Сборники работ по искусству

Prior to the 1960s, Andrew Wyeth enjoyed a stellar reputation as a rising star in the art world. Since then, critics and scholars have largely ignored him. Wyeth, however, who is age 88 at the date of publication, has continued to paint, to the delight of his admirers, collectors, and the art-loving public.

Now, in association with the High Museum exhibition, Andrew Wyeth: Memory & Magic takes a fresh look at the work of one of America's most beloved artists. In examining his entire oeuvre, the book celebrates the artist's ongoing love affair with everyday life-domestic, natural, and architectural. Found throughout Wyeth's work, these objects form patterns that illuminate core themes and reveal the artist wrestling with issues of memory, temporality, embodiment, and the metaphysical. Organized chronologically and thematically, the book explores how the artist's approach to these subjects was formed in his early career and has been revisited in new and surprising ways in recent years.

Andrew Wyeth: Memory & Magic comprises 150 tempera paintings and 50 drawings and watercolours-including his most-famous works, but also many published here for the first time. 

About the Authors:

Anne Knutson is guest curator for the exhibition Andrew Wyeth: Memory & Magic. Kathleen A. Foster is the Robert L. McNeill, Jr. Curator of American Art at the Philadelphia Museum of Art. Michael R. Taylor is Associate Curator and Acting Head of Modern and Contemporary Art at the Philadelphia Museum of Art. Christopher Crosman is Director of the William A. Farnsworth Library and Art Museum in Rockland, Maine. John Wilmerding is the Christopher B. Sarofim Professor of American Art at Princeton University.

Throughout his career, Andy Warhol easily crossed the boundaries between fine art and graphic design; in fact, he made no distinction between art and advertising.

Posters were a natural medium for this talented artist, and he was much in demand to promote some of the most renowned celebrities, causes, and brands of his time.

This richly illustrated book catalogs all of Warhol's posters commissioned for a specific purpose and features original artwork. Arranged chronologically, they present a fascinating array of subjects, including cultural events, musicians, political campaigns, and iconic brands. Each of the posters is exquisitely reproduced, including some with multiple variations, and accompanied by informative texts and comparative illustrations.

The author's introductory essay offers a brief history of poster art and contextualises Warhol's output against masters of the form such as Henri de Toulouse-Lautrec and Keith Haring. Seen in their entirety, these posters - bearing all the hallmarks of the artist's finest work - both reflect and reveal the cultural zeitgeist that drove Warhol's innovative practice.

Посмотреть избранные развороты книги Andy Warhol: The Complete commissioned Posters 1964-1987

The most comprehensive volume devoted to the life and work of pioneering African American artist Robert Colescott, accompanying the largest traveling exhibition of his work ever mounted.

Robert Colescott (1925-2009) was a trailblazing artist, whose august career was as unique as his singular artistic style. Known for figurative satirical paintings that exposed the ugly ironies of race in America from the 1970s through the late 1990s, his work was profoundly influential to the generations of artists that have followed him, such as Kara Walker, Kehinde Wiley, and Henry Taylor, among many others.

This volume surveys the entirety of Colescott's body of work, with contributions by more than ten curators and writers, including a substantive essay by the show's cocurator, the renowned Lowery Stokes Sims. It provides a detailed stylistic analysis of his politically inflected oeuvre, focusing on Colescott's own consideration of his work in the context of the grand traditions of European painting and contemporary polemic. In addition, the book features reminiscences and thought pieces by a variety of family, friends, students, curators, dealers, and scholars on his work as well as a selection of writings by the artist himself. Relying on previously unpublished transcripts of lectures, reviews, and archival materials provided by institutions and individuals, the book will provide a fuller story of the artist's life and career.

About the Authors:

Raphaela Platow is the Alice & Harris Weston Director and Chief Curator of the Contemporary Arts Center, Cincinnati. Lowery Stokes Sims is a dedicated advocate for diversity and inclusion in the art world. She is an independant curator after working for the Museum of Arts and Design, the Studio Museum in Harlem, and the Metropolitan Museum of Art. Matthew Weseley is an independent art historian. He is currently working on an academic monograph on the work of Robert Colescott.

