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Published in association with Joy of Giving Something, Inc., New York. Hatakeyama’s color work is marked by two overarching qualities. The first is a studious quality where the careful compositions and richness of detail associated with large format photography lend the work an impressive formal rigour. Complementing this formality is an attraction to the visual dynamics of industry and production.
After Egon Schiele (1890–1918) freed himself from the shadow of his mentor and role model Gustav Klimt, he had just ten years to inscribe his signature style into the annals of modernity before the Spanish flu claimed his life. Being a child prodigy quite aware of his own genius and a passionate provocateur, this didn’t prove to be too big a challenge.
His haggard, overstretched figures, extreme depiction of sexuality and self-portraits, in which he staged himself with emaciated facial expressions bordering between brilliance and madness, had none of the decorative quality of Klimt’s hymns of love, sexuality and yearning devotion. Instead, Schiele’s work spoke of a brutal honesty, one that would upset and irreversibly change Viennese society.
Among the few women artists who have transcended art history, none had a meteoric rise quite like Mexican painter Frida Kahlo (1907–1954). Her unmistakable face, depicted in over fifty extraordinary self-portraits, has been admired by generations; along with hundreds of photographs taken by notable artists such as Manuel and Lola Álvarez Bravo, Nickolas Muray, and Martin Munkácsi, they made Frida Kahlo an iconic image of 20th century art.
Five centuries of fascinating female creativity presented in more than 400 compelling artworks and one comprehensive volume
This book is the first monograph on Hubert Dalwood (1924-76), one of the most distinctive and sensitive post-war British sculptors, and the first complete catalogue of Dalwood’s sculpture exploring the themes, techniques and critical contexts of his work.
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