men’s magazines of the ’60s and ’70s.

His first movie poster was for Breakfast at Tiffany’s, with an iconic rendering of Audrey Hepburn. Almost instantly, his poster artwork could be seen everywhere — in theaters, on billboards, in newspapers, and even on soundtrack albums. His work for Hollywood became a who’s-who, with posters for James Bond, The Odd Couple, Woody Allen, The Private Life of Sherlock Holmes, and many more.

Some of his most ambitious works have been his gallery paintings, often depicting stunning American landscapes, vast Western vistas, and of course, beautiful women. The Art of Robert E. McGinnis collection reveals the full scope and beauty of the work of a true American master — one whose legacy continues today

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

Published in its entirety, Frida Kahlo’s amazing illustrated journal documents the last ten years of her turbulent life. These passionate, often surprising, intimate records, kept under lock and key for some 40 years in Mexico, reveal many new dimensions in the complex personal life of this remarkable Mexican artist. The 170-page journal contains the artist’s thoughts, poems, and dreams - many reflecting her stormy relationship with her husband, artist Diego Rivera  - along with 70 mesmerizing watercolor illustrations.

The text entries, written in Frida’s round, full script in brightly colored inks, make the journal as captivating to look at as it is to read. Her writing reveals the artist’s political sensibilities, recollections of her childhood, and her enormous courage in the face of more than 35 operations to correct injuries she had sustained in an accident at the age of 18. This intimate portal into her life is sure to fascinate fans of the artist, art historians, and women’s culturalists alike.

Brian M. Viveros paints dangerous women. Often depicted helmeted and smoking, they sport bandages as if they had just been in a fight and won.

This first-ever monograph on this talented self-taught artist allows us to enter his fantasy world where women are sexy and powerful and men are nowhere to be seen.

From his first group exhibition 20 years ago, where his work was exhibited alongside the likes of H.R. Giger and Eric Stanton, his reputation among the art community and collectors alike has continued to grow.

This book is devoted to Albrecht Dürer’s early art and the circumstances of the young painter’s life that enabled his unique work.

Literature about Dürer fills library shelves. Does this mean everything has already been said about the artist? Far from it, according to the scholars at the Germanisches Nationalmuseum and their international partners in the Early Dürer Project. Their essays deal with the core phenomena of Dürer’s early work, ranging from the artist’s biography and surroundings to the question of Dürer’s role as the archetype of the modern artist.

New sociological approaches allow us to interpret Dürer’s ‘ideal neighbourhood’ as a source of inspiration for the artist’s work, resituating Dürer in the artistic context of his time, at an exciting crossroad between the imitation of traditional painting and the self-conscious renewal of his profession.

Photographs of Dürer’s early work, many of which are new and published here for the first time, complete the publication, which will establish a new basis for a modern understanding of Germany’s most famous artist.

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

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.

J.M.W. Turner was arguably the greatest landscape and marine painter ever. His output was prodigious: some five hundred and fifty oil paintings, over two thousand highly detailed and finely finished watercolours, and almost twenty thousand sketches, studies and rough watercolours. He excelled in every branch of landscape and marine painting, from elaborate history pictures and idealised scenes in the classical tradition, to tiny, jewel-like watercolours of contemporary life on land and sea made for subsequent engraved reproduction. This book takes us on a grand tour of the artist’s works.

The loggia, or colonnaded porch, on the second story of the Apostolic Palace is one of the Vatican’s most remarkable art treasures; its decoration, designed by Raphael (1483-1520) and executed by his workshop in 1517-19, epitomizes the spirit of the Italian Renaissance in its synthesis of Christian and classical themes. The thirteen square vaults of Raphael’s loggia each contain four frescoes of scenes from the Bible, from the Creation to the Last Supper. Meanwhile, the plasterwork of the other architectural elements is decorated with “grotesques” - fanciful arabesques enlivened with a wide variety of human and animal figures - modeled after ancient Roman wall paintings.

This groundbreaking study of Raphael’s loggia, the first to be published in English, has four parts. The first and second concern the grotesques and the scenes from the Bible, respectively, while the third examines the lives and artistic styles of the members of Raphael’s workshop who worked with him on the loggia. The fourth part traces the loggia’s enduring influence: the grotesque ornamental style elaborated by Raphael has been imitated as far afield as the corridors of the United States Capitol, and the Bible scenes served as influential models for popular prints. Illustrated throughout with newly commissioned color photographs, this book reaffirms the central importance of Raphael’s loggia to the history of art.