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Пролистать книгу Art and Race Matters: The Career of Robert Colescott

In this fascinating book, art historian James Hamilton examines the work and life of the illustrator Arthur Rackham.

Rackham’s illustrations for works such as Rip Van Winkle, Peter Pan in Kensington Gardens, Alice in Wonderland and A Midsummer Night’s Dream have attained the classic status of the writings themselves – indeed, in some cases, they have become synonymous with them. Rackham himself, however, has previously remained a shadowy figure.

As well as featuring exquisite illustrations and sketches, extracts from Rackham’s correspondence and insightful commentary from James Hamilton shed new light on this much-collected illustrator.

About the Author:

James Hamilton is Curator at the University of Birmingham, and has worked at the Ulster Museum, Belfast, Portsmouth and Wakefield City Art Galleries, the Mappin Art Gallery in Sheffield and as a Director of the Yorkshire Contemporary Art Group. He organised a seminal Arthur Rackham exhibition at Sheffield, Bristol and the Victoria and Albert Museum in 1979/80 and has written biographies of J. M. W. Turner and William Heath Robinson.

- A fascinating insight into the personality, career and work of one of the world’s most collectable illustrators
- Filled with enchanting pictures and authoritative text

This 240-page book, Aubrey Beardsley: The Decadent Magician of the Light and the Darkness, reveals the core of the artist Aubrey Beardsley through more than 180 of his artworks, compiled under the supervision of Hiroshi Unno, a critic and a writer who has contributed to many books on the fin-de-siècle.

Aubrey Beardsley was an illustrator who was best known for his drawings in black ink filled with erotic and decadent features. He was born in Brighton, England on August 21, 1872. The Victorian era in which Aubrey lived was gripped by a strict, rigid, conservative morality. The society was male-dominated and forced women to be modest. However, in Brighton, which developed into a seaside resort for the upper classes full of entertainment, people were relieved from such strictness. Brighton was also a breeding ground of a sense of liberty in all things, and sexuality was no exception. In other words, it can be said that the Victorian era was a chaotic era during which open-minded thoughts on sexuality and strict, male-dominated morality coexist. Aubrey's mother, Ellen, was a person who embodied that Brighton atmosphere. Although she worried about raising her son in such an environment, she also taught literature and music to Aubrey. It was lucky for him to spend his youth with Ellen, and Brighton definitely became the basis of his talent for grasping the oddness of society in this era. Aubrey moved to London when he was 15 years old. When the Beardsley family left Brighton, Aubrey lost the feeling of liberty he had been raised with, but at the same time was able to develop his talent by interacting with Edward Burne-Jones, Oscar Wilde, and William Morris, the artists that coloured this period. Aubrey, whose talent blossomed in London, began to offer his illustrations to many literary and theatrical outlets.

The most famous examples are his illustrations for Oscar Wilde's Salome, Sir Thomas Malory's Le Morte d'Arthur, Edgar Allan Poe's Tales of Edgar Allan Poe, "Alibaba and the Forty Thieves" from One Thousand and One Nights, the French magazine Yellow Book, and the play Lysistrata. The illustrations for these literary and theatrical artworks had also been drawn by many other illustrators, but Aubrey's work was totally different from anyone else's. The seductive motifs that he drew, using only black ink, such as a woman with a fearless smile, a gentleman with disdainful contempt, and figures with extremely exaggerated genitals, all express Aubrey's incomparable talent for grasping the chaos and unsettled atmosphere of the period. The rebellious nature and imagery of his illustrations were often controversial. People even called him "the Devil's younger brother". But there is no doubt that he was a star of the age, which is evident from the many influential illustrators who came after him who were influenced by Aubrey's work, such as Harry Clarke, Alastair, John Austin, Kay Nielsen and George Barbier.

Unfortunately, Aubrey's genius illuminated the end of the nineteenth century, the era of fin-de-siècle decadence, only briefly before fading away, when his tragically short life ended after just twenty-five years. How did the rebellious, yet refined, monochrome artworks were drawn by "the Devil's younger brother" come about? Was his life simply the art itself? This book is a gem that presents the artwork that is most identified with "Beardsley" himself, revealing both the artist and the idea, through his life and his masterpieces.

