Najnovšie - Dejiny, teória umenia strana 15 z 32

A Tom of Finland sketchbook, with preparatory drawings that reveal his painstaking craftsmanship Positioned at something of an angle to art history, Tom of Finland (1920-91) nonetheless counts among the popular artists of the latter 20th century. Through his iconic images, he almost singlehandedly changed the way gay men were perceived by society, and, more importantly, how gay men perceived themselves. The massive oeuvre that he produced over the course of a career spanning nearly six decades is devoted almost entirely to this one topic: men, their bodies and their eroticism. This extraordinary consistency in subject matter was matched by a lifelong passion for the discipline of drawing. And Tom most likely drew every day of his life. Tom's world was populated by cowboys, mechanics, cops, punks and thugs--all indulging their desires with great camaraderie and without guilt or prejudice. This book assembles a cross section of these characters as devised by the artist in rough sketches or more carefully executed studies. These mostly served as preliminary drawings for the highly finished works, many of which were intended for publication. Designed as an imagined Tom of Finland sketchbook, this book lets the viewer share in his exuberant joie de vivre.

The lives, loves and works of key British Surrealists revealed by one of the last surviving members of this movement, bestselling author and artist Desmond Morris. Feted for their idiosyncratic and imaginative works, the surrealists marked a pivotal moment in the history of modern art in Britain. Many banded together to form the British Surrealist Group, while others carved their own, independent paths. Here, bestselling author and surrealist artist Desmond Morris - one of the last surviving members of this important art movement - draws on his personal memories and experiences to present the intriguing life stories and complex love lives of this wild and curious set of artists. From the unpredictability of Francis Bacon to the rebelliousness of Leonora Carrington, from the beguiling Eileen Agar to the 'brilliant' Ceri Richards, Morris brings his subjects' foibles and frailties to the fore. His vivid account is laced with his inimitable wit, and profusely illustrated by images of the artists and their artworks. Featuring thirty-four surrealists - some famous, some forgotten - Morris's intimate book takes us back in time to a generation that allowed its creative unconscious to drive their passions in both art and life. With 105 illustrations

The most exciting rising stars in contemporary art - who's who and what's next - featuring 107 artists born since 1980, as chosen by a new generation of art experts and leaders This stunningly illustrated survey brings together more than 100 of the most innovative and interesting contemporary artists working across all media and spanning the globe. These are tomorrow's art superstars as chosen by the future leaders of the art world: the curators, writers, and academics with their fingers on the pulse of contemporary art and culture. Artists featured include: Lawrence Abu Hamdan; Farah Al Qasimi; Korakrit Arunanondchai; Firelei Baez; Meriem Bennani; Amoako Boafo; Danielle Brathwaite-Shirley; Jordan Casteel; Jesse Darling; Jade Fadojutimi; Louis Fratino; Lauren Halsey; Kudzanai-Violet Hwami; Joy Labinjo; Lina Lapelyte; Carolyn Lazard; Ad Minoliti; Tyler Mitchell; Toyin Ojih Odutola; Ima-Abasi Okon; Thao Nguyen Phan; Christina Quarles; Tschabalala Self; Paul Mpagi Sepuya; Shen Xin; Avery Singer; Martine Syms; Salman Toor; Zadie Xa The 100+ nominators originate from institutions including: Baltimore Museum of Art; Bellas Artes Projects (Manila); ESPAC (Mexico City); The Factory Contemporary Arts Centre (Ho Chi Minh City); KW Institute for Contemporary Art (Berlin); MoMA (New York); Museo de Arte Moderno (Medellin); Museums Victoria (Melbourne); RAW Material Company (Dakar); Sharjah Art Foundation; Studio Museum in Harlem (New York); Tai Kwun Contemporary (Hong Kong); Tate Modern (London); Whitechapel Gallery (London); Whitney Museum of American Art (New York); and X Museum (Beijing)

