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The catalogue to accompany a major solo presentation of the work of the influential New York-based artist Mary Heilmann, her first in a public institution in the UK in 15 years. Born in California in 1940, Heilmann studied ceramics and poetry before moving to New York in 1968 and taking up painting. A pioneer of infusing abstract painting with influences from craft traditions and popular culture (especially rock music and California's beach culture), Heilmann is one of the most important yet still underrecognised artists working today. This publication explores Heilmann's approach to abstraction from two distinct but interrelated perspectives: the formal and the personal. The personal is reflected in the title Looking at Pictures, named after a section in the artist's memoir The All Night Movie (1999), in which she writes, `Each of my paintings can be seen as an autobiographical marker', clearly represented here through works that relate to moments in the artist's friendships, memories of places where she has lived or spent time and her love of music and film. The juxtaposing formal aspect of her work is also explored, most evidently in her early paintings of grids and squares rendered in primary colours and in works that are based on architectural or interior planes, such as doors and mirrors. As well as new essays by Lydia Yee (Chief Curator, Whitechapel Gallery) and Briony Fer (Professor of History of Art, University College London), and writings by the artist on key works, the publication will feature 100 beautiful full-colour illustrations of paintings, works on paper, furniture and ceramics from Heilmann's five-decade career.
Schiele's oils have often been reproduced and are well recognized. However, limited access to the fragile works on paper and dispersion among several collections have made for an unbalanced representation of his work as a draftsman. This book assembles drawings and watercolors from public and private collections and reproduces work from every year of the artist's career, beginning with the juvenilia and early academic studies. The focus means that work that is rarely reproduced is represented extensively, providing a unique opportunity to study the rapid artistic development of Schiele over the course of his brief twelve-year career. The book is organized chronologically and divided into year-by-year sections. Each section includes a text that discusses the major events in Schiele's life and the interrelation between the artist's drawing and developments in his oil painting. Features a previously unpublished Schiele watercolor and several works that have never been reproduced in color.
Animation Sketchbooks presents the private notebooks, sketches and doodles of over 50 of the world's most inventive, innovative and admired contemporary animators. From left-field satire to hit children's TV series, from short animations for websites to full-scale, internationally distributed films, a wide array of creative work is represented in depth in this fascinating volume.
`I'm for mechanical art', said Andy Warhol (1928-1987). `When I took up silkscreening, it was to more fully exploit the preconceived image through commercial techniques of multiple reproduction.' Printmaking was a vital artistic practice for Andy Warhol. Prints figure prominently throughout his career from his earliest work as a commercial illustrator in the 1950s, to the collaborative silkscreens made in the Factory during the 1960s and the commissioned portfolios of his final years. In their fascination with popular culture and provocative subverting of the difference between original and copy, Warhol's prints are recognized now as a prescient forerunner of today's hypersophisticated, hyper-saturated and hyper-accelerated visual culture. Andy Warhol Prints, published to accompany a major exhibition at the Portland Art Museum - the largest of its kind ever to be presented - includes approximately 250 of Warhol's prints and ephemera from the collection of Jordan D. Schnitzer, including iconic silkscreen prints of Campbell's soup cans and Marilyn Monroe. Organized chronologically and by series, Andy Warhol Prints establishes the range of Warhol's innovative graphic production as it evolved over the course of four decades, with a particular focus on Warhol's use of different printmaking techniques, beginning with illustrated books and ending with screen printing.
At the beginning of the 21st century, Grace Weaver (*1989) breathes new life into figurative painting. Her works are abuzz with the present, graceful, sexy, contemplative, and witty. Her paintings are of subtle gestures, poses, and gazes. Situational observations of daily life conjoin with sensitive self-reflections, and bold drafts merge with a revelling chromaticity. Weaver's young protagonists, in groups, as couples, or fully absorbed with their own 'care of the self', most often seem to wonder, who they actually are or want to be. For the first time, this monograph gives a survey of her stunning oeuvre. Text in English and German.
