Published by Royal Academy Publications. By David Hockney.
In recent years renowned artist David Hockney has returned to England to paint the landscape of his childhood in East Yorkshire. Although his passionate interest in new technologies has led him to develop a virtuosic drawing technique on the iPad, he has also traveled outdoors with a traditional sketchbook, an invaluable tool as he works quickly to capture the changing light and fleeting effects of the weather. Executed in watercolor and ink, these panoramic scenes have the spatial complexity of finished paintings--the broad sweep of sky or road, the patchwork tapestry of land--yet convey the immediacy of Hockney's impressions. For those who know the East Yorkshire Wolds, the location of the sketches is unmistakable; for those who don't, its features will come to life in these pages.
Like nature, only better. Nature with all the awkward bits smoothed out. And then picturesque, like a landscape painting, states Jim Lewis' protagonist, defining an English garden in Cecily Brown's newest book of paintings. An imaginative pas de deux, The English Garden sees British painter Brown (born 1969) and American writer Lewis (born 1963) contribute acutely detailed and darkly sensuous allusions to the traditional 18th-century English landscape garden. Thirty-nine of Brown's paintings are interspersed throughout this compact hardcover publication as tipped-in images. The largely abstract works, with glimpses of figurative elements, are a dichotomy of warm and subdued strokes of color, each containing an expansive landscape unto itself. Novelist and critic Jim Lewis' story transports the reader to the English countryside and investigates the seductive pull of the natural world in tandem with Brown's paintings. Combining two major voices in contemporary literature and painting, this volume is a truly gorgeous production.
PUBLISHER Karma, New York
BOOK FORMAT Hardcover, 6.25 x 6.75 in. / 72 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 7/28/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2015 p. 128
PRODUCT DETAILS ISBN 9781942607038TRADE List Price: $35.00 CDN $47.50 GBP £30.00
AVAILABILITY In stock
in stock $35.00
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Published by D.A.P.. Edited by Todd Bradway. Text by Barry Schwabsky. Contributions by Susan A. Van Scoy, Robert R. Shane, Louise Sørensen.
From fantastical worlds to political topologies: a global survey of landscape painting in the 21st century Although the fact may be surprising to some, landscape painting is positively thriving in the 21st century—indeed, the genre has arguably never felt as vital as it does today. The reasons why, if speculative, surely include our imminent environmental collapse and increasingly digitally mediated existence. Landscape Painting Now is the first book of its kind to take a global view of its subject, featuring more than eighty outstanding contemporary artists—both established and emerging—whose ages span seven decades and who hail from twenty-five different countries. Through its thematic organization into six chapters—Realism and Beyond, Post-Pop Landscapes, New Romanticism, Constructed Realities, Abstracted Topographies, and Complicated Vistas—the book affords a generous window into the very best of contemporary landscape painting, from Cecily Brown’s sensual, fleshy landscapes to Peter Doig’s magic realist renderings of Trinidad, Maureen Gallace’s serene views of beach cottages and the foaming ocean, David Hockney’s radiant capturings of seasonal change in the English countryside, Julie Mehretu’s dynamically cartographic abstractions, Alexis Rockman’s mural-sized, postapocalyptic dioramas, and far beyond. Landscape Painting Now features an extensive essay by Barry Schwabsky, art critic for The Nation. Schwabsky’s text weaves throughout the book, tracing the history of landscape painting from its origins in Eastern and Western art, through its transformation in the 20th century, to its present flourishing. Shorter texts by art historians Robert R. Shane, Louise Sørensen, and Susan A. Van