American artist Barkley L. Hendricks (1945–2017) revolutionized contemporary portraiture with his vivid depictions of Black subjects beginning in the late 1960s. This book contextualizes Hendricks’s portraits at different stages of the country’s history and places him in the pantheon of innovative twentieth-century artists.

Hendricks developed his signature style at a time of significant social and cultural change in the United States, especially with regard to Black artists, and amid a perceived bifurcation between abstraction and representation. He produced portraits from the late 1960s through the early 1980s. Following a hiatus during which he made landscapes, basketball paintings, works on paper, and photographs, he resumed his portraiture practice from 2002 until his death in 2017. Hendricks’s portrait paintings, often derived from photographs of friends and family, hired models, or figures he encountered on the street, were inspired by the artist’s research, international travels, and visits to museums like The Frick Collection, where he studied centuries-old European paintings by artists such as Rembrandt, Van Dyck, Bronzino, and others.

This publication presents some of the most inventive and striking examples from Hendricks’s first period of portrait painting, including “limited-palette” canvases—featuring Black figures dressed in white against white backgrounds—a self-portrait, and boldly colorful works that spotlight their subjects’ spectacular styles and poses. An assessment of this great artist acknowledges his significant contributions to the canon of American art and portraiture in general. In the book, Hendricks’s art and its impact are explored by artists and creative figures including Derrick Adams, Hilton Als, Nick Cave, Awol Erizku, Rashid Johnson, Fahamu Pecou, Mickalene Thomas, and Kehinde Wiley.

About the Author:

Aimee Ng is Curator at The Frick Collection. Antwaun Sargent is a curator and a writer. Thelma Golden is director and chief curator of The Studio Museum in Harlem.

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Пролистать книгу Barkley L. Hendricks: Portraits at The Frick на сайте издательства.

The present publication is dedicated to the expressive self-portraits by Jean-Michel Basquiat and covers his lifelong intensive study of the self. In Basquiat’s œuvre the self-portrait, one of the major subjects of art history, occupies a central position that has not been examined to date.

Jean-Michel Basquiat’s self-portraits are regarded as being among the most important of his radical creative works. In addition to some 50 specific portraits of himself, we can also see his series of likenesses of African-American men as concealed reproductions of the artist. Not least because Basquiat, who was affected himself by everyday racism, identified with his heroes, saints and martyrs as he portrayed them. Thus his major topics from identity, discrimination and prejudice to capitalism, the market and oppression are all to be found in these key works.

The Show that never Was

Numerous publications and exhibitions have examined Jean-Michel Basquiat's extensive oeuvre that consists of more than 3000 works, this catalogue though focuses on eight paintings only: In the summer of 1982, Basquiat traveled to Modena, Italy, for one of his first solo exhibitions in Europe at the gallery of Emilio Mazzoli. Within just a few days, he painted a group of large-format paintings that surpassed his previous work not only in terms of their scale. Each at least two by four meters in size, they mark the transition from graffiti spraying in the streets of Manhattan to painting on canvas. At the same time, they reflect an artist coming into his own. The paintings - including masterpieces that today are considered pivotal and among the most outstanding of his oeuvre - have never been shown together. This catalogue revisits this crucial moment of Basquiat's career some 40 years ago and reunites them for the first time.

JEAN-MICHEL BASQUIAT (1960–1988, New York) is one of the most important artists of the 20th century. Emerging from the underground post-punk scene in Lower Manhattan, he attracted the attention of the art world in 1981 with the legendary group exhibition New York/New Wave. In nine prolific years, he created an oeuvre that formulated a new visual language of raw gestural painting fused with dense writing, and repeatedly reflected the oppression, exclusion and exploitation of People of Color.

A dazzling collection of works by one of the world's most acclaimed illustrators

Noma Bar’s innovative, playful style has made him one of the most sought-after illustrators working today, with a broad range of commissions from magazines and newspapers – including Empire, the New York Times, Wired, the Guardian and Time Out – and numerous private and advertising clients. His use of negative space and minimalist forms creates images with multiple readings that delight and surprise in equal measure. Each of Bar’s illustrations tells a story that is hidden in the details, with the message revealing itself in the double-take as you look more closely.