"A woman once rang me up and said, 'Mr. Escher, I am absolutely crazy about your work. In your print Reptiles, you have given such a striking illustration of reincarnation.' I replied, ‘Madame, if that`s the way you see it, so be it.`" An engagingly sly comment by the renowned Dutch graphic artist Maurits Cornelis Escher (1898–1972) - the complex ambiguities of whose work leave hasty or single-minded interpretations far behind. Long before the first computer-generated 3-D images were thrilling the public, Escher was a master of the third dimension. His lithograph "Magic Mirror" dates as far back as 1946. In taking that title for this book, mathematician Bruno Ernst is stressing the magic spell Escher`s work invariably casts on those who see it. Ernst visited Escher every week for a year, systematically talking through his entire œuvre with him. Their discussions resulted in a friendship that gave Ernst intimate access to the life and conceptual world of Escher. Ernst`s account was meticulously scrutinized and made accurate by the artist himself.

Escher`s work refuses to be pigeonholed. Scientific, psychological, or aesthetic criteria alone cannot do it justice. The questions remain. Why did he create the pictures? How did he construct them? What preliminary studies were necessary before he could arrive at the final version? And how are the various images Escher created interrelated? This book, complete with biographical data, 250 illustrations, and explications of mathematical problems, offers answers to these and many other questions and is an authentic source text of the first order.

Impossible Illusions. The enigmatic works of M.C. Escher

Long before the first computer-generated 3-D images, M.C. Escher was a master of the third dimension. His impossible geometry and illusions, bordering between the scientific and psychological, are a homage to the possibilities of the human mind. This collection presents the artist’s key graphic works and illustrations in stunning full-page reproductions, complete with detailed explanations of each mathematical problem.

“A woman once rang me up and said, ‘Mr. Escher, I am absolutely crazy about your work. In your print Reptiles, you have given such a striking illustration of reincarnation.’ I replied, ‘Madame, if that’s the way you see it, so be it.’” A fittingly sly comment from renowned Dutch graphic artist Maurits Cornelis Escher (1898–1972), whose complex and ambiguous drawings continue to leave hasty interpretations far behind.

Long before the first computer-generated 3-D images, Escher was a master of the third dimension. His lithograph Magic Mirror dates as far back as 1946. By taking such a title for the book, mathematician Bruno Ernst stressed the enrapturing spell Escher’s work invariably casts on those who see it. Ernst visited Escher every week for a year, systematically talking through his entire oeuvre with him. Their discussions resulted in a friendship that gave Ernst intimate access to the life and conceptual world of Escher. Ernst’s account was meticulously scrutinized and made accurate by the artist himself.

Escher’s work refuses to be pigeonholed. Scientific, psychological, or aesthetic criteria alone cannot do it justice. The questions remain: Why did he create the pictures? How did he construct them? What preliminary studies were necessary before achieving the final version? And how are his various creations interrelated? This book, complete with biographical data, 250 illustrations, and a thorough breaking-down of each mathematical problem offers answers to these and many other lingering mysteries and is an authentic source text of the first order.

No artist ever worked harder to render the visions of his mind’s eye than M.C. Escher. A superb draughtsman, he set himself the challenge of portraying other-worldly transformations of space within the familiar boundaries set by a sheet of paper. The resulting images have become the favourite artworks of hundreds of thousands of people around the world.

This powerfully original artist has long deserved a book that does justice to his visual invention: this is it. Escher’s works are arranged to form a cinematic journey of discovery, brilliantly interweaving his better-known prints with numerous unpublished working drawings and sketches (including 12 full-colour fold-outs), the artist’s eloquent words, and observations by Escher expert J.L. Locher.

As beautiful and rigorous as an Escher work itself, The Magic of M.C. Escher is destined to become the classic study of a great maverick who so memorably linked the world of image-making with geometry and paradox.

Pierre Bonnard was the leader of a group of Post-Impressionist painters who called themselves the Nabis, from the Hebrew word meaning ‘prophet’. Influenced by Odilon Redon and Puvis de Chavannes, as well as by popular imagery and Japanese etchings, this post-impressionist group was, above all, a close circle of friends who shared the same cultural background and interests. Bonnard, Vuillard, Roussel and Denis were the most distinguished of the Nabis, but an increasing individualism in their art often threatened the group’s unity, and although tied together by a common philosophy, their work clearly diverged. This publication lets us compare and put into perspective the artists within this fascinating group.

About the author

Albert Kostenevitch is a graduated with a degree in humanities from the University of Irkutsk. He is an art historian attached to the Hermitage Museum, Saint Petersburg, and a specialist in the Fauves and Nabis period of French painting.