Európa egyik legnagyobb folyója. Ez már önmagában is érdekes volna, de a Duna ennél sokkal több. Közel háromezer kilométeres útja során tíz országot és annál is több népet érint. Óriási hajóút, vízi sztráda. Olykor határ is. És persze hagyomány, história, sors, kultúra. Közös sors és közös kultúra. Ovidius és Pindarosz. A francia pokoljáró dudás, Louis-Ferdinand Céline. Esterházy Péter, Claudio Magris, Nick Thorpe, August Strindberg és Tímár György. A Nibelung-monda hősei, akik a világhódító Attila udvarába igyekeztek. A török alattvalóként született szefárd zsidó, a később osztrák íróvá lett, majd Angliába sodródott bolgár–spanyol Elias Canetti. Patrick Fermor, akinek a ködös Albionban, miközben James Joyce Ulyssesét olvassa, a pesti Duna-korzó virágárus lánykái idéződnek eszébe. Mindannyian Duna-utazók, és mind szóhoz jutnak Száraz Miklós György magával ragadó esszéfolyamában. És még ki mindenki! Mikszáth, Széchenyi, Szabó Lőrinc, Ady, Balassi… Térben és időben is izgalmas vízi barangolásra invitálja olvasóját a szerző. Néhány ezer kilométer és néhány ezer év. Oda vissza, fel és alá, egyszer a főmederben, máskor a mellék- vagy holtágakon, de mindig a kultúra folyójának hömpölygő vagy csordogáló vizén.

Between 1933 and 1945, artistic creativity within the German Reich was almost totally under the control of the National Socialist state. Many artists emigrated. But what about the ones who remained in Germany? Under what social and economic conditions did they focus on their art and what options for activity were open to them? For artists who did not conform to the system, the years of National Socialism were an era of standstill and isolation. This volume questions this blanket judgement through 15 artist personalities and shows how differently they dealt with ostracism, the lack of audience and the absence of exchange, what possibilities they had for selling and exhibiting their works and to what extent they adapted to the requirements of the Nazi regime. Some 150 paintings, sculptures, drawings and photographs reflect graphically the contradictions of this time.

An updated edition of this classic survey, a thorough overview of Paul Cezanne's life and work. For Picasso he was 'like our father'; for Matisse, 'a god of painting'. Paul Cezanne (1839-1906) is widely regarded as the father of modern art. In this authoritative and accessible study, Richard Verdi traces the evolution of Cezanne's landscape, still-life and figure compositions, from the turbulently romantic creations of his youth to the visionary masterpieces of his final years. The painter's biography - his fluctuating reputation and strained relations with his parents, wife and close friend Emile Zola - is vividly evoked using excerpts from his own letters and from contemporary accounts of the artist. Cezanne was torn between the desires to create art and to seek inspiration - to master the themes of the past, through his copying sessions in the Louvre, and to explore the eternal qualities of nature in the countryside of his native Provence. In this way the artist sought 'to make of Impressionism something solid and durable, like the art of the museums'. In this richly illustrated overview Verdi explores the strength, vitality and magnitude of Cezanne's achievement.

Meet the unexpected, overlooked and forgotten models of art history. Who was Picasso's 'Weeping Woman'? Why was Grace Jones covered in graffiti? How did Francis Bacon meet the burglar who became his muse? The perception of the muse is that of a passive, powerless model, at the mercy of an influential and older artist. But is this trope a romanticised myth? Far from posing silently, muses have brought emotional support, intellectual energy, career-changing creativity and practical help to artists. Muse tells the true stories of the incredible muses who have inspired art history's masterpieces. From Leonardo da Vinci's studio to the covers of Vogue, art historian, critic and writer Ruth Millington uncovers the remarkable role of muses in some of art history's most well-known and significant works. Delving into the real-life relationships that models have held with the artists who immortalised them, it will expose the influential and active part they have played and deconstruct reductive stereotypes, reframing the muse as a momentous and empowered agent of art history.

