Published by The Museum of Modern Art, New York. Text by Ann Temkin, Nora Lawrence.
Claude Monet (1840-1926) devoted the last 25 years of his career to paintings of the Japanese-style pond and gardens of his house in Giverny, France. Two of these luminous panels--"Reflections of Clouds on the Water-Lily Pond," a mural-sized triptych, and "Water Lilies," a single canvas--are among the most well-known and beloved works in the collection of The Museum of Modern Art. The aim of these paintings, according to the artist, was to supply "the illusion of an endless whole, of water without horizon or bank." These late works were for many years less appreciated than Monet's classic Impressionist works, oftentimes seen as unstructured, even unfinished. But with the emergence of Abstract Expressionism in the 1950s, Monet became an extraordinarily relevant predecessor. In 1955, The Museum of Modern Art became the first American museum to acquire one of Monet's large-scale water lily compositions. In 1958, when a fire destroyed this and another water lily painting, the public's widespread expression of loss led to the acquisition of the works currently in the collection. This lively volume recounts the history of Monet's water lilies at the Museum underscores the resonance of these paintings with the art and artists of the last half-century.
Published by MFA Publications. Text by George T.M. Shackelford, Claire Frèches-Thory, et al.
Now in paperback, Gauguin Tahiti offers an in-depth study of the fabled Polynesian years that have so defined our image of the painter. Alongside essays on every aspect of Gauguin's art, from the legendary canvases to his sculptures, ceramics and innovative graphic works, are discussions of the Polynesian society, culture and religion that helped shape them; an in-depth biographical narrative, with the many epiphanies, frustrations and discoveries that make his time in the South Seas one of the most mythologically potent episodes in Western art; and a chronicle of his changing fortunes in the century since his death. At the center of it all is Gauguin's 1897 masterpiece, "Where Do We Come From? What Are We? Where Are We Going?," the crowning glory of his mature career, presented with unprecedented depth and authority. Over 100 years later, Gauguin remains one of the most enigmatic and attractive figures of nineteenth-century art, the very pivot of modernism, and Gauguin Tahiti portrays this crucial period of his life in all its color and drama. Of the hardback edition, John Richardson wrote in Vanity Fair: "This excellent catalogue sets the record straight." And writing in the New York Observer, Hilton Kramer declared it, "the most exhaustive account of the period that has ever been attempted in a single survey... well-written, scrupulously documented, and lavishly illustrated."
Published by Steidl. Text by Geneviève Aitken, Christoph Dorsz, Sandra Gianfreda, Claire Guitton, Gregory Irvine, Peter Kropmanns, Michiko Mae, Ursula Perucchi-Petri, Belinda Thomson, Sabine Bradel, Ricard Bru, Ulrike Hofer, Antje Papist-Matsuo, Mario-Andreas von Lüttichau.
Japanese art is of fundamental importance for the development of modern art in Europe. Nearly all of the great nineteenth-century masters—from Edgar Degas, Édouard Manet, Claude Monet, Paul Gauguin and Vincent van Gogh to Pierre Bonnard, Henri de Toulouse-Lautrec and Édouard Vuillard—embraced the charm of Japanese pictorial motifs and stylistic devices, developing them in their own work. Even Henri Matisse and Pablo Picasso expressed enduring interest in Japan well into the twentieth century. Monet, Gauguin, Van Gogh … Japanese Inspirations explores the most fascinating chapters of French art in the second half of the nineteenth century, in the phenomenon known as Japonisme. The catalogue and the exhibition it accompanies focus on the period between 1860 and 1910, the heyday of the craze for Japanese art in France. Alongside paintings and prints by artists active in France such as Paul Gauguin, Vincent van Gogh and Claude Monet, the volume showcases an extensive selection of Japanese color woodcut prints by Utagawa Hiroshige, Katsushika Hokusai, Kitagawa Utamaro and others. Japanese artifacts are likewise juxtaposed with works by French artists such as Félix Bracquemond, Jean Carriès and Émile Gallé, inspiring a dialogue between works rarely considered in tandem. Featuring essays by well-known authors as well as younger scholars, this comprehensively illustrated catalogue sheds light on the most important aspects of this formative epoch and the productive exploration of Japan embarked upon by artists living and working in France.
Published by The Museum of Modern Art, New York. Edited by Starr Figura. Text by Elizabeth Childs, Hal Foster, Erika Mosier, Lotte Johnson.