W. Heath Robinson is best known for his hilarious drawings of zany contraptions, though his work ranged across a wide variety of topics covering many aspects of British life in the decades following the First World War. Starting out as a watercolour artist, he quickly turned to the more lucrative field of book illustration and developed his forte in satirical drawings and cartoons. He was regularly commissioned by the editors of Tatler and The Sketch and in great demand from advertising companies. Collections of his drawings were subsequently published in many different editions and became so successful as to transform Heath Robinson into a household name, celebrated for his eccentric brand of British humour. Presenting such innovations as the 'Zip-Opening Bonnet', the 'Duo-car for the Incompatible' and the handy 'New Rear Wheel Gear for Turning the Car in One Movement', this volume of Heath Robinson illustrations with commentary by K.R.G. Browne will appeal to 'everybody who is ever likely to drive, be driven in, or get run over by a mechanically propelled vehicle'.
"One of my earliest memories is lying on the floor in front of the kitchen fire, drawing..." Michael Foreman During the war, paper was in short supply but, the large biscuit tins delivered to his Mum's shop were lined with white paper. The tins were about twelve inches square, so unfolded, the paper would be four feet long. Perfect for drawings of marching soldiers and convoys of tanks, the village traffic of his childhood. This is a celebration of Michael's life as a master storyteller and illustrator told through his own autobiographical tales, diary extracts, original sketches and illustrations from his award-winning publications. Beginning with his childhood in wartime Suffolk and his early career as a young artist, and culminating with his collaborations with world-famous authors Terry Jones, Michael Morpurgo and Quentin 'BLOOMIN' Blake, this book showcases his 'greatest hits', and reveals the places, stories and people that inspired him along the way. Divided into three parts: Memories of Childhood (Looking through War Boy, After the War Was Over and War Game.) Far-Flung Places (Looking through Treasure Island, Wind in the Willows, Alice in Wonderland, Wizard of Oz, World of Fairy Tales and Classic Fairy Tales.) Friends and Collaborators (Looking through Eric the Viking, Fairy Tales, Nicobobinus, Animal Tales, Fantastic Stories, Arthur, Robin Hood, Joan of Arc, Billy the Kid and Farm Boy.) 'I have been lucky with writers. None have been real trouble. Some I never met. Some I meet only after the book is finished, and some, the easiest to get along with, are the dead ones. Most become friends.' Michael Foreman
The Sorcerer's Apprentice is John Richardson's vivid memoir of the time he spent living with and learning from the deeply knowledgeable and temperamental art collector, Douglas Cooper. For ten years the two entertained a circle of friends that included Jean Cocteau, W. H. Auden, Tennessee Williams, and, most intriguingly, Pablo Picasso. Compulsively readable and beautifully illustrated, this book is both a triple portrait of the author, Cooper, and Picasso, and a revealing look at a crucial artistic period.
John Constable is one of the greatest painters of the English weather. His depictions of the sky are essential components of all his landscape paintings, from famous works such as The Hay Wain and Salisbury Cathedral from the Meadows to his numerous cloud studies painted on Hampstead Heath, culminating in paintings in which the landscape beneath the ever-changing sky is completely absent. Constable kept a weather diary and was endlessly fascinated by the sky. In a letter written in 1821 to friend John Fisher, Bishop of Salisbury, Constable commented, 'That landscape painter who does not make his skies a very material part of his composition, neglects to avail himself of one of his greatest aids ... It will be difficult to name a class of landscape in which the sky is not the key note, the standard of scale, and the chief organ of sentiment.' Written by Mark Evans, a leading authority on the work of John Constable, Constable's Skies captures the artist's fascination with the sky and brings together his depictions of the English weather from throughout his career. It will appeal to a broad readership of museum visitors and art lovers, as well as practising landscape painters keen to learn new skills by studying the work of one of the most enduringly popular English artists of all time.
