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This volume accompanies the largest exhibition of contemporary art from Australia to be presented outside the continent. It's characterised by a surprising richness and variety, offering a combination of personal stories, languages, ethnic origins, religions and traditions. The artists belong to many Aboriginal cultures and First Nations and those that arrived from the Pacific, Europe, Asian countries and America. Curated by Eugenio Viola, this project encompasses a broad constellation of cultural, political and social practices and perspectives, and takes into consideration different means of expression such as painting, performance, installation, sculpture, video, drawings and photography. Artists: Vernon Ah Kee, Tony Albert, Khadim Ali, Brook Andrew, Richard Bell, Daniel Boyd, Maria Fernanda Cardoso, Barbara Cleveland, Destiny Deacon, Hayden Fowler, Marco Fusinato, Agatha Gothe-Snape, Julie Gough, Fiona Hall, Dale Harding, Nicholas Mangan, Angelica Mesiti, Archie Moore, Callum Morton, Tom Nicholson (with Greg Lehman), Jill Orr, Mike Parr, Patricia Piccinini, Stuart Ringholt, Khaled Sabsabi, Yhonnie Scarce, Soda Jerk, Dr Christian Thompson AO, James Tylor, Judy Watson, Jason Wing and Nyapanyapa Yunupingu. Text in English and Italian.
Edward Hopper (1882-1967) is something of an American success story, if only his success had come swifter. At the age of 40, he was a failing artist who struggled to sell a single painting. As he approached 80, Time magazine featured him on its cover. Today, half a century after his death, Hopper is considered a giant of modern expression, with an uncanny, unforgettable, and utterly distinct sense for mood and place. Much of Hopper's work excavates modern city experience. In canvas after canvas, he depicts diners, cafes, shopfronts, street lights, gas stations, rail stations, and hotel rooms. The scenes are marked by vivid color juxtapositions and stark, theatrical lighting, as well as by harshly contoured figures, who appear at once part of, and alien to, their surroundings. The ambiance throughout his repertoire is of an eerie disquiet, alienation, loneliness and psychological tension, although his rural or coastal scenes can offer a counterpoint of tranquility or optimism. This book presents key works from Hopper's oeuvre to introduce a key player not only in American art history but also in the American psyche. 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 masterpiece' - Vanity Fair (Italy) After the best-seller The End is My Beginning, co-authored with his father Tixiano Terzani, the long-awaited Folco Terzani's comeback with an extraordinary harmony of words and images, a simple and profound story about nature, friendship and the sense of the divine. The Dog, was always used to the comforts and safety of domestic life, suddenly finds himself abandoned on the street, convinced that without his beloved master he will not be able to survive. Then a mysterious Wolf appears that will lead him to the discovery of the wild nature that the city hides and forbids. Thus, begins a long pilgrimage, a journey of initiation to the north, in the company of a pack of wolves, through caves, waterfalls, forests, mountains and lightning storms. In order to survive, the Dog will learn to hunt and will be forced to face many dangers, until he arrives at Moon Mountain where, immersed in the blinding glacier light, he will finally have to face the biggest question of all.
Francine Prose's life of Caravaggio evokes the genius of this great artist through a brilliant reading of his paintings. Caravaggio defied the aesthetic conventions of his time; his use of ordinary people, realistically portrayed-street boys, prostitutes, the poor, the aged-was a profound and revolutionary innovation that left its mark on generations of artists. His insistence on painting from nature, on rendering the emotional truth of experience, whether religious or secular, makes him an artist who speaks across the centuries to our own time. In "Caravaggio", Francine Prose presents the brief but tumultuous life of one of the greatest of all painters with passion and acute sensitivity.