Gauguin: Metamorphoses explores the remarkable relationship between Paul Gauguin’s rare and extraordinary prints and transfer drawings, and his better-known paintings and sculptures in wood and ceramic. Created in several discrete bursts of activity from 1889 until his death in 1903, these remarkable works on paper reflect Gauguin’s experiments with a range of media, from radically "primitive" woodcuts that extend from the sculptural gouging of his carved wood reliefs, to jewel-like watercolor monotypes and large mysterious transfer drawings. Gauguin’s creative process often involved repeating and recombining key motifs from one image to another, allowing them to metamorphose over time and across mediums. Printmaking in particular provided him with many new and fertile possibilities for transposing his imagery. Though Gauguin is best known as a pioneer of modernist painting, this publication reveals a lesser-known but arguably even more innovative aspect of his practice. Richly illustrated with more than 200 works, Gauguin: Metamorphoses explores the artist’s radically experimental approach to techniques and demonstrates how his engagement with media other than painting--including sculpture, printmaking and drawing--ignited his creativity. Painter, printmaker, sculptor and ceramicist, Paul Gauguin (1848–1903) left his job as a stockbroker in Paris for a peripatetic life traveling to Martinique, Brittany, Arles, Tahiti and, finally, the Marquesas Islands. After exhibiting with the Impressionists in Paris and acting as a leading voice in the Pont-Aven group, Gauguin’s efforts to achieve a "primitive" expression proved highly influential for the next generation of artists.
Starr Figura is a curator with the Department of Drawings and Prints at The Museum of Modern Art, New York.
Elizabeth Childs is Department Chair of Art History and Archaeology at Washington University in St. Louis.
Hal Foster is an American art critic, historian and Guggenheim Fellow; he has taught at contemporary art and theory at Cornell University and Princeton University.
Erika Mosier is an associate conservator at The Museum of Modern Art.
Lotte Johnson is a curatorial assistant with the Department of Drawings and Prints at The Museum of Modern Art.
Published by The Museum of Modern Art, New York. Text by Richard Thomson.
Instantly recognizable as one of the most iconic images of modern culture, Vincent van Gogh's "Starry Night" draws thousands of visitors every day at The Museum of Modern Art. Yet few are familiar with the story behind this unlikely masterpiece, envisioned and executed by Van Gogh during his stay at a mental hospital in Saint-Rémy. "The Starry Night" is no ordinary landscape painting, with its surging forces, resonant chromatics and mysterious shapes that reflect Van Gogh's unique state of mind at the time. In this informative volume--the latest in a series on favorite artists and important works in MoMA's collection--distinguished art historian Richard Thomson provides an overview of the painting within the context of its creation, bringing together Van Gogh's correspondence regarding the painting and the Parisian art scene of his time with an in-depth exploration of his technique and style. Highlighting significant details not easily visible at first glance, and illustrated with dozens of comparable works, Vincent van Gogh: The Starry Night is an indispensable guide to one of the most famous paintings of the nineteenth century.
Published by Koenig Books. Foreword by Beatrix Ruf. Introduction by Bart Rutten, Geurt Imanse. Text by Patrice Deparpe, Maurice Rummens.
This substantial new hardcover is published to accompany an exhibition at the Stedelijk Museum in Amsterdam. Readers are transported through the museum's Matisse works--an array of Eastern nudes, colorful fabrics, carpets, potted plants and idyllic landscapes--plus a selection of additional paintings, sculptures and works on paper by the French master. At the heart of the exhibition is one of the most beloved works in the Stedelijk's collection: the monumental paper cut-out "The Parakeet and the Mermaid" (1952-53), presented with other Matisse cut-outs and rarely exhibited works in fabric and stained glass inspired by them. Arranged chronologically, the volume guides readers through Matisse's days in Paris, the birth of Fauvism, his representational work made in Nice, through to his work in Polynesia and Oceania. The Oasis of Matisse portrays the artist's output using contextualization with works by his contemporaries, offering a comprehensive overview of his influences. One of modern art's towering figures, Henri Matisse (1869-1954) was a painter, draftsman, sculptor and printmaker before turning to paper cut-outs in the 1940s. From the clashing hues of his Fauvist works made in the South of France in 1904-5, to the harmonies of his Nice interiors from the 1920s, to this brilliant final chapter, Matisse followed a career-long path that he described as "construction by means of color."
