Informed and energized by a lifetime of painting, drawing and making images with cameras, David Hockney, in collaboration with the art critic Martin Gayford, explores how and why pictures have been made across the millennia. What makes marks on a flat surface interesting? How do you show movement in a still picture, and how, conversely, do films and television connect with old masters?
Written by an international team of artists, art historians, and curators, this absorbing and beautiful book gives readers unparalleled insights into the world’s most iconic artworks. Art: The Whole Story traces the development of art period by period, with the informative and highly illustrated text covering every genre, from painting and sculpture to conceptual art and performance art. Cultural timelines are included as well, in order to help readers with each movement’s historical context.
Whether you want Surrealism or Land Art, Fluxus or Bauhaus, this is your be-all, end-all guide to art of the 20th century. An undertaking as immensely ambitious as this one deserves to be owned by everyone, which is why we decided to make a special, more compact edition of this two-volume classic in celebration of 25
British Prints from the Machine Age is a profusely illustrated examination of the impact of avant-garde Continental influences on British printmaking in the years stretching from the First World War to the outbreak of the Second.
Contemporary Art: World Currents argues that, in recent decades, a worldwide shift from modern to contemporary art has occurred. Artists everywhere have embraced the contemporary world’s teeming multiplicity, its proliferating differences and its challenging complexities. This book shows how contemporary art achieved definitive force in the markets and museums of the major art centres during the 1980s.
It is said of Georg Baselitz that, in his upside-down pictures, he expresses the misery of the human creature. In South Africa we are very aware of the misery in which the human creature was dumped, but we are also very aware of the triumph of good over evil, gained against all odds and in all adversity as we endeavor to salve and heal wounds of the past.
More than 100 years of unschooled artistic genius is gathered in this wide-ranging survey that will elight and inform Outsider Art’s rapidly growing audience. Visionary art, art brut, art of the insane, na*ve art, vernacular art, “raw vision”—what do all these and many other categories describe? An art made outside the boundaries of official culture, first recognized more than a century ago by German psychiatrists who appreciated the profound artistic expression in the work of institutionalized patients. Promoted by brilliant museum curators like Alfred Barr and artists like Jean Dubuffet, such work became a wellspring of modern and contemporary art. This volume brings
Attlee’s book succeeds in showing how influential Guernica has been. Attlee digs up rich examples of the debate and devotion that invariably attended the painting. Guernica literature abounds; but this book is a worthwhile addition.
This beautifully illustrated book is the first in English to celebrate the Dutch contribution to Art Nouveau through a tour of over one hundred posters, decorative calendars, and illustrated books, as well as prints and drawings. With text by Clifford S. Ackley, one of the leading specialists on Dutch prints and drawings, Holland on Paper in the Age of Art Nouveau provides a fascinating and visually rewarding introduction to a rich and creative artistic era.
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.
They can be charming or steeped in mute despair, vulgar or lovingly maternal, bourgeois or intellectual – but they are always Impressionist cats, caught as if by the camera, spontaneous and unprepared.
This book is aimed at the studio printmaker. It covers many issues about ink, such as history, colour, inks for different forms of printmaking, specialist inks, environmental issues and recent developments in health and safety for the printmaker. There is no other book like it on the subject aimed especially at studio printmakers, and this should be a must-have for all reference shelves in printmaking workshops.
In an engaging personal narrative interwoven with historical research, Martin Kemp discusses a life spent immersed in the world of Leonardo, and his encounters with great and lesser academics, collectors and curators, devious dealers and unctuous auctioneers, major scholars and authors, pseudo-historians and fantasists. He shares how he has grappled with swelling legions of ‘Leonardo loonies’, walked on the eggshells of vested interests in academia and museums, and fended off fusillades of non-Leonardos, sometimes more than one a week. Examining the greatest masterpieces, from the Last Supper to Salvator Mundi, through the expert’s eye, we learn first-hand of the thorny questions that surround attribution, the scientific analyses that support the experts’ interpretations, and the continuing importance of connoisseurship.
Man Ray (1890-1976), a pioneer of the Dada movement and a central protagonist of surrealism, is best known for his innovative photographs, but his writings are also remarkable expressions of his identity as an artist. The first extensive collection of Man Ray’s texts about art in English, Man Ray: Writings on Art illuminates the diverse ways in which the artist used words to express his aesthetic, philosophical and political ideas. Richly illustrated and drawing on a broad range of materials, including artists’ books, essays, interviews, letters and visual poems, this collection presents the artist’s most significant writings about art, many of them never previously published. Offering a long overdue vision of Man Ray as someone who used words both as a creative medium and as a means of articulating ideas about the nature and value of art, it provides a powerful insight for students and scholars of modern art, as well as for artists, photographers and all those who count themselves as Man Ray fans.
In this updated, expanded, and superbly produced handbook, The Museum of Modern Art presents its own selection of the most significant artworks in its collection. Few institutions approach the richness of The Museum of Modern Art’s holdings in painting, sculpture, drawing, prints, illustrated books, architectural models and drawings, graphic and industrial design, photography, film, video and multimedia installations. In this volume, some 350 highlights–23 of which are new to this edition–from the Museum’s six curatorial departments, are interwoven to present a sumptuous and broadly chronological overview that takes readers from Post-Impressionism to contemporary art. Every work that was executed in color is reproduced in MoMA Highlights in vibrant hues, and each is accompanied by a brief commentary. Updated and revised, this book is the definitive guide to the broad scope of MoMA’s collection. Also updated and expanded, The Museum of Modern Art recently reopened on November 20, 2004 in its newly designed building by architect Yoshio Taniguchi. Founded in 1929 as an educational institution, MoMA is dedicated to being the foremost museum of modern art in the world. The ultimate purpose of the Museum declared at its founding, is to acquire the best modern works of art in all visual mediums.