Flowers by Rosie Sanders is a large-format book that showcases over 80 of her finest flower paintings in exquisite detail. Often compared to the artist Georgia O'Keeffe, Rosie Sanders's botanical paintings lie at the extreme end of botanical art - they exude dynamism and sensuality in every brushstroke and their richness of colour sets her apart from her contemporaries. In this beautifully illustrated book, Rosie exhibits a selection of flowers, from tulips to orchids, roses to irises, anemones to amaryllis, and illuminates them with fascinating and skillful uses of perspective and light. This large-format book showcases her finest paintings in exquisite detail and they are accompanied by excellent and accessible scientific commentary. Also included is an introduction by renowned Swiss botanist Dr. Andreas Honegger. This book is perfect for artists want to get a closer look at a master's brushstrokes, textures and colour in paintings, or readers who are interested in contemporary botanical art. Chapters include: 1. Diversity in the Garden 2. Dark Flowers: the Magic of Night 3. A Fascination of Orchids 4. Lilies in Spring 5. Varieties of Belladonna 6. In Search of the Black Iris.
"In this admirable work, at once passionately argued and lucidly written, Professor Garrard effectively considers the social, psychological, and formal complexity of the shaping and reshaping not only of the artist's feminine and feminist identity in the misogynistic society of the seventeenth century, but also of that identity in the discipline of art history today."--Steven Z. Levine, author of "Monet, Narcissus, and Self-Reflection
"Mary Garrard's detailed investigation into attribution problems in two Artemisia Gentileschi paintings brilliantly interweaves connoisseurship, constructions of gender and artistic identity, and historical analysis. The result is a richer and more nuanced vision of the best-known female artist in western history before the modern era, and an important contribution to feminist studies." --Whitney Chadwick, author of "Women, Art, and Society
"In her new book, Garrard has taken two bold steps that challenge much received opinion in the 'discipline' of art history. Analyzing two of Gentileschi's least violent but most moving images, Garrard argues that the painter's personality is discernible no less in the subjects and their interpretation than in the 'style' of the works; consideration of both aspects is essential to understanding the meaning of these extraordinary pictures and her authorship. Perhaps even more important, Garrard makes crystal clear that Artemisia Gentileschi, far from a 'good woman painter, ' was one of the major visual thinkers of her time."--Irving Lavin, co-author with Marilyn Aronberg Lavin, of "La Liturgia d'Amore: Immagini dal Canto dei Cantici nell'arte di Cimabue, Michelangelo, e Rembrandt (Modena, 2000)
"Developing herearlier methodologies and revising some conclusions, Garrard clarifies her distinct theoretical approach and voice among feminist critiques of art history. In this text, which reads in part like a forensic mystery, Garrard builds not only an argument for attributions of particular works, but a new understanding of Gentileschi herself at a particular moment in history."--Hilary Robinson, editor of "Visibly Female: Feminism and Art Today
"One of our most distinguished feminist art historians brings contemporary gender studies to bear on traditional paintings connoisseurship to show how attributions to female artists have often been governed by tacit cultural assumptions about the limitations of women. Her case makes compelling reading for anyone interested in early modern society, culture, women and art in Italy, and in the problematics of feminism and art history."--Kathleen Weil-Garris Brandt, author of "Leonardo e la Scultura
"By revealing a great woman painter's ways of expressing uniqueness while negotiating expectations, Mary Garrard helps each of us with the subtleties of remaining authentic while living in the world. Artemisia Gentileschi around 1622 is art history to live by."--Gloria Steinem
Ronald Spickett (1926- ) is a Calgary-based artist, poet, and Zen Buddhist lay priest. During his long career, he also taught studio art, both at the Alberta College of Art and Design and at the University of Calgary. "Spirit Matters "will complement a fall 2009 exhibition to be held at the Nickle Arts Museum, for which author Geoffrey Simmins is guest curator. Today, Ronald Spickett, also known by his Buddhist name of Gyo-Zo, is best known for a series of ambitious paintings he executed during the 1960s, paintings with Western themes such as posses and riders. However, the scope of Spickett's work proved to be much more diverse, and includes genre paintings, landscapes, non-representational paintings, sculptures, and paintings with religious and spiritual themes. The artist's work, as Simmins' study shows, is not easily pigeon-holed; Spickett is more than a Western artist, more than a Buddhist artist, more than simply the sum of his paintings. Rather, Simmins argues, he is an "ideas-based" artist whose work reveals complexities and undercurrents that link him with the prevailing artistic currents of his times, yet also testify to his originality and unique style. Simmins was granted complete access to the artist's personal and professional papers and interviewed him on numerous occasions. Thus the artist's own statements on his life and work make an invaluable contribution to "Spirit Matters," and are considered alongside critical writings, broader studies in Canadian art history, and still larger currents in Canadian artistic and intellectual life.