Published by The Museum of Modern Art, New York. Edited by Karl Buchberg, Nicholas Cullinan, Jodi Hauptman. Text by Samantha Friedman, Flavia Frigeri, Markus Gross, Stephan Lohrengel, Nicholas Serota.
Published in conjunction with the most comprehensive exhibition ever devoted to the paper cut-outs Henri Matisse made from the early 1940s until his death in 1954, this paperback edition presents approximately 150 works in a groundbreaking reassessment of the artist's colorful and innovative final chapter. The result of new research by conservators and curators, the catalogue explores a host of technical and conceptual issues: the artist's methods and materials and the role and function of the works in his practice; their economy of means and exploitation of decorative strategies; their environmental aspects; and their double lives, first as contingent and mutable in the studio and ultimately made permanent, a transformation accomplished by mounting and framing. Richly illustrated to present the cut-outs in all of their vibrancy and luminosity, the book includes an introduction and a conservation essay that consider the cut-outs from new theoretical and technical perspectives, and five thematic essays, each focusing on a different moment in the development of the cut-out practice, that provide a chronicle of this radical medium's unfolding. Period photographs show the works in progress in Matisse's studio. One of modern art's towering figures, Henri Matisse (1869-1954) was a painter, draftsman, sculptor and printmaker before turning to paper cut-outs in the 1940s. From the clashing hues of his Fauvist works, made in the South of France in 1904-5, to the harmonies of his Nice interiors from the 1920s to this brilliant final chapter, Matisse's career followed a path that he described as "construction by means of color."
Jodi Hauptman is a Curator in the Department of Drawings & Prints at The Museum of Modern Art, New York.
Karl Buchberg is a Senior Conservator at The Museum of Modern Art, New York.
Samantha Friedman is an Assistant Curator in the Department of Drawings & Prints at MoMA.
Nicholas Cullinan is the Curator of Modern and Contemporary Art at the Metropolitan Museum of Art.
Published by MFA Publications, Museum of Fine Arts, Boston. Text by Helen Burnham, Sarah E. Thompson, Jane E. Braun.
A craze for all things Japanese in the late nineteenth and early twentieth centuries brought a correspondingly radical shift in Western art, dubbed Japonisme. Leading artists, including Vincent van Gogh and Claude Monet, were inspired by Japanese art and culture to create works of singular beauty. This lavishly illustrated publication explores an extraordinary moment of cross-cultural exchange by presenting a selection of major paintings, prints, drawings and decorative arts from the renowned collections of the Museum of Fine Arts, Boston. Masterpieces by European and American artists are shown along with rare objects, paintings and prints from the Museum’s Japanese collection, which is one of the finest in the world. Among the Western artists influenced by Japonisme, and included here, are Henry Roderick Newman, Frank Weston Benson, Alfred Stevens, John La Farge, Arthur Wesley Dow, Margaret Jordan Patterson, James McNeill Whistler, Edvard Munch, Henri de Toulouse-Lautrec, Pierre Bonnard, Edouard Vuillard, James Ensor, Paul Gauguin, Edgar Degas, Henri Rivière and Frederick Elkington. Their works are juxtaposed with works by Japanese artists such as Utagawa Hiroshige, Katsushika Hokusai, Okumura Masanobu, Maruyama Okyo, Kubo Shunman, Isoda Koryusai and Kikugawa Eizan, among many others. With its two introductory essays, emphasizing first Western and then Eastern perspectives, and its four thematically organized chapters, Looking East imparts the sense of discovery and excitement that characterized the development of Japonisme in Europe and North America.
Published by Fundación Museo Picasso Málaga/Legado Paul, Christine y Bernard Ruiz-Picasso. Text by José Lebrero Stals, Olivier Widmaier Picasso, Jean Clair.
Throughout Pablo Picasso’s career, members of his immediate family were portrayed in a variety of works and media, becoming recurrent motifs. This publication compiles a significant group of portraits from various museums and private collections. Produced between 1906 and 1971, many of the works reproduced here were inspired by the female companions with whom Picasso shared his life, such as Fernande Olivier, Olga Khokhlova, Marie-Thérèse Walter, Dora Maar, Françoise Gilot and Jacqueline Rogne, as well as by his children, Paloma, Claude and Paul. The artworks in Pablo Picasso: Family Album, which range from oil paintings and drawings to sculptures, linocuts and engravings, suggest a special harmony in Picasso’s life between familial and artistic realms.
