Najnovšie - Dejiny, teória umenia strana 11 z 32

One of the art world's most recognizable and popular styles, Impressionism is also one of the most complex. In this sumptuous overview Norbert Wolf lends his attention to all aspects of Impressionism: its historical precursors, contemporary rivals, and the movements it inspired. Over 200 reproductions of entire works and highlighted details introduce readers to the Impressionists' aesthetics and techniques. Wolf draws insightful parallels between these paintings and other contemporary works of music, photography, and literature. Charting the movement's expansion from France to the rest of Europe and North America, this volume shines a spotlight on the main protagonists who were key in the development of Impressionism. It highlights not only the French pioneers - Claude Monet, Gustave Caillebotte, E´douard Manet, Pierre- Auguste Renoir, Camille Pissarro, and others-but also Max Liebermann, Lovis Corinth, John Singer Sargent, Mary Cassatt, William Merritt Chase, and James McNeill Whistler. Authoritative and illuminating, this wide-ranging exploration of Impressionism's astounding impact on art history will surprise even the most seasoned aficionado.

Leonardo da Vinci and Anatomy: all the power and relevance of this great Renaissance mind. This exhibition catalogue on Leonardo da Vinci the anatomist highlights the mystery of a thought that was both anchored in its time and, combined with a totally new practice (dissection), leading to a new understanding of the nature of life. Da Vinci was not content with a passive description of the human body; he sought to penetrate the secrets of its functioning by first studying the mechanics of humans (bones, muscles, tendons), then the logic of the senses, and finally all the bodily functions (digestion, respiration, blood circulation, reproduction), which made him to use qualitative reasoning. Contrary to popular belief, Leonardo did not carry out his dissections in secret, but in complete agreement with the political and religious authorities, until his materialistic ideas came into conflict with the pontifical authorities, particularly with regard to embryology. The originality of the book is to show how Leonardo’s work as an anatomist and his work as a painter are inseparable. The book thus links a work such as the Last Supper in Milan with the knowledge gathered in the medical field. The book brings together originals or copies of Leonardo’s sheets with objects (anatomical waxes, facsimiles of dissecting instruments), books studied by the artist, interviews with specialists and animated 3D reconstructions.

Publikace se snaží nastolit „pragmatický“ přístup k výtvarnému umění a tvorbě obrazů. Ty zde nejsou představovány primárně jako estetický objekt, jímž se jeví na úrovní osobního chápání, ale jsou s mnoha důkazy zkoumány jako významný a ničím jiným nezastupitelný sociální proces, nezbytný k vynalézání a testování nových obrazových znaků, potřebných pro zvládnutí nových sociálních kontextů. Takto založený koncept obrazu, výtvarného umění, jeho teorie a dějin, včetně jeho pedagogiky, zde představuje tuto oblast jako ucelený systém s jistou funkcionalitou a směřováním, mnohdy v protikladu k mínění, že nic takového v umění hledat nelze, neboť nejcennější na něm je jeho nezaměřenost a jeho svoboda, usilování o nezávislost jeho existence a maximalizace jeho estetického účinku, které v kantovské tradici jakýkoli další účel vylučují. V tomto kontextu však už nestačí učit se pouze užívání (kritice) těchto vizuálních znaků jako takových, ale je třeba porozumět celému procesu, v němž znaky vznikají a jsou socializovány. Při tomto zkoumání se postupně vyjevují některé souvislosti, vázané na rehabilitaci pojmu struktura v pojetí Jana Mukařovského - strukturní představa o vývoji umění a o jeho funkčním, pragmatickém začleňování do aktivního fungování society; představa o obraze, o zobrazení jako postupně se vyvíjející struktuře vizuálních znaků (což znamená také ovšem i navyšující se množství jejich vzájemných vztahů!), funkčně směřující skrze individuálně podmíněné jedinečné vnímání a poznávání k sociální kooperaci a koordinaci. Klíčová slova: výtvarné umění, obraz, struktura, interaktivita, sociální kooperace a koordinace. The publication aims to introduce a “pragmatic” approach to visual arts and the creation of images. It presents images not primarily as aesthetic objects, which they seem to be through subjective perception; instead, it uses a body of evidence to examine images as a significant social process that cannot be substituted by anything else and that is essential for the inventing and testing of new visual signs required to deal with new social contexts. This concept of image, visual art and its theory, history and pedagogy is used here to represent the entire area as a coherent system with a certain functionality and orientation; in some parts this concept contradicts the opinion that nothing of that sort can be sought in art because the most valuable aspect of art is its absence of focus, its freedom and striving for an independent existence and for a maximisation of its aesthetic effect, which, in line with the Kantian tradition, rules out any other purpose. In this context, however, it is no longer enough only to learn how to use (or criticise) these visual signs as such; it is necessary to understand the entire process in which these signs are created and socialized. This examination process gradually reveals certain connections related to the restoration of the term “structure” as it was understood by Jan Mukařovský: a structural idea of the development of art and its functional, pragmatic integration into the active functioning of the society; an idea of image, or depiction, as a gradually evolving structure of visual signs (which also implies, of course, an increasing amount of their mutual relations!), functionally striving, through individually conditioned unique perception and cognition, for social cooperation and coordination. Keywords: visual art, image, structure, interaction, social cooperation and coordination.