The mystery, color, and magic of the circus was a subject of fascination for European artists in the late 19th and early 20th centuries. The French Post-Impressionist painter Georges-Pierre Seurat (1859-1891) explored this theme in a number of drawings and sketches, as well as in his 1888 Pointillist masterwork, Circus Sideshow. Drawing connections to Parisian street life, to the works of other artists, and to the broader complexities of modern life, this lively book establishes Circus Sideshow as a pioneering work in the genre of circus-themed art. Lush reproductions of the work are buttressed by images of Seurat's preparatory drawings and ephemera from circuses and street performances of the time to offer a full understanding of the historical context.
The drawings depicted here represent a range of subject matter taken from throughout Glaser's career. They illustrate the author's commitment to the fundamental idea that drawing is not simply a way to represent reality, but a way to understand and experience the world.
Artist Robert Gratiot refers to his work as ""painterly photo-realism,"" and he readily reveals his complete commitment to this reference by rendering his subjects with photographic accuracy. His mastery of painterly methods and of various drawing techniques highlights his astounding eye-to-hand coordination. Gratiot precisely conveys a particular scene through meticulously produced details, each down to the smallest and expertly handled. But it is more than that-he regards each small section of a painting as an abstraction, and then assembles these tiny abstractions to build the realistic whole. His paintings are obviously the product of the considerable efforts of a very gifted and extremely meticulous painter. ""The genuine revelation is how deeply personal and individual these pieces are for Robert Gratiot. This is a surprise, particularly considering the impersonal nature of his subjects. However, each is deeply felt and carries hidden moods and veiled stories, which until he shared them, were known only to Gratiot.""-Michael Paglia
In the heart of Tuscany, Piero della Francesca became a painter and mathematician at the dawn of the Renaissance, revealing his innovative mind in some of the best known images from that period, and in his unusual writings on geometry. Yet as a personality, Piero remains a mystery. He leaves an enigmatic legacy that ranges from the merging of religion and mathematics to his use of perspective to make painting a "true science." In this engaging narrative, Larry Witham transports us to Piero's tumultuous age, a world of princes and popes, soldiers and schisms. Piero's Light also reveals how he was part of the philosophical revival of Platonism, an ancient worldview that would shape art, religion, and science's transition toward modernity. Just sixteen of Piero's paintings survive, but these images and his writings would fuel some of the greatest art historical debates of all time. Through Witham's wide research, Piero emerges as a figure who marks a turning point in Western culture. Our past understanding of faith, beauty, and knowledge has been radically altered by a secular age, and the story of Piero helps us understand how this has taken place. The search for Piero has continued among both intrepid scholars and art lovers of all kinds, and it is no wonder: few artists in history take us as deeply into the intellectual excitement of the Renaissance as Piero della Francesca.
Roland Paris is one of the most recognisable artists of the Art Deco world, yet his work remains something of an enigma. His art is caricature-like, bordering grotesque, and he delivers critical perspectives on society's downtrodden via jesters and devils. His mediums range from sculpture and painting to porcelain and wood, including woodcuts and the written word. This never-before-seen study focuses on the artist's trials and tribulations while living in Nazi-ruled Germany, and the tragic end to his life, hours before the end of World War Two.
