Published by Silvana Editoriale. Text by Zoltán Rockenbauer, Gergely Barki.
Led by Henri Matisse and André Derain, and briefly counting Georges Braque among its ranks, Fauvism advanced a spontaneity and apparent wildness of brushwork and color that won the movement its derogatory tag of Les Fauves (the wild beasts). Despite its notoriety, the Fauvist influence upon Hungarian artists is rarely considered. These artists enthusiastically embraced the use of broad swaths of flat, violent color that characterized the movement. Dialogue Among Fauves explores the impact of Fauvism on Hungarian art from 1904 to 1914, demonstrating that the official account of modernity always overlooks a wealth of peculiarities hidden in its margins. Bringing together works from major Hungarian museums and private collections, this publication includes works by Róbert Berény, Géza Bornemisza, Tibor Boromisza, Béla Czóbel, Valéria Dénes, Sándor Galimberti, Vilmos Huszár, Béla Ivány Grünwald, Ödön Márffy, Vilmos Perlrott-Csaba, József Rippl-Rónai, Lajos Tihanyi and Sándor Ziffer.
BOOK FORMAT Paperback, 9 x 11 in. / 120 pgs / 60 color.
PUBLISHING STATUS Pub Date 10/31/2011 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2011 p. 71
PRODUCT DETAILS ISBN 9788836618729TRADE List Price: $40.00 CDN $50.00
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 The Museum of Modern Art, New York. Edited by Starr Figura. Text by Starr Figura, Peter Jelavich, Heather Hess, Iris Schmeisser.
The artists associated with German Expressionism in the early decades of the twentieth century took up printmaking with a dedication and fervor virtually unparalleled in the history of the genre. The woodcut, with its coarse gouges and jagged lines, is the preeminent Expressionist medium, but the movement also revolutionized etching and lithography, to alternately vibrant and stark effect. This graphic impulse can be traced from the formation of the artist group Die Brücke in 1905 through the war years of the 1910s and into the early 1930s, when individual artists continued to produce compelling work even as the movement was winding down. This volume, published in conjunction with an exhibition at The Museum of Modern Art, showcases the Museum's outstanding holdings of Expressionist prints, enhanced by a selection of drawings, paintings, and sculptures from the collection. Featuring approximately 260 works by some 30 artists, the book presents a diverse array of individuals, including Max Beckmann, Erich Heckel, Ernst Ludwig Kirchner, Emil Nolde, Vasily Kandinsky and Oskar Kokoschka. Essays by Starr Figura, Associate Curator of Prints and Illustrated Books at MoMA, and Peter Jelavich, Professor of History, Johns Hopkins University, discuss the centrality of printmaking in German Expressionism and provide a sociocultural backdrop for the movement.
Published by Scala Vision, N.Y.. Essay by Glenn Lowry.
Founded in 1929 as an educational institution, The Museum of Modern Art in New York is dedicated to being the foremost modern art museum in the world. It manifests this commitment by establishing, preserving and documenting a permanent collection of the highest order that reflects the vitality, complexity and unfolding patterns of modern and contemporary art. Masterworks from The Museum of Modern Art is a stunning survey of the Museum's collection. Reproduced here are some 240 works representing significant movements including Post-Impressionism, Cubism, Fauvism, Futurism, Dadaism, Pop art and Surrealism. Among the featured works are some of the world's best-known and beloved materpieces such as Van Gogh's “Starry Night,” Picasso's “Les Demoiselles d'Avignon” and Dalí's “Persistence of Memory.” This comprehensive and authoritative gift volume includes a presentation on the Museum by MoMA Director, Glenn D. Lowry. Each of the works is illustrated and accompanied by a commentary written by curators in MoMA's departments of painting, drawing, sculpture, photography and design.
PUBLISHER Scala Vision, N.Y.
BOOK FORMAT Hardcover, 9.75 x 11.75 in. / 304 pgs / 250 color.
PUBLISHING STATUS Pub Date 10/15/2011 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2011 p. 69
PRODUCT DETAILS ISBN 9788881172986TRADE List Price: $60.00 CDN $70.00
AVAILABILITY Awaiting stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Hatje Cantz. Edited by Katharina Schmidt. Text by Oskar Bätschmann, Robert Kopp, Matthias Frehner, Paul Muller, Katharina Schmidt.
Swiss painter Ferdinand Hodler is one of Europe’s best least-known artists. Though he remained in Switzerland for his entire life, his international reputation has been growing in the past several decades, beginning with a traveling retrospective in the early 1970s. Hodler, who kept up on the latest movements brewing in Paris, is considered a Symbolist who tempered that movement’s flights of fancy with Realism. He is regarded as a bridge between the Modern period and the impulses of mid-1800s Realism, Symbolism and Art Nouveau. As may be expected with such a range of influences at the artist's disposal, Hodler’s style fluctuated widely throughout his career. His most well known painting may be “The Woodcutter” (1908), which was commissioned as an illustration for the Swiss 50-franc note. “The Woodcutter” is a strange and engaging mixture of Expressionism--the subject is depicted mid-chop in vigorous brush strokes--and Symbolism, as the ghostly landscape behind the figure supports an odd, bright blue, orb-like cloud. More than two decades since his last retrospective, this fresh and extensive assessment of Hodler’s paintings finds much new territory to uncover.