Scoy introduce each artist, situating the importance of landscape within their practice and addressing key works. With over 400 color reproductions, including many details, this ambitious survey makes a compelling case for the continued relevance of landscape painting in our time. Featured artists are Etel Adnan, Francis Alÿs, Hurvin Anderson, Mamma Andersson, Alfredo and Isabel Aquilizan, Lucas Arruda, Ayman Baalbaki, Jules de Balincourt, Ali Banisadr, Hernan Bas, John Beerman, Amy Bennett, Cecily Brown, Gillian Carnegie, Noa Charuvi, Nigel Cooke, Will Cotton, Cynthia Daignault, Verne Dawson, Vincent Desiderio, Lois Dodd, Peter Doig, Rackstraw Downes, Tim Eitel, Andreas Eriksson, Inka Essenhigh, Richard Estes, Genieve Figgis, Jane Freilicher, Barnaby Furnas, Maureen Gallace, Tim Gardner, Franz Gertsch, Adrian Ghenie, April Gornik, Isca Greenfield-Sanders, Pat de Groot, Daniel Heidkamp, Barkley L. Hendricks, Israel Hershberg, David Hockney, Shara Hughes, Yvonne Jacquette, Merlin James, Yishai Jusidman, Alex Kanevsky, Alex Katz, Anselm Kiefer, Per Kirkeby, Makiko Kudo, Matvey Levenstein, Li Dafang, Liu Xiaodong, Damian Loeb, Antonio López García, Enrique Martinez Celaya, Julie Mehretu, Justin Mortimer, Maki Na Kamura, Jordan Nassar, Silke Otto-Knapp, Celia Paul, Eggert Pétursson, Sylvia Plimack Mangold, Neo Rauch, Alexis Rockman, Jean-Pierre Roy, Tomás Sánchez, Lisa Sanditz, Serban Savu, George Shaw, Mark Tansey, Alison Elizabeth Taylor, Wayne Thiebaud, Luc Tuymans, Cinta Vidal, Kay WalkingStick, Corinne Wasmuht, Matthew Wong, Jonas Wood, Lisa Yuskavage and Luiz Zerbini
Todd Bradway is an artist and editor based in New York. He was formerly Director of Title Acquisitions at D.A.P., where he worked for over twenty years, and more recently Director of Publishing at David Zwirner Books.
Barry Schwabsky is art critic for The Nation and coeditor of international reviews for Artforum. His recent books include Heretics of Language (2018), The Perpetual Guest: Art in the Unfinished Present (2016), and a collection of poetry, Trembling Hand Equilibrium (2015).
Robert R. Shane received his Ph.D. in Art History and Criticism from Stony Brook University. His scholarly writing and art criticism have been published in sources including Hypatia: A Journal of Feminist Philosophy, The Brooklyn Rail, and The Shambhala Times. He is currently Associate Professor of Art History at the College of Saint Rose in Albany, New York, and former Managing Editor of the journal Art Criticism.
Louise Sørensen is a writer and editor specializing in contemporary art and the history and theory of photography. She received her Ph.D. in Art History from the Courtauld Institute of Art in London and was Head of Research for the primary market division at David Zwirner from 2010-2017.
Susan A. Van Scoy is a professor of art history at St. Joseph's College, New York. She received her Ph.D. from SUNY Stony Brook and specializes in contemporary art and the history of photography.
Published by Royal Academy Publications. Text by Monty Don, Ann Dumas, Heather Lemonedes, Jamies Priest, William Robinson.
While depictions of gardens are found throughout history, the impressionists were among the first to portray gardens directly from life, focusing on their color and form rather than using them as a background. This volume explores the close, symbiotic relationship between artists and gardens that developed during the latter part of the 19th and first part of the 20th centuries, centering on Monet, a great horticulturalist as well as a great artist who cultivated gardens wherever he lived, and the creation of his masterpiece garden at Giverny, where he painted his renowned water-lilies series. Beautifully illustrated with masterpieces by Monet and later painters—Renoir, Bonnard, Sargent, Klee, Kandinsky and Matisse, among others—Painting the Modern Garden traces the evolution of the garden theme from impressionist visions of light and atmosphere to retreats for reverie, sites for bold experimentation, sanctuaries, and, ultimately, signifiers of a world restored to order—a paradise regained.