In 1966 the artist Tom Phillips discovered A Human Document (1892), an obscure Victorian romance by W.H. Mallock, and set himself the task of altering every page, by painting, collage or cut-up techniques, to create an entirely new version. Some of Mallock's original text remains in tact and through the illustrated pages the character of Bill Toge, Phillips's anti-hero, and his romantic plight emerges. First published in 1973, A Humument - as Phillips titled his altered book - quickly established itself as a cult classic. Since then, the artist has been working towards a complete revision of his original, adding new pages in successive editions. That process is now finished. This 50th anniversary edition presents, for the first time, an entirely new and complete version of A Humument . This edition includes a revised Introduction by the artist, reflecting on the last 50 years' work on this project, and 92 new illustrated pages. A Special Limited edition is also available: this presents a copy of the 50th anniversary edition in a clamshell box with a limited-edition print, signed by the artist.
Based in London and Berlin, Michael Elmgreen (b. 1961, Denmark) and Ingar Dragset (b. 1969, Norway) have worked as a collaborative team since the mid-1990s. In 2006, their `Welfare Show' at the Serpentine Gallery invited viewers to consider societal power structures, including economic disparity, health care, immigration, travel, prostitution, the police state and the role art plays in society. The duo were awarded Special Mention at the 2009 Venice Biennale for `The Collectors', their highly elaborate and widely acclaimed exhibition for the Danish and Nordic Pavilions, while their 2011 work `Celebrity: The One and the Many' addresses rumour-mongering, life in the public eye, the machinations of the media and its formation of myths. This book thoroughly documents these projects, showing how the artists' sculptures and installations reconfigure the familiar with characteristic wit and subversive humour. The book also includes interviews with the duo and with French philosopher Paul Virilio.
The extraordinarily revealing interviews with Francis Bacon conducted over a period of 25 years by the distinguished art critic David Sylvester amount to a unique statement by Bacon on his art and on art in general. In the book, a classic of its kind, Bacon considers the problems of realism and sheds new light on aspects of his life. With a rare and brilliant use of language, Bacon talks about his aims as a painter and ways in which he works, responding always with vivacity and candour to Sylvester's searching questions. Bacon's obsessive effort to record and re-create the human form, his practice of making variation on old masters' painting and on photographs, his dependence on chance, and his views about the way in which his work has been interpreted are only some of the many subjects discussed and investigated in depth during these historic encounters.
Each year between 1819 and 1825, John Constable (1776-1837) submitted a monumental canvas to the Royal Academy of Arts in London for display in the annual Exhibition. These so-called six-footers vividly captured the life of the River Stour in Suffolk, where Constable grew up and where he returned to paint each year. The Leaping Horse, the last of these, now a major work in the Academy's collection, is the subject of this fascinating new book. Humphreys explores Constable's often avant-garde working methods, as well as his struggle to gain full acceptance within the art establishment of the early nineteenth century. With reproductions of his full-scale preliminary sketches as well as brand new photography of the painting itself, this book is the ideal companion for art lovers who seek a deeper appreciation of Constable's iconic depictions of the English countryside.
Best known for his luscious paintings of pies and ice-cream cones, American artist Wayne Thiebaud (born 1920) has been an avid and prolific draftsman since he began his career in the 1940s as an illustrator and cartoonist. This book of about ninety drawings - compiled with the full cooperation of the artist to accompany a major new exhibition at the Morgan Library & Museum - explores the wide range of Thiebaud's production on paper, including early sketches, luminous pastels and watercolours, and charcoal drawings made in connection with his teaching. In subjects ranging from deli counters and isolated figures to dramatic views of San Francisco's plunging streets, Thiebaud's drawings endow the most banal, everyday scenes with a sense of poetry and nostalgia. Fully illustrated and beautifully designed, with illuminating texts, including an extensive interview with the artist, Wayne Thiebaud: Draftsman is the first major publication devoted to his lifelong engagement with drawing.