Published by Hatje Cantz. Text by Heike Fuhlbrügge, Ralph Jentsch, Jürg Judin, Barbara McCloskey.
The Dada caricaturist, draughtsman and painter George Grosz (1893-1959) spent more than half of his creative career--27 years--living and working in the United States. The effects of this emigration upon his art were once widely deemed to be wholly negative, since it seemingly marked a rejection of aggressively political satire: "I had simply lost all interest in human weaknesses and individual foibles," wrote Grosz in his autobiography, "and the further I drew away from them, the closer I felt to nature." Grosz was particularly passionate about the art of watercolor--so much so that shortly before his death in 1959 he began to write a book on watercolor technique--and his innovations in this area, alongside his caricatures of New York life and his more apocalyptic war paintings, have at last been retreived from the respective shadows of Grosz's own earlier work and of American Abstract Expressionism, which reigned supreme during Grosz's American years. This is the first book devoted to this crucial phase in his life.
Published by Hatje Cantz. Text by Reinhold Heller.
“Anyone who directly and genuinely renders what drives him to create is one of us,” proclaimed the manifesto of Die Brücke (The Bridge), a close-knit group of artists who first met in Dresden in 1905. Its founding members were four Jugendstil architecture students: Fritz Bleyl, Erich Heckel, Karl Schmidt-Rottluff and Ernst Ludwig Kirchner. Eschewing the contemporary academic styles and subjects, these four artists instead looked to their German art heritage to make "a bridge" with the past, favoring such artists as Albrecht Dürer, Matthias Grünewald and Lucas Cranach the Elder. They also drew on Fauvist and Primitivist art in their quest for unhindered expression and, with this combination of resources, propelled German art into the twentieth century. In works by Die Brücke, color diverged from nature and became a record of emotion; forms were radically simplified, or exaggerated and distorted; bohemian subject matter argued for a Socialist politics. Their nudes, landscapes and urban scenes--featuring depictions of dances, cabarets, cafés and the sorts of street encounters that were typical of Berlin in the years after 1911--are among the greatest works produced by early-twentieth-century artists. Containing important paintings, sculptures and prints by Heckel, Kirchner, Otto Mueller, Emil Nolde, Max Pechstein and Karl Schmidt-Rottluff, this invaluable volume is a definitive record of the birth of Expressionism.
Published by D.A.P./Distributed Art Publishers, Inc.. Text by Angelika Affentranger-Kirchrath, Margrit Hahnloser-Ingold, Rudolf Koella, Henriette Hahnloser, Ursula Perucchi-Petri, Lukas Gloor.
As the last embers of Impressionism flickered out amid the early stirrings of the modernist avant garde, the collector couple Arthur and Hedy Hahnloser were on hand to speed French painting's transition into the twentieth century. Between 1905 and 1936, the Hahnlosers assembled a small but breathtaking collection of works by the leaders of the Nabi and Fauve movements, and their precursors Vincent Van Gogh, Paul Gauguin, Paul Cézanne and Auguste Renoir. Buying directly at modest prewar rates from artists that were still making their names, such as Pierre Bonnard, Henri Matisse, Odilon Redon, Georges Rouault, Aristide Maillol, Félix Vallotton and Edouard Vuillard, the Hahnlosers nursed French painting of the nineteenth century into the twentieth century. During the First World War, their house, the Villa Flora in Wintherthur, Switzerland, provided refuge for many of these artists, and Bonnard and Vallotton in particular developed close friendships with the couple. (Félix Vallotton's critical judgment informed their acquisition of works by Van Gogh and Cézanne, and after the artist's death Hedy Hahnloser wrote Vallotton's biography.) Now, in this volume authored by the art historian Margrit Hahnloser-Ingold, also the couple's granddaughter, the story of this legendary collection is told for the first time. Alongside 250 color plates, The Hahnloser Collection offers a chronology detailing the couple's purchases, their travels and their relationships with artists, in an unprecedented insider peek into the world of the Nabis, the Fauves and turn-of-the-century French painting.
The Thannhauser Collection of the Guggenheim Museum
Published by Guggenheim Museum. Edited by Matthew Drutt. Essays by Jack Flam, Robert Rosenblum, Richard Schiff, Ann Dumas, Theodore Reff, Colin A. Bailey, Albert Boime, Beth Archer Brombert, Anne F. Collins, Elizabeth W. Easton, Michael Fitzgerald, Fred Licht, Joachim Pissarro, Belinda
Bequeathed to the Guggenheim Museum by Justin K. Thannhauser, this sparkling collection features important works from the Impressionist, Post-Impressionist and early Modernist periods, including 32 paintings and works on paper by Picasso. In addition to the impeccable reproductions of every work in the collection, this book includes a fascinating new essay on Thannhauser, a leading art dealer in pre-World War II Europe whose family's gallery was the first to represent Picasso as well as the Blue Rider Group. This revised edition includes two essays on the period as well as a dozen insightful texts on the highlights of the collection, which include paintings by Cézanne, Degas, Gauguin, Renoir, van Gogh and, of course, Picasso.
Published by MFA Publications. Text by George T.M. Shackelford, Claire Frčches-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."