Japanese prints, and Japan in general, are highly popular nowadaysbr- Japanese printmaking in the first half of the 20th century is relatively unknownbr- Growing number of collectors of the genre of shin hanga [modern prints] in the US and in Europe- Book contains a unique selection of prints, drawn from two private collections, and from the family of publisher Watanabe, who was the driving force behind the new print movement- Accompanies a traveling exhibition in 3 countriesTwentieth-century Japanese printmaking has come in for relatively little attention. Classic Hokusai and Hiroshige landscapes and Utamaro's beautiful images of women remain the dominant form. All the same, since the 1990s museums and private collectors have shown a growing interest in shin hanga ('new prints'): balanced designs printed on luxurious paper, with the finest pigments and in smaller editions. They are the fruit of the traditional yet highly successful collaboration between artist, publisher, block-cutter and printer. It is not so much in their subject matter as their visual language that shin hanga prints set themselves apart from their traditional precursors. Where the classically depicted women were stylized and idealized, their more recent counterparts are based on real models, individually recognizable and full of emotion. The modern landscapes, meanwhile, are impressionistic rather than figurative, using a range of color nuances to achieve highly atmospheric results. This book offers a unique selection with which to explore 20th-century Japanese printmaking. The prints it reproduces are mostly drawn from two large private collections, and, by way of great exception, items from the family collection of the publisher Watanabe, the man who started it all.

Through 140 drawings, thought experiments, recipes, activist instructions, gardening ideas, insurgences and personal revolutions, artists who spend their lives thinking outside the box guide you to a new worldview; where you and the planet are one. Everything here is new. We invite you to rip out pages, to hang them up at home, to draw and scribble, to cook, to meditate, to take the book to your nearest green space. Featuring Olafur Eliasson, Etel Adnan, Alexis Pauline Gumbs, Jane Fonda & Swoon, Judy Chicago, Black Quantum Futurism Collective, Vivienne Westwood, Cauleen Smith, Marina Abramovic, Karrabing Film Collective, and many more.

The first substantial book on the French Neo-Romantics, a cosmopolitan group working in 1920s Paris who turned against modernist abstraction in favour of a new form of figurative painting. In 1926, the Galerie Druet in Paris made waves presenting a group of young painters who had spurned modernist abstraction and returned to a form of figurative painting. For most of them this was the first time they had exhibited, but their impact was considerable. Art critic Waldemar George baptized them the 'Neo-Romantics' or the 'Neo-Humanists'. They were influenced by Picasso, in particular his Blue and Rose periods, but went beyond him to forge new ways of painting. These were artists who liked to play with forgotten references and obsolete visual devices such as trompe l'oeil. They produced work for secondary art forms including the theatre, set design and ballet. In some ways they were the first post-modernists in the history of art, yet until now there has only ever been one book about them, After Picasso, published ten years after their exhibition. Only more recently has their influence on contemporary artists and thinkers including Max Jacob, George Hugnet and Gertrude Stein been recognized. Though friends, these painters never formed a formal group or movement. The Second World War sent them on different paths, with the Berman brothers and Tchelitchev moving to the United States. Before their departure, however, their activities attracted the attention and admiration of a cosmopolitan group of characters, including Gertrude Stein, Alfred Barr, Lincoln Kirstein, George Balanchine and many others including leading fashion figures of the day, Christian Dior and Elsa Schiaparelli.

„Milý Tomáši, píšeš mi melancholicky, že Tvoje knížka o kýči není „politically correct“, že postmodernismus již dávno smazal rozdíl mezi kýčem a uměním, že kýč se stal tak všudypřítomný, že odhalovat ho vypadá jako projev elitismu. Ano, je tomu přesně tak. Mluvit o kýči se stalo neslušné ve chvíli, kdy svět se stal kýčem. Všimni si, že Kafka píše o byrokracii v době, kdy byrokracie je ještě téměř nevinná. Ve chvíli, kdy pohltila zcela naše životy, stala se samozřejmá, a proto neviditelná. Jaromír John napsal román Výbušný zlotvor, kde vypráví o hrůze automobilu; ale v té době jich bylo v Praze velice málo. Chci tím říci toto: fenomén je rozpoznatelný v celé své hrůze jen v době, kdy ještě není rozšířen. Až se rozšíří, stane s čímsi „přirozeným“ (co známe od zrození, s čím počítáme, čemu se nedivíme). Jsme dnes obklopeni kýčem jako nikdy předtím: všude, v televizi, v novinách, v soukromém životě, v politice. I válka je už prezentována (jen se podívej, jak se píše o Sarajevu!) jako kýč. A právě proto, i když Tvá knížka nebude pochopena, je jí zapotřebí víc než kdy jindy. Tvůj Milan" (Dopis Milana Kundery Tomáši Kulkovi z Paříže do Jeruzaléma) Kniha studuje jednak specifickou estetickou kategorii kýče, jednak obecnou problematiku hodnocení uměleckého díla.