A major new biography of James McNeill Whistler, one of most complex, intriguing, and important of America's artists The first biography in more than twenty years of James McNeill Whistler (1834-1903) is also the first to make extensive use of the artist's private correspondence to tell the story of his life and work. This engaging personal history dispels the popular notion of Whistler as merely a combative, eccentric, and unrelenting publicity seeker, a man as renowned for his public feuds with Oscar Wilde and John Ruskin as for the iconic portrait of his mother. The Whistler revealed in these pages is an intense, introspective, and complex man, plagued by self-doubt and haunted by an endless pursuit of perfection in his painting and drawing. In his beautifully illustrated and deeply human portrayal of the artist, Daniel E. Sutherland shows why Whistler was perhaps the most influential artist of his generation, and certainly a pivotal figure in the cultural history of the nineteenth century. Whistler comes alive through his own magnificent work and words, including the provocative manifestos that explained his bold artistic vision, sparked controversy in his own time, and resonate to this day.
William Blake (1757-1827), hailed as 'the glorious luminary' by William Rossetti, is one of the great mystics in the history of Western art. His hallucinatory paintings, watercolours and, in particular, the illustrations he made for his books of poetry are instantly recognisable, and have inspired generations of artists in his wake. Although he was largely ignored by his contemporaries, or de rided as mad, a number of perceptive critics and commentators took great interest in both the man and his work. This volume brings together some of the most illuminating writings by people who knew Blake, and brings this astonishing visionary to life. They include the frank appraisal by the hugely percep tive diarist Crabb Robinson, never before published in full in English, and the first full biography by Blake's friend and fellow artist John Thomas Smith, as well as Alexander Gilchrist's Preliminary, whihc heralded the arrival of Blake in the 19th Century.
Many of Cy Twombly's paintings and drawings include handwritten words and phrases--naming or quoting poets ranging from Sappho, Homer, and Virgil to Mallarme, Rilke, and Cavafy. Enigmatic and sometimes hard to decipher, these inscriptions are a distinctive feature of his work. Reading Cy Twombly poses both literary and art historical questions. How does poetic reference in largely abstract works affect their interpretation? Reading Cy Twombly is the first book to focus specifically on the artist's use of poetry. Twombly's library formed an extension of his studio and he sometimes painted with a book open in front of him. Drawing on original research in an archive that includes his paint-stained and annotated books, Mary Jacobus's account--richly illustrated with more than 125 color and black-and-white images--unlocks an important aspect of Twombly's practice. Jacobus shows that poetry was an indispensable source of reference throughout Twombly's career; as he said, he "never really separated painting and literature." Among much else, she explores the influence of Ezra Pound and Charles Olson; Twombly's fondness for Greek pastoral poetry and Virgil's Eclogues; the inspiration of the Iliad and Ovid's Metamorphoses; and Twombly's love of Keats and his collaboration with Octavio Paz. Twombly's art reveals both his distinctive relationship to poetry and his use of quotation to solve formal problems. A modern painter, he belongs in a critical tradition that goes back, by way of Roland Barthes, to Baudelaire. Reading Cy Twombly opens up fascinating new readings of some of the most important paintings and drawings of the twentieth century.
Street corners, guild halls, government offices, and confraternity centers contained paintings that made the city of Florence a visual jewel at precisely the time of its emergence as an international cultural leader. This book considers the paintings that were made specifically for consideration by lay viewers, as well as the way they could have been interpreted by audiences who approached them with specific perspectives. Their belief in the power of images, their understanding of the persuasiveness of pictures, and their acceptance of the utterly vital role that art could play as a propagator of civic, corporate, and individual identity made lay viewers keenly aware of the paintings in their midst. Those pictures affirmed the piety of the people for whom they were made in an age of social and political upheaval, as the city experimented with an imperfect form of republicanism that often failed to adhere to its declared aspirations.
