Najnovšie - Výtvarné umenie - Maliarstvo, grafika strana 6 z 70

'For me, it's really the joy of looking out into the world and getting this positive energy... It's opening up our vision, and how we look'—David HockneyWhen David Hockney discovered the iPhone as an artistic medium, it opened up entirely new possibilities for his art. He made his first digital paintings in spring 2009, describing the morning landscape in broad lines and dazzling colors directly on a display that offered subtle hues as unmixed expressions of pure light. Then in 2010, Hockney started working with an iPad, and the larger screen expanded his artistic repertoire and enabled an even more complex interplay of color, light, and line. Each image in this book captures a fleeting moment seen through a window in Hockney’s Yorkshire home: from vibrant sunrise and lilac morning sky to peaceful night-time impressions or the sudden arrival of spring. Fascinating details reveal drops on window panes, distant lights in the night, reflections on vases or an abundance of varied window-sill vegetation. In 120 paintings made between 2009 and 2012, selected and arranged by the artist himself, we experience the passage of time through the eyes of David Hockney. This artist’s book, which first appeared in an exclusive signed edition in 2020, now returns in a wallet-friendly pocket edition. So now is the perfect occasion to heed the advice of the Times critic regarding this book: “If you would like to be given a bouquet by David Hockney, here is your chance.”

Publikace Enter the Room vychází u příležitosti stejnojmenné výstavy, kterou Galerie hlavního města Prahy pořádá v prostorách Domu U Kamenného zvonu (28. 3. – 14. 9. 2025). Její obsah je proto nejen zaměřen na popis vystavených děl či představení participujících autorů, autorek a kolektivů, ale také představuje celkový kurátorský koncept projektu. Pomyslné jádro knihy pak tvoří text Ondřeje Trhoně a Filipa Hauera, který přibližuje kritické strategie současné herní tvorby, a tím vymezuje i její pozici v širším rámci umělecké produkce. The publication Enter the Room coincides with the exhibition of the same name, organised by Prague City Gallery in the spaces of the Stone Bell House (28 March — 14 September 2025). Its content thus not only focuses on descriptions of the exhibited works or presentations of the participating artists and collectives, but also presents the entire curatorial concept of the project. The core of the book is formed by Ondřej Trhoň and Filip Hauer’s text, which outlines the critical strategies of contemporary game art and thus defines its positions in the broader context of artistic production.

A significant figure in outsider, lo-fi, and alternative scenes, Daniel Johnston inspired musicians and comforted listeners for decades. From his origins in the Austin scene in the mid-1980s, where he performed at local venues while working at McDonalds, appearance on MTV and championing by Kurt Cobain, to world fame, Johnston s singular compositions and raw lyrics earned him lifelong fans. Predating his interest in music and continuing alongside it, art was Johnston s longest-running passion. This publication is the presents work spanning many decades of Johnston s drawing practice, including rare and previously unseen pieces. The artist s brightly-colored illustrations, incorporating figures from pop culture, devils, and heroes, blended with his own original characters, range from his iconic Jeremiah the Innocent Frog to surrealist landscapes. With the support of Daniel s family and estate, the first major book since his passing includes remembrances from his brother, musicians, and artists, and benefits the Hi! How Are You Project.

The bestselling book of conversations between David Hockney and art critic Martin Gayford as they explore the nature of creativity. David Hockney’s exuberant work is highly praised and widely loved, but he is also something else: an incisive and original thinker on art. In this now classic book, filled with anecdote, insight, passion and wit, Hockney reveals the fruits of his lifelong meditations on the problems and paradoxes of representing a three-dimensional world on a flat surface. Compiled from a decade and a half of conversations with art critic Martin Gayford, it