Lévi-Strauss a hudba, Nattiezova studie z roku 2008, představuje jednak souhrnný pohled na problematiku hudby v Lévi-Straussove díle, ale zároveň se na tomto muzikologickém pozadí kriticky vyrovnává s lévi-straussovskou antropologií jako takovou. Nattiez ukazuje, že hudba má v Lévi-Straussove strukturalistickém projektu význam zcela klíčový, neboť právě ona mu poskytuje model pro strukturální analýzu mýtu, tak jak bude rozvíjen zvláště v jeho čtyřsvazkovém souboru Mythologica. Nattiez si ovšem ohledně tohoto hudebního modelu klade mnoho podstatných otázek: mezi ně patří zejména problém srovnávání hudby a jazyka, jisté nesnáze spojené s Lévi-Straussovou metodologií, ale i některé nesrovnalosti týkající se Lévi-Straussovy interpretace konkrétních hudebních děl (především Wagnera). Díky tomu se tato zároveň kritická i obdivná monografie může stát také pozoruhodným a netradičním uvedením do Lévi-Straussovy strukturální antropologie jako takové.

Az első hieroglifák a késői dinasztiákat megelőző időszakban rövid jeligeszerű szövegekben jelentek meg a kőtöredékeken és a cserépdarabokon, melyek különböző lelőhelyekről származnak és amelyeket időben valószínűleg az i. e. 3100-3000 korszakba lehet helyezni, miközben az utolsó keltezett példákra a templomi feliratokon akadhatunk rá Filé szigetén, melyeket 394-ben véstek, tehát három és fél évezreddel később. Ez az írásmód eredetileg a legkülönfélébb anyagokra írt különböző fajtájú szövegírásra szolgált, tehát hieratikus írásra, minek folytán a hieroglifák fokozatosan a vallási és monumentális kontextusokra kezdtek el korlátozódni, leggyakrabban kőbe vésett domborművek formájában.

A lavishly illustrated look at the sources behind the paintings of Francis Bacon. Francis Bacon famously found inspiration in photographs, film-stills and mass-media imagery. In this new, updated edition of In Camera, Martin Harrison reveals how these sources informed some of Bacon's most important paintings and triggered decisive turning points in the artist's stylistic development. Key influences, including the masters Velazquez, Poussin and Rodin, the photographer Eadweard Muybridge and the film director Sergei Eisenstein, are given close consideration. Bacon's work is examined in relation to the precedents set by other artists working in the tradition of making use of mechanical reproductions, including Pablo Picasso and Walter Sickert, and in the context of his contemporaries Lucian Freud, Mark Rothko, Graham Sutherland and Patrick Heron. With the aid of over 270 illustrations, including valuable source images and documents, In Camera is a bravura accomplishment of original research, addressing important questions about Bacon's painting practice and shedding fresh light on his life and work.

Through a carefully curated selection of quotations, images and interviews, Artists on Art reveals what matters most to the masters. You'll discover how the giants of the different artistic genres developed their distinctive visual styles, the core ideas that underpin their practice and, most importantly, what art means to you.

A celebration of the richness of figurative painting over the last 100 years and a passionate critique of the accepted history of art in the 20th century. Figurative painting is due a reappraisal. In this passionately argued volume the distinguished writer and artist Timothy Hyman cuts a new path through the tangle of twentieth-century art. The World New Made explores the work of more than fifty individual painters, presenting a collective 'Resistance' who together offer a human-centred alternative to the dominance of the Abstract or the Conceptual in conventional narratives of modern art. Structured not as a survey but as in-depth studies of more than 130 specific artworks, this lavishly illustrated book brings these often marginalized artists centre-stage: not just Alice Neel and Balthus, Max Beckmann and Frida Kahlo, but also Marsden Hartley and Charlotte Salomon, Bhupen Khakhar and Jacob Lawrence. A rich cast is brought to life, partly through their own writings. As the author argues, 'All across the world, isolated artists found new idioms for human-centred painting in the midst of modern life.'