PUBLISHER Fundación Museo Picasso Málaga/Legado Paul, Christine y Bernard Ruiz-Picasso
BOOK FORMAT Hardcover, 9.25 x 12.5 in. / 160 pgs / 55 color / 96 duotone.
PUBLISHING STATUS Pub Date 3/31/2014 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2014 p. 126
PRODUCT DETAILS ISBN 9788494024986TRADE List Price: $65.00 CDN $75.00
AVAILABILITY In stock
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Published by Poligrafa. Edited by Marie-Laure Bernadac, Brigitte Léal, Christine Piot.
Nearly a decade after its initial publication, Picasso: The Monograph 1881-1973 is back in print, updated and redesigned in a more user-friendly format. Poligrafa's brand new edition of this classic volume offers more than 1,200 newly scanned reproductions, spanning Picasso's entire career and illustrating his breathtaking range of artistic expression, including paintings, drawings, lithographs, ceramics and sculpture. Elegantly translated from the original French, the monograph weaves biographical details with thorough elucidations of the artist's work into a concise and seamless narrative. All three contributors are highly regarded in Picasso scholarship: Brigitte Léal and Marie-Laure Bernadac, both former curators of the Musée Picasso in Paris, are now respectively curators of the Centre Pompidou and the Louvre Museum, while Christine Piot co-authored the catalogue raisonné of Picasso's sculpture. Leal covers Picasso's formative years through 1916, including his co-invention of Cubism with Georges Braque. Piot focuses on the artist's glory years from 1917 through 1952, and Bernadac discusses the vigor of Picasso's later years, from 1953 until his death in 1973. With clearly organized visual sources, acknowledgements of leading art historians' interpretations and quotes from Picasso's contemporaries, this book remains unsurpassed as the definitive Picasso monograph for students and art lovers alike.
Published by The Museum of Modern Art, New York. Text by Sarah Suzuki.
Though he was deeply engaged with painting and drawing, Toulouse-Lautrec’s lasting contribution to artistic practice was as a graphic artist. Through his prints and posters, he brought the language of the late-nineteenth-century French avant-garde to a broad public, through editioned prints, advertisements and contributions in reviews and magazines. He ushered in the first print boom of the modern era; taking advantage of lithography’s new potential for color and scale, he made both posters for the streets of Paris and prints for the new bourgeois collector’s living room. During his short career, he created more than 350 prints and 30 posters, as well as lithographed theater programs and covers for books and sheet music. The Museum of Modern Art’s collection of this material is stellar, encompassing over 100 prints and posters, his most important book projects, and many magazines, journals and other examples of printed ephemera. A cultural nexus, Toulouse-Lautrec connected artists, performers, authors, intellectuals and society figures of his day, creating a bridge between the brothels and society salons of the Belle Epoque. His work allows entry into many facets of Parisian life of the period, from politics and economics to visual culture and the rise of popular entertainment in the form of cabarets and café-concerts. Featuring an overview essay by Sarah Suzuki, Associate Curator in the Department of Drawings and Prints at MoMA, this publication presents thematically organized groupings of Toulouse-Lautrec’s prints from the Museum’s collection, each accompanied by an illuminating essay on the theme. Inserted into the book is a 20" x 17" poster titled "Mademoiselle Eglantine's Troupe." Henri de Toulouse-Lautrec (1864–1901) is best known for his portrayals of late-nineteenth-century Parisian life, particularly working-class, cabaret, circus, nightclub and brothel scenes. He was admired then as he is today for his unsentimental evocations of personalities and social mores. His greatest contemporary impact was his series of 30 posters (1891–1901), which transformed the aesthetics of poster art.
Sarah Suzuki is Curator in the Department of Drawings and Prints at The Museum of Modern Art.
Published by MFA Publications. Text by Xavier Rey, Anne Roquebert, George T.M. Shackelford. Interview with Lucian Freud by Martin Gayford.