Over a century and a half after his death, Katsushika Hokusai is still one of Japan's most popular and influential artists. This handy volume presents the wide range of Hokusai's artistic production in terms of one of his most remarkable characteristics: his intellectual ingenuity. It attempts to answer the question of how the self-styled 'Man Mad about Drawing' approached his subjects - how he depicted human bodies in motion, combined figures and landscape, represented three-dimensional objects on a two-dimensional surface, and used tech--niques of illusionism or adjusted reality for greater visual or emotional effect. Including some fifty stunning and unusual paintings, prints, and drawings from the peerless Japanese art collection at the Museum of Fine Arts, Boston, this book is a treasure trove that introduces readers to a witty, wide-ranging and inimitably ingenious Hokusai.
In 1880, Charles M. Russell headed west to Montana, where he worked as a wrangler and chronicled in paint, ink, and watercolor the West and its people. For his splendid depictions of bronco riders, roundups, and everyday ranch life, Russell soon became known as "the Cowboy Artist." Yet this "Cowboy Artist" also spent much time among the Indians and developed a sympathetic understanding of and appreciation for their efforts to preserve their way of life. Russell's memorable paintings and drawings portray a frontier that was vanishing, not only for Indians but also for cowboys.
Peter H. Hassrick discusses Russell's work in the context of the artist's experiences in the West and the people who influenced his artistic style.
David Hockney is possibly the world's most popular living painter, but he is also something else: an incisive and original thinker on art. Here are the fruits of his lifelong meditations on the problems and paradoxes of representing a three-dimensional world on a flat surface. How does drawing make one `see things clearer, and clearer, and clearer still', as Hockney suggests? What significance do different media - from a Lascaux cave wall to an iPad - have for the way we see? What is the relationship between the images we make and the reality around us? How have changes in technology affected the way artists depict the world? The conversations are punctuated by wise and witty observations from both parties on numerous other artists - Van Gogh or Vermeer, Caravaggio, Monet, Picasso - and enlivened by shrewd insights into the contrasting social and physical landscapes of California, where Hockney lives, and Yorkshire, his birthplace. Some of the people he has encountered along the way - from Henri Cartier-Bresson to Billy Wilder - make entertaining appearances in the dialogue.
Jonathan Monk (*1969) is known for his witty appropriation of art history, his re-staging of conceptual and minimalist art works, his critique of both the exhibition circus and the aesthetic category of originality. Exhibit Model is an installation of photo-papers, depicting his works in different exhibition contexts. Site-specifically modified, it has been shown before in Muttenz, Copenhagen, and Montreal. For its fourth iteration, at KINDL Zentrum fur zeitgenoessische Kunst in Berlin, he combined it with works by fellow artists, the 'invited guests'. Text in English and German.
Over nearly six decades of practice, Robert Royston (1918-2008) shaped the postwar Bay Area landscape with visionary designs for public spaces. Early in his career, Royston conceived of the "landscape matrix," a system of interconnected parks, plazas, and parkways that he hoped could bring order and amenity to rapidly developing suburbs. The idea would inform his work on more than two thousand projects as diverse as school grounds, new towns, transit corridors, and housing tracts. As an apprentice of Thomas Church, Royston gained experience with residential gardens that influenced his early designs for public parks. At a time when neighborhood parks were typically limited to playing fields and stock playground equipment, Royston created imaginative facilities for the American family, offering activities for people of all ages. Royston, Hanamoto & Mayes, founded in 1958, grew to become one of the nation's most influential corporate firms. With his collaborative approach, Royston designed landscapes that set a high standard of inclusivity and environmental awareness. In addition to the many beloved places he created, his perceptive humanism, which passed down to his students, is Royston's enduring legacy.
Defining Decadence The legacy of Gustav Klimt 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 some 179 letters, cards, writings, and other documents. 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.
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