The first book-length material study of the works of Belgian Surrealist René Magritte. René Magritte (1898–1967) is the most famous Belgian artist of the twentieth century and a celebrated representative of the Surrealist movement. Much has been written about his practices, artistic community, and significance within the history of modernism, but little has been documented regarding his process. This volume examines fifty oil paintings made by Magritte between 1921 and 1967, now held at the Royal Museums of Fine Arts of Belgium. This technical study of his works using noninvasive scientific imaging and chemical analysis reveals the artist’s painting materials, his habit of overpainting previous compositions, and the origins and mechanisms of surface and pigment degradation. Of interest to conservators, scientists, curators, and enthusiasts of twentieth-century art, this book expands our understanding of Magritte the artist and provides new and useful findings that will inform strategies for the future care of his works.

Co je umění? K čemu nám vůbec je? To jsou pekelně složité otázky, na něž se dá odpovídat i dost nudně. Ne ale v této knize. Na jejích stránkách vás čeká velké dobrodružství. Sledujte příběh dívky, která dostala celý opuštěný ostrov na to, aby poznala… umění. Když se snaží coby trosečník přežít, seznamuje se s úchvatnými příběhy slavných umělců a umělkyň i s provokativními díly – od náčrtku po obraz, od tance po design. Uvidíte, jak je to pro ni důležité. Protože koneckonců platí: umění nám pomáhá přežít

Drawing is not a myth, but a tool, a means of gaining knowledge and the basis for illustrative and artistic pictorial expressions How pictures can be used to tell a story, how are they made, and how the head and the hand collaborate in the creative process? Just as each image is unique, so are the individual intentions of the artists. The technical craftsmanship of HOW is as much a decisive criterion for the quality of an image as its contextual WHAT. In addition to all depiction methods, rules of design, and phenomena of perception, a number of additional factors are important in making convincingly narrated images. This book invites readers to question the world with alert eyes, to discard conventions and to open up to other ways of thinking and new ways of seeing and approaching things: to dare to be playful and ready for any kind of experiment, to ultimately throw all rules overboard in order to find their very own artistic individuality. The author's approach is not so much a step-by-step instruction with template-like schemes, instead it focuses on the intrinsic logic of things, their connections and relations, and the link between presentation and design.

Vypadá to, co je od nás dál, vždy jako menší? Nevidíme někdy zcela zřetelně něco, co tam ve skutečnosti není? Je vůbec možné pomocí zraku získat přímý a pravdivý obraz skutečnosti? Takové otázky před nás klade anglická průmyslová designérka, grafička a malířka Phoebe McNaughonová. Její půvabná knížka nás provádí historií vizuálního zobrazování skutečnosti a dějinami perspektivy ve výtvarném umění od starověku přes renesanci až po moderní dobu.