The nude figure was critical to the art of Edgar Degas throughout his life, and yet frequently his expansive body of work on this subject has been overshadowed by his celebrated portraits and dancers. Degas and the Nude is the first book in a generation to explore the artist's treatment of the nude from his early years in the 1850s and 1860s, through his triumphs in the 1880s and 1890s, all the way to his last decades when the theme dominated his artistic production in all media. With essays by leading American and French critics, it provides a new interpretation of Degas' evolving conception of the nude, situating it in the subject's broader context among his peers in nineteenth-century France. It explores how Degas exploited all of the body's expressive possibilities, how his vision of the nude informed his notion of modernity, and how he abandoned the classical or historical form in favor of a figure seen in her own time and setting--whether engaged in overtly carnal acts or just stepping out of an ordinary bath. More than 200 lushly rendered full-color images present a re-seeing of Degas' subject in paintings, pastels, drawings, prints and sculpture. Among them are the most important of Degas' early paintings of nudes, Scene of War in the Middle Ages, which exerted a lifelong influence on the artist's treatment of the female nude and includes poses repeated throughout his career; monotypes of the late 1870s, almost caricature-like in their imagery, illustrating Degas' most explicitly sexual depictions of women in Parisian brothels; and a number of pictures portraying the daily life of women wherever they may reside. Together these iterations range over more than a half-century of genius achievement and present a groundbreaking look at the evolution of this master artist.
Published by MFA Publications, Museum of Fine Arts, Boston. Text by Sarah E. Thompson, Joan Wright, Philip Meredith.
Katsushika Hokusai remains 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 explores the question of how the self-styled "Man Mad about Drawing" approached his subjects—how he depicted human bodies in motion, combined figures and landscapes, represented three-dimensional objects on two-dimensional surfaces and when he used the techniques of illusionism or adjusted reality for greater visual or emotional effect. Including some 50 stunning and unusual paintings, prints and drawings from the peerless Hokusai 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. Known by at least 30 other names during his lifetime, Katsushika Hokusai (1760–1849) was an ukiyo-e painter and printmaker of the Edo period. In 1800, he published his two classic collections of landscapes, Famous Sights of the Eastern Capital and Eight Views of Edo. His influence extended to his Western contemporaries in nineteenth-century Europe, including Degas, Gauguin, Klimt, Franz Marc, August Macke, Manet and van Gogh.
Published by The Museum of Modern Art, New York. Essay by John Elderfield.
The execution of Emperor Maximilian of Mexico, in 1867, was the subject of a quartet of paintings by the French Impressionist and early Modernist Edouard Manet. These works are rarely shown together, and in fact cannot be seen in their entirety, since one of them exists only in fragments, but the three intact paintings and the surviving elements of the fourth are reproduced in this publication, and will be shown at The Museum of Modern Art's exhibition in the fall of 2006. Maximilian's death was an event of great public interest in France, in part because French policies shared the responsibility for it. A European aristocrat of the Hapsburg family, Maximilian had been installed in 1864 after a trio of European powers, led by Napoleon III of France, mounted an invasion of Mexico to reclaim debts upon which the Mexican government had suspended payment. But Napoleon soon withdrew, abandoning Maximilian to his fate at the hands of a resurgent Mexican army. As news of the execution reached Paris, Manet reacted with a group of works synthesizing the information as it came to him and drawing heavily on an earlier painting inspired by violent political events, Goya's The Third of May. In addition to analyzing and documenting the creation of these works, John Elderfield, in his text, clarifies their historical importance in the context of modern art, and in so doing, offers a capsular history of the place of current events in art.
Published by Silvana Editoriale. Edited by Véronique Serrano. Contributions by Gilles Genty, Lawrence Madeline, Aline Magnien, Roberto Mangiù, Elizabeth Pacoud-Rème, Jean-Louis Schefer.
Since easel painting began, the figure of Eve has been found in the work of painters from Masaccio to Rubens, Michelangelo, Bosch and Brueghel. The Nude from Gauguin to Bonnard presents nearly 70 works from Symbolists, Nabis, Fauves, Cubists and Surrealists, including Gauguin, Bonnard, Redon, Matisse, Picasso, Rousseau, Giacometti and Chagall. The historical shifts in the depiction of Eve, and her continued relevance for art, are discussed in several essays.
BOOK FORMAT Paperback, 9.5 x 12 in. / 172 pgs / 152 color.
PUBLISHING STATUS Pub Date 6/30/2014 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2014 p. 141
PRODUCT DETAILS ISBN 9788836626878TRADE List Price: $40.00 CDN $50.00
AVAILABILITY In stock
in stock $40.00
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