Artists of The Spanish Golden Age such as Murillo, Zurbaran and Velazquez were the key to instigating a truly passionate appreciation of Spanish art among the great collectors at the end of the Modern Age, as well as the public institutions or other institutions that sprang from private initiative after the Industrial Revolution. There are notable sets of works created by Spanish artists in the United Kingdom, from the Osonas to Joan Miro, such as the ones conserved in Apsley House, Pollok House and the Dulwich Picture Gallery. The collections owned by public institutions also include a significant number of masterpieces of Spanish art, including the National Gallery of London and the National Gallery of Scotland in Edinburgh. Other public and private collections, such as the Wallace Collection, the Duke of Stafford Collection, the Fitzwilliam Museum and Bowes Museum, also contain masterpieces.
Martinez wrote the Discourses toward the end of his life as a well-travelled professional artist who had studied and worked in Italy and the major artistic and literary centres of Spain; his ideas were especially enriched by his participation in the elevated cultural life of his native Aragonese school. His discussions on art offer anecdotal knowledge from his friendships with many of the principal artists of Spain's Golden Age, including Diego Velazquez and Alonso Cano, as well as writers and intellectuals of the period. Martinez's text stands out for a nuanced humanism that is rare in practical treatises. Along with his original ideas on handling, pictorial aesthetics, and the vocation of painting, his work has even more affinities with philosophical discourses than with artists' practical instructional books. Zahira Veliz's introduction and notes provide historical context and situate Martinez's ideas in his rich cultural milieu.
A groundbreaking new exhibition will be presented by the Het Noordbrabants Museum, focusing on the impact of Van Gogh's interpersonal relationships on his work. Part biography, part art history, the catalogue of this exhibition will dismantle the commonly-held conception that Van Gogh's genius stemmed from his mental illness and isolation. Revealing a complex, emotionally engaging picture of the man behind some of the most celebrated works in history, this catalogue includes well-known works and pieces from private collections, as well as rare documents virtually unknown to the public, such as a never-before exhibited sketchbook that Vincent gifted to Betsy Tersteeg, daughter of an art dealer at The Hague; poetry he sent to his dear brother and confidante Theo; and six rarely featured letters of condolence received by Theo after Vincent's death. Masterpieces include Still life with Bible (1885), Madame Roulin Rocking the Cradle (La berceuse) 1889, and L'Arlesienne (Madame Ginoux) (1890). The catalogue also contains numerous less well-known portraits of family and friends, revealing how they appeared through the artist's eyes. Van Gogh's Inner Circle sheds light on Vincent's often tempestuous personality, his love affairs, his eventual estrangement from many of his colleagues, and how his relationships influenced the work he produced in the years leading up to his premature death. Van Gogh's Inner Circle was curated by Sjraar van Heugten, former Head of Collections at the Van Gogh Museum. He has curated exhibitions such as Van Gogh and the Seasons in Melbourne, at the National Gallery of Victoria - the largest exhibition of Vincent van Gogh's work in Australia. He co-authored Van Gogh (Thames & Hudson, 2005) and Van Gogh in Provence: Modernizing Tradition (Actes Sud, 2016) among many more.
John James Audubon is arguably America's most widely recognized and collected artist. His Birds of America has been reproduced often, beginning with the double elephant folio printed by Havill in England, followed by a much smaller "Octavo" edition printed in Philadelphia and sold by subscription. After Audubon's death, his family arranged with the New York printer Julius Bien to produce another elephant folio edition, this time by the new chromolithographic process. It too would be sold by subscription, but the venture, begun in 1858, was brought to an abrupt end by the Civil War. Only 150 plates were produced, and the number remaining today is slight; they are among the rarest and most sought after Audubon prints. Bound in cloth with a full cloth slipcase, this beautifully produced book is the first complete reproduction of Bien chromolithographs and will become the centerpiece of any bird lover's library.