Tato publikace je výstupem projektu terénního výzkumu historických tkanin, uložených ve sbírkách brněnské diecéze. Úvodní statě se věnují jednak charakteristice zkoumaného materiálu a jeho zasazení do evropského kontextu, jednak obecné historii liturgického oděvu, jeho specifikům a jeho významu dříve i nyní. Katalogová část této knihy představuje průřez vzorovanými luxusními tkaninami z 17. a 18. století z farních sbírek brněnské diecéze. Prezentace jednotlivých rekonstrukcí vzoru tkanin, v kontextu s částečným technologickým popisem, nechává vyniknout proměnám textilního dekoru v návaznosti na technologii výroby. Ze 17. století se ve sbírkách dochovaly mimořádně cenné asijské a italské vzorované samety. Jádro dochovaných parament z 18. století tvoří zejména produkce z dílen francouzských a italských, dochovaly se však i látky z oblasti jihovýchodní Asie. Kniha je určena zejména historikům umění, restaurátorům a designérům, pro které může představovat cenný zdroj poučení a inspirace.

- Published to accompany an exhibition at Fondation Louis Vuitton from 5 April to 28 August 2023 - The collaboration between the two artists, legends of the New York avant-garde, through more than a hundred of their joint works In the spring of 2023, Fondation Louis Vuitton will be holding Basquiat x Warhol... Painting 4 hands, the most important exhibition ever devoted to the collaborative work of these two artists. The exhibition will feature more than 100 jointly signed paintings, in addition to individual works by Basquiat and Warhol, and works by other major artists (Keith Haring, Jenny Holzer, Kenny Scharf, etc.) in order to recreate the New York downtown art scene of the 1980s. From 1984 to 1985, Jean-Michel Basquiat (1960–1988) and Andy Warhol (1928–1987) jointly produced about 160 paintings, some of the largest in their respective careers. A genuine artistic dialogue of style and form had developed between them that dealt equally well with crucial issues such as the integration of the African-American community into the narrative of North America, a continent where Warhol was a major manufacturer of icons.

A guide to the art, artists, and culture of graffiti from the 1970s to today, as told by the taggers themselves This major co-publication with the Museum of Graffiti chronicles the worldwide graffiti movement from its birth in the 1970s, through the street and train painting of the 1980s, to its emergence as an artistic genre admired in museums and sold at auction. With hundreds of never-before-seen photographs of graffiti art from the 1970s to today, many of which have been provided exclusively for this volume by the artists themselves, the book gives an insider’s view through multiple interviews with celebrated graffiti artists, including Roger Smith of Sane Smith, Hotboy Hert, DESA, Shirt King Phade, RIME, MadC, Saber, AURA, and others. Told through essays, hundreds of images, and interviews with the artists – both the underground outlaws and the writers who went mainstream – The Wide World of Graffiti will become the standard-bearer of the art form’s history and life today, a unique contribution from the first and only museum dedicated to graffiti as an art form.

Autorka cílí na studenty kurátorských a edukativních studií uměleckých oborů, zavádí teoretické pojmy ke způsobu interpretace uměleckého díla, při rozhovoru s Jiřím Kovandou zkoumá vztah subjektivního prožitku a jeho objektivizace tvorbou.