Karen Kilimnik takes pictures with the same gesture she paints with: an unerring sense of the glut of shiny surface beauty, under which lurk the shades of monstrous things unseen and unspoken. She takes pictures with a shrewd, informed eye. She adores kitsch, but she knows how phony it is and how much this phoniness makes it irresistible. She is a wise old soul but she's absolutely determined to preserve the innocence and vulnerability of a young and restless mind. Kilimnik takes pictures of what she unconditionally loves, and this love is eclectic and deeply darkly romantic. She photographs idylls ad nauseam: the rolling hills of the Cotswolds in south central England, so leafy they almost seem unreal; a ladies' bicycle, hedge-lined streets, sheep in the shadow of a tree, cows in the morning mist, a squirrel that seems to be nibbling on a flower, sitting ducks on the banks of a stream. Kilimnik views profane reality through the mercilessly wide-open eyes of her camera lens, transforming it in her photographs into a stage for her fabulously dreamy / nightmarish fairytale figurations and arrangements. When reality does not suffice, she embellishes it, trimming the trees in the garden, for example, with glass Christmas ornaments or with fairy lights. Running through Kilimnik's photographic work are several motifs we know from her painting. And the two come together in her obsession with photographing details from her own paintings over and over again, such as the magnificent palace walls she has painted, as though beseeching us to agree that her painted fictions are no less real than so-called reality.
Published by Skira Paris. By Beatrice Vingtrinier. Foreword by Michel Lis.
Featuring floral-inspired works from the Louvre collection, this book offers a novel perspective on the world’s most visited museum. From the noble iris to the humble bloom-filled meadow, flowers are a natural subject for artists, whether painted in nature or carefully arranged in the studio. This book is a colorful promenade through the flower-strewn collection of the Louvre, which includes masterpieces such as Archimboldo’s Spring and Dürer’s Flower. Selected works, encompassing a variety of art forms from paintings and sculpture to tapestries and furniture, demonstrate the continued significance of flowers in art from the ancient Persians to the European masters. This volume includes full-page illustrations and close-up details of fifty works in the museum collection. Designed to help a broad readership discover the world’s greatest art collection, this series presents a selection of well-known and more obscure works from the Louvre. Art lovers will be pleased to discover their favorite works in a new light while flower enthusiasts and historians will be equally enchanted by this collection.
Michel Lis is editor-in-chief of a monthly home and gardening magazine and contributes to Rustica in France, where he is a popular gardening presenter on radio and television. Béatrice Vingtrinier is an art historian and a lecturer at the Louvre.
BOOK FORMAT Hardcover, 7.75 x 7.75 in. / 80 pgs / 70 color.
PUBLISHING STATUS Pub Date 1/12/2010 Active
DISTRIBUTION D.A.P. Exclusive PUBLISHER BACKLIST
PRODUCT DETAILS ISBN 9782081228207TRADE List Price: $19.95 CDN $27.95
AVAILABILITY In stock
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Botanical Illustration in Europe and America 1600-1850
Published by MFA Publications. Text by Nancy Keeler.
Originally developed as an aid to professional herbalists, botanical illustration quickly blossomed into an art form in its own right. The first flower books were intended as medicinal guides, or else illustrated volumes that catalogued the elaborate and extensive gardens of the well-to-do. But when Carl Linnaeus first classified the plant kingdom in 1735, the botanical book quickly took on a more scientific cast. By the nineteenth century, the flourishing of botanical publications reflected both the rapid rise of gardening as an amateur hobby and the desire of artists and decorators for new visual resources. Gardens in Perpetual Bloom: Botanical Illustration in Europe and America 1600–1850 traces the appreciation of flowers and their depiction, from the studious world of monks and princes to the era of the gardening enthusiast. The book's 110 prints and drawings—which include masterful engravings by Georg Dionysus Ehret, the eighteenth century's most accomplished botanical artist, and hand-colored prints by Pierre-Joseph Redouté, the premier draftsman of flowers for Marie Antoinette and Josephine Bonaparte—are remarkable for their technical virtuosity, delicate tonalities, scientific accuracy and seemingly infinite variety. Gardens in Perpetual Bloom is both a valuable historical survey and an affordable, attractively designed volume of jewel-like beauty.
Published by The Museum of Modern Art, New York. Text by Diane Radycki.
Paula Modersohn-Becker (1876–1907) painted her last self-portrait in 1907, while she was in her third trimester. In the painting she gazes straight at the viewer, holding up two flowers—symbols representing the creativity and procreativity of women artists—and resting a protective hand atop her swelling belly. Modersohn-Becker would die three weeks after giving birth, at age 31, still to be recognized as the first woman artist to challenge centuries of representations of the female body. An essay by art historian Diane Radycki surveys Modersohn-Becker's career and her posthumous recognition.