From Edouard Manet's portrait of naturalist writer Emile Zola sitting among his Japanese art finds to Van Gogh's meticulous copies of the Hiroshige prints he devotedly collected, 19th-century pioneers of European modernism made no secret of their love of Japanese art. In all its sensuality, freedom, and effervescence, the woodblock print is single-handedly credited with the wave of japonaiserie that first enthralled France and, later, all of Europe-but often remains misunderstood as an "exotic" artifact that helped inspire Western creativity. The fact is that the Japanese woodblock print is a phenomenon of which there exists no Western equivalent. Some of the most disruptive ideas in modern art-including, as Karl Marx put it, that "all that is solid melts into air"-were invented in Japan in the 1700s and expressed like never before in the designs of such masters as Hokusai, Utamaro, and Hiroshige in the early 19th century. This volume, derived from the original XXL monograph, lifts the veil on a much-loved but little-understood art form by presenting the most exceptional Japanese woodblock prints in their historical context. Ranging from the 17th-century development of decadent ukiyo-e, or "pictures of the floating world," to the decline and later resurgence of prints in the early 20th century, the images collected in this edition make up an unmatched record not only of a unique genre in art history, but also of the shifting mores and cultural development of Japan. From mystical mountains to snowy passes, samurai swordsmen to sex workers in shop windows, each piece is explored as a work of art in its own right, revealing the stories and people behind the motifs. We discover the four pillars of the woodblock print-beauties, actors, landscapes, and bird-and-flower compositions-alongside depictions of sumo wrestlers, kabuki actors, or enticing courtesans-rock stars who populated the "floating world" and whose fan bases fueled the frenzied production of woodblock prints. We delve into the horrifying and the obscure in prints where demons, ghosts, man-eaters, and otherworldly creatures torment the living-stunning images that continue to influence Japanese manga, film, and video games to this day. We witness how, in their incredible breadth, from everyday scenes to erotica, the martial to the mythological, these works are united by the technical mastery and infallible eye of their creators and how, with tremendous ingenuity and tongue-in-cheek wit, publishers and artists alike fought to circumvent government censorship. As part of our 40th anniversary series, this edition compiles the finest extant impressions from museums and private collections across the globe in a lightweight, accessible format, offering extensive descriptions to guide us through this frantic period in Japanese art history.

This first full biography confirms Florine Stettheimer as one of the 20th century's most significant, progressive artists whose work remains highly relevant today. Stettheimer was a feminist, multi-media artist who painted several sexually explicit, political, identity-issue-based works and documented New York City's growth as the centre of cultural life, finance, and entertainment between the World Wars. During her first 40 years in Europe, Florine Stettheimer studied academic painting and was aware of all the earliest modernist styles prior to most American artists. Returning to New York, she and her sisters led an acclaimed Salon for major avant-garde cultural figures including Duchamp, the Stieglitz circle, poets, dancers, writers, etc. During her life she showed her innovative paintings in over 46 of the most important museum exhibits and Salons, wrote poetry, designed unique furniture and gained international fame for her sets and costumes for the avant-garde opera, 4 Saints in 3 Acts.

Art has always declared its dissatisfaction against the status quo. Throughout history artists have used their art to criticise and protest against a range of injustices and inequalities. Their art is an act of defiance, but more importantly it has given a voice to the marginalised. This short but powerful book showcases the work of a range of artists from the last eighty years who have challenged traditional boundaries, spoken up for the powerless and against those who seek to deny people their human rights. Exploring deeply political and critical art which uses irony, satire, subversion and provocation, it features responses to war, violence, oppression, gender and racial inequalities, the AIDS epidemic, LGBTQ+ rights, the Black Lives Matter movement and the climate crisis, in a variety of media. A Brief History of Protest Art reveals the important role of art in confronting political and social issues, and how it can help to change attitudes to create a better future.