Infrastruktury jsou jedním ze stěžejních témat současného umění, jaké místo mají v disciplíně dějin umění? Sborník ze VII. sjezdu historiků a historiček umění, který se konal v září 2021 na Fakultě umění a designu UJEP v Ústí nad Labem, pojednává téma na půdorysu pěti kapitol, odkrývajících mechanismy sběratelství, vystavování a reprodukování umění, uměleckého vzdělávání a také konzervování a obnovy uměleckých památek. V centru pozornosti se ocitá dobově a místně podmíněný kontext, všechno co dílo obklopuje, co jej materiálně tvoří a co umožňuje nebo přímo podmiňuje jeho existenci, co jej uchovává v čase a co k němu přivádí pozornost. V sekci Umělecké školy a zprostředkování umění je zahrnut text Kateřiny Dytrtové z Katedry dějin a teorie umění FUD UJEP, který ukazuje specifika vzdělávání o umění a naznačuje cesty, jak efektivně přiblížit umělecké dílo veřejnosti.

Get started, get inspired, and get creating your own stunning collage artworks. The ultimate accessible artform, collage is truly for everyone. Stephanie Hartman, creator of Collage Club Ldn, takes you through all the basics you'll need to create your own works of collage. Learn how to find and choose materials, what tools you'll need in your basic kit and how to get started on your artistic journey. Simple warm-up exercises give you the confidence to overcome the fear of the blank page, and more complex step-by- step exercises will motivate you to push your practice to the next level. Never be stuck for inspiration again, and discover a unique, tactile and transformative artform that anyone can learn.

Art meets science in this guide to creating color with earth’s extraordinary pigments and exploring their fascinating uses today and throughout history Part anthropological study, part art book, and part how-to, Book of Earth immerses you in the world of ochre, a naturally occurring mineral used to make pigment. Each chapter delves into author Heidi Gustafson’s rare pigment archive and provides a thorough exploration of natural color, while challenging our notions of the inanimate world. The book includes practical advice and techniques for creating your own pigments and applying these skills in everyday life. Called the “ochre whisperer” by American Craft, and noted as the “woman archiving the world’s ochre,” in the New York Times, her personal collection of more than 600 pigments from around the planet is a unique treasure, and her passion and field experience will captivate you from the first page to the last.

Kniha Saturn a melancholie je dnes již kultovním textem propojujícím dějiny umění, duchovní dějiny a dějiny kultury. Tato kniha, která se zrodila z tradice založené německým historikem umění Aby Warburgem, od svého prvního vydání v angličtině v roce 1964 hluboce ovlivnila chápání vzájemných vztahů mezi humanitními obory. Trojice autorů – Ryamond Klibansky, Erwin Panofsky a Fritz Saxl – zde překládá jedinečné zkoumání původu a vývoje filosofických a lékařských teorií, na nichž se zakládalo antické pojetí lidských temperamentů, a rozebírá jejich souvislosti s astrologickými a náboženskými představami. Sleduje také zobrazení melancholie v literatuře a umění až do 16. století a vrcholí přelomovou analýzou Dürerovy nejslavnější rytiny Melencolia I. České vydání vychází z nové, rozšířené anglické edice z roku 2019. Obsahuje mj. úvod Raymonda Klibanského k německému vydání z roku 1990 a další dodatky, jež objasňují složitý příběh vzniku této průkopnické knihy, která dodnes fascinuje další a další generace čtenářů.

From an internationally acclaimed artist and social media force, a visually captivating showcase of art made from everyday objects—including tea bags, flower petals, and eggshells—with several do-it-yourself projects How to Paint Without a Brush introduces artist Red Hong Yi’s creative process—the tools and methods she employs and the motivation behind the artist’s work. Organized by artistic medium, including eggshells, matchsticks, flowers, and ink stamps made from vegetables, Red’s book shares an array of creative techniques as well as stories from significant moments in her art career. A do-it-yourself section at the back of the book provides several projects that readers can try at home to push their own creative boundaries. With its focus on non-traditional art-making methods using common household objects, this book is both timely and inspiring. By combining years of artistic experimentation with Red Hong Yi’s personal journey, How to Paint Without a Brush will capture the interests of people from all skill levels—from the casual hobbyist to the emerging artist—in contemporary art making.