Van Gogh and Britain at Tate Britain will be the first major exhibition both to explore the impact of British culture on Vincent van Gogh and to trace the introduction of his art into Britain and its legacy in the works of British painters. Published to accompany the show, this lavishly illustrated publication illustrates fifty van Gogh paintings, and traces the story from the artist's obscure years in England in the 1870s through his growing influence and reputation to iconic status in the 1950s. These works are accompanied by paintings by British artists that affected him and which he in turn inspired. The publication looks at van Gogh's time in Britain in his early twenties (1873-6), investigating his experience of the largest city in the world and the ideas, books, paintings and prints which caught his attention. These came to the fore in new ways in the following decade when van Gogh became an artist, and reading and the collecting of prints and illustrations informed both his ideals and his practical investigations of a radical, egalitarian style. After his move to France, van Gogh's earlier preoccupations were woven into his wider experience and his dramatically original late works. Van Gogh's brief participation in the cosmopolitan art scene in Paris brought him into contact with British-based painters and collectors who were some of the first to respond to his work, but its full impact came in the twentieth century. The publication focuses on the first displays of van Gogh's work before the First World War and the establishment of his reputation following the war, and then on the Second World War and its aftermath, when the artist's life and work became renowned as an embodiment of embattled human creativity. Essays by leadng experts will explore how van Gogh's work became such an inspiration to modern British artists in the twentieth century, from Sickert to Bacon. EDITOR
William Hogarth (1697-1764) was among the first British-born artists to rise to international recognition and acclaim and to this day he is considered one of the country's most celebrated and innovative masters. His output encompassed engravings, paintings, prints, and editorial cartoons that presaged western sequential art. This comprehensive catalogue of his paintings brings together over twenty years of scholarly research and expertise on the artist, and serves to highlight the remarkable diversity of his accomplishments in this medium. Portraits, history paintings, theater pictures, and genre pieces are lavishly reproduced alongside detailed entries on each painting, including much previously unpublished material relating to his oeuvre. This deeply informed publication affirms Hogarth's legacy and testifies to the artist's enduring reputation.
Hannah Dunnett's beautiful artwork, interweaving Bible verses and images, has inspired many people. From sailing boats bobbing on the river and lighthouses standing tall, to majestic trees and soaring mountains, to welcoming cottages and cosy kitchens, Hannah paints pictures that help us understand scripture and reflect on God's word in a fresh way. In this book, Hannah has chosen twenty-four of her favourite pictures and tells the story behind each one. As she draws out key verses and their meaning and offers questions to reflect on, readers will gain new insight and understanding. This collection of beloved artwork is divided into four sections: The Wondrous Cross, Father God, Teach me Your Ways, and Let Your Light Shine, and will take individual readers, or small groups, on a journey further towards the heart of God.
Written by the award-winning writer Duncan Macmillan Features lavish illustrations of Victoria Crowe's work This publication accompanies an exhibition at the Browse and Darby Gallery, London, from September to October, and in December 2012, at the Scottish Gallery, Edinburgh This is the first complete monograph on Victoria Crowe's work to date, and is written by the award-winning writer and art critic Duncan Macmillan. With great depth and perception, the author considers the work of one of Scotland's leading painters from her earliest days at Kingston School of Art, through to her most recent commissions, setting it in the wider context of artistic thought. Her full range of work is covered, including still lifes, portraits, self-portraits, landscapes and interiors. The insightful writing, accompanied by lavish illustrations of Victoria Crowe's work, gives readers access to the paintings as they relate to the different eras of her life. The artist's studies at the Royal College of Art, her move to Scotland, the Kittleyknowe years and A Shepherd's Life exhibition are all discussed, as are Plant Memory (a series resulting from her visiting scholarship at St Catharine's College, Cambridge) and the impact of her travels abroad, particularly her time in Italy. In the latter part of the book, the focus moves to the artist's most recent work, including a reflective series of Venetian pictures and a significant group of luminous winter landscapes. We also learn about a unique commission for a series of paintings specifically designed for a Scottish house, and a current project with Dovecot Studios for a tapestry based on a painting from A Shepherd's Life', thus a testament to the enduring quality of her work.
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