Noma Bar has handpicked his most iconic illustrations and favourite works, each one displaying the distinctive style that has established his reputation. Each book focuses on topics he has explored in his inimitable style: ‘Less More’ (daily life), ‘Pretty Ugly’ (portraits), ‘In Out’ (sex), ‘Life Death’ (conflict) and ‘Rough Smooth’ (personal sketches).

Contents List:

Foreword • Less More • Pretty Ugly • In Out • Life Death

About the Authors:

Noma Bar is an acclaimed illustrator whose work has appeared in many media outlets, including Time Out London, the BBC, the New York Times, the Observer, The Economist and Wallpaper*.

Michael Bierut’s career spans every genre of graphic design, from books and posters to packaging and signage, for a broad range of clients. He has won hundreds of design awards and his work is represented in the permanent collections of the Museum of Modern Art and the Metropolitan Museum of Art in New York. Bierut is both a senior critic at Yale’s School of Art and a fellow of its School of Management.

Rarely seen and important paintings by this much-loved French postimpressionist, emphasizing his radical use of color and unconventional compositions. 

A new monograph brings together 30 important paintings by Pierre Bonnard (1867–1947) on loan from museums and private collections, including still lifes, nudes, interior scenes, and landscapes, many never seen together before and published here for the first time. The book reveals how Bonnard’s modern compositions transformed paintings in the first half of the twentieth century, while celebrating his unpar-alleled ability to capture fleeting moments, memories, and emotions on canvas. Rather than focus on a particular time period or subject, Bonnard: The Experience of Seeing aims to present Bonnard’s modernity and concentrate on his influence on contemporary painters working today. The book draws attention to how Bonnard translated the experience of perception—with his shifting spaces, camouflaged and dissolving figures going in and out of focus, and forms hidden at the periphery — and how we as viewers experience his paintings, with his works slowly revealing themselves to us over time. 

About the Author:

Barry Schwabsky is art critic for The Nation and coeditor of international reviews for Artforum. Sarah Whitfield is an art historian, writer, and curator. She is coauthor of the René Magritte Catalogue Raisonné. 

Celebrates one of the greatest and most beloved painters of the Early Renaissance with luxurious, large-format images

Sandro Botticelli, one of the greatest painters of the Italian High Renaissance, enjoyed the patronage of the greatest Florentine families. He spent most of his career in the humanist circle of the Medici, for whom he painted such masterpieces as Primavera and Venus and Mars, works that combine a decorative use of line with Classical elements in harmonious and supple compositions.

This sumptuously produced volume features an updated, full-colour selection of the artist's works made for the original 1937 edition by Ludwig Goldscheider, co-founder of Phaidon Press. The original essay by Lionello Venturi is accompanied by a new introduction from Renaissance specialist Alessandro Cecchi, putting Botticelli and his school into a contemporary context. Elegant design, fine papers and tipped-on image plates make this a true collector's edition.

About the Author:

Lionello Venturi (1885-1961) was a renowned Italian art historian, critic and Professor of Art History at the University of Turin and, later, at the University of Rome.

Carrie Moyer’s first major monograph expansively represents the influential abstract painter’s work and queer agitprop.

Carrie Moyer consciously centers her painting as a practice about painting, with history as a subtext. Known for her incursions into Color Field painting, Moyer also traces her influences to iconic female artists of the twentieth century, such as Georgia O’Keeffe, and surrounding questions of taste, once quipping of her paintings that “[Helen] Frankenthaler and [Fernand] Léger met in a dark corner and had Elizabeth Murray.”

Moyer’s complex work merges abstract aesthetics and legible imagery: vividly colored and textured forms are embedded with a range of historical, stylistic, and physical references to Surrealism, Modernism, 1960s and ’70s counterculture graphics, and ’70s feminist art. Moyer often works on the floor, pouring, rolling, stippling, mopping the paint, and embellishing with glitter. An exploration of acrylic’s unique properties is a driving force in her work. Beginning as an intern at HERESIES, the pioneering feminist art magazine, Moyer has also engaged in critical practices beyond the studio.

This monograph enriches a deep dive into Moyer’s painting practice, in particular her work of the past decade, with a portfolio of the artist’s agitprop from the 1990s, including Dyke Action Machine! (DAM!), one of the first lesbian public art projects.

About the Author:

Carrie Moyer is the director of Hunter College’s MFA program in Studio Art. Lauren O’Neill-Butler is a New York–based writer, editor, and educator. Katy Siegel is Eugene V. and Clare E. Thaw Endowed Chair in Modern American Art at Stony Brook University. Johanna Fateman is a writer, musician, and founding member of the rock band Le Tigre.

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Пролистать книгу Carrie Moyer

A gorgeous new edition with the cover printed on silver. Towards the end of his life and much inspired by Japanese water gardens, Monet spent a great deal of time in his beloved Giverny. Adorned with poppies, blue sage, dahlias and irises, the waters were disturbed only by bamboos and water lilies. His water garden was originally created to satisfy a need to be near water, and to provide a visual feast that could be enjoyed from his house. 

The pond was fed by the river Ru, and weeping willow and silver birch hung over its edges, caressing the fronds of the greenery and blossoms below. Its famous green wooden footbridge was built across the water and it became the central focus of many of his works. He said, ‘It took me some time to understand my water lilies. I planted them for pleasure.’ and so he began to work on what is probably the most famous series of paintings the world has ever seen.

This is the first publication to survey the entirety of this hugely influential scholar and artist's groundbreaking 60-year career.  Driskell and his landmark exhibition, Two Centuries of Black American Art are also featured in a recently released major documentary film.

David Driskell (1931-2020) was one of the most revered and boundary-breaking American artists, long recognized for his vibrant and versatile painting and printmaking practice, which combined his sharp observation of American landscapes and his interest in the imagery and aesthetic innovations of the African diaspora. Driskell was equally well-known as a curator, art historian, and educator, and his career as both artist and scholar created a durable public record of the long history of art made by African Americans.
The exhibition and accompanying catalogue survey seven decades of the artist's painterly practice from the 1950s forward. Driskell's command of color and line is showcased through his beloved subjects, including the natural world, remembrances of the Southern Black experience, and the Black Christian church.

The book includes a primary essay by Driskell scholar and curator Julie McGee as well as many other testaments to Driskell by major American artists, art historians, and museum professionals. The catalogue also features a selection of Driskell's most significant writings, introducing the full range of his career to future generations of readers.

About the Authors:

Julie L. McGee is Associate Professor of Africana Studies and Art History, and Director of the Interdisciplinary Study Center at the University of Delaware. Jessica May is an independent curator and formerly Deputy Director and Robert and Elizabeth Nanovic Chief Curator at Portland Museum of Art, Maine. Thelma Golden is the Director of the Studio Museum in Harlem. Lowery Stokes Sims is an independent curator. Richard J. Powell is the John Spencer Bassett Professor of Art & Art History at Duke University. Renée Maurer is Curator at The Phillips Collection.

This summer 2016 publication brings together the recent body of work by David Hockney, perhaps the most popular and versatile British artist of the last century.

Following his sweeping exploration of landscape in the Royal Academy’s galleries in 2012, this focused display will look exclusively at the portraits he has been painting in the last few years – the subjects of which are friends, family and art-world luminaries. After the sad events that touched his life in 2012, Hockney had stopped painting altogether. His move from Yorkshire to California coincided with his decision to revisit acrylic paints and bold colours.

Vibrant, observant and full of life, these portraits mark a return to vivid, Technicolor form. Incisive text from Tim Barringer places these works within Hockney’s development as a portrait painter, while curator Edith Devaney interviews the artist about the series, which he describes as ‘twenty-hour exposures’, in reference to the time each portrait takes to paint.

The book will show the stages of each painting, from first to last mark, to give the reader a unique insight into Hockney’s working method.

About the Authors:

Tim Barringer is the Paul Mellon professor of the history of art at Yale University.
Edith Devaney is head of the Royal Academy Summer Exhibition and curator of contemporary projects at the Royal Academy of Arts, London.