A fresh look at the astounding innovations of Netherlandish Renaissance painting through 48 case studies This sumptuous publication opens our eyes afresh to the revolution that took place in the Low Countries in the 15th and 16th centuries, and which shaped the course of European art. In 48 lavishly illustrated analyses, Matthias Depoorter explores how painters such as Jan van Eyck, Rogier van der Weyden, Quentin Massys, Hieronymus Bosch and Pieter Bruegel reached unprecedented heights of technical and aesthetic facility and are rightly considered key innovators in the story of Western painting to this day. A defining factor in their innovations was the perfecting and mastery of oil painting technique, as well as their groundbreaking attention to optical lighting effects. The new technical possibilities offered a different way of looking at the world, and ultimately a new way of painting. No less innovative was the level of detail achieved by these artists (most famously, perhaps, by Van Eyck). These painters were thoroughly acquainted with one another’s work, and The Flemish Masters explores this artistic cross-fertilization. Altogether this volume constitutes a must-read for anyone who wants to fall in love with the old masterpieces anew.

A broad and deep anthology of critic and art historian Richard Shiff’s most influential writings, which have shaped our understanding of twentieth- and twenty-first-century art. In his engaging and often strikingly deep observations of major modern and contemporary visual art, Shiff has written about an impressive range of artists, including Willem de Kooning, Marlene Dumas, Jasper Johns, Donald Judd, Barnett Newman, Pablo Picasso, and Bridget Riley. A leading scholar and powerful voice, Shiff’s insight into some of the most prominent artistic practices spans generation, place, and approach as seen in this considered selection of essays on twenty-six artists. These writings first appeared in exhibition catalogues for retrospectives at galleries and institutions including the Centre Georges Pompidou, the Solomon R. Guggenheim Museum, The Museum of Modern Art, and Tate Modern. Shiff supplements his unquestionable fluency in art history with insights cultivated from his readings in philosophy, phenomenology, literary theory, and psychoanalysis, among other fields. Shiff’s writing—conceptually rich, meditative, and enjoyable to read—is attuned to the nuances of artistic style and technique, drawing out art’s social implications not merely from broad histories but also directly from artists’ mark making and technical gestures. Actively engaged as a viewer and a writer, Shiff has transformed the act of looking at art into contemplative and captivating writing. Includes essays on Georg Baselitz, Mark Bradford, Georges Braque, Jim Campbell, Chuck Close, Willem de Kooning, Peter Doig, Marlene Dumas, Dan Flavin, Suzan Frecon, Lucian Freud, Ellen Gallagher, Jasper Johns, Donald Judd, Ellsworth Kelly, Brice Marden, Julie Mehretu, Barnett Newman, Pablo Picasso, Bridget Riley, Richard Serra, Joel Shapiro, Richard Tuttle, Cy Twombly, Jack Whitten, and Zeng Fanzhi.

A unique approach to the history of art told through the story of colour and pigments. Did you know that the ultramarine that shimmers at the centre of Vermeer's Milkmaid connects that masterpiece with 6th-century Zoroastrian paintings found on the walls of cave temples in Bamiyan, Afghanistan? Or that the surging waves that crest and curl in Hokusai's perilous Great Wave off Kanagawa owe their absorbing blue lustre to an alchemist who was born in Frankenstein's Castle in 1673? And were the Pre-Raphaelites really obsessed with a murky brown hue derived from the pulverized remains of ancient mummies? (Spoiler: they were.) Invented by prehistoric cave-dwellers and medieval conjurers, cunning conmen and savvy scientists, the colours of art tell a riveting tale all their own. Over ten scintillating chapters, acclaimed author Kelly Grovier helps bring that tale vividly to life, revealing the astonishing backstories of the pigments that define the greatest works in the history of art. Interwoven between these chapters is a series of features focusing on key moments in the evolution of colour theory - from the revelations of the Enlightenment to the radicalism of the Bauhaus - while reproductions of carefully selected artworks help illuminate the narrative's twists and turns. The history of colour is an epic saga of human ingenuity and insatiable desire. Read this book and you will never look at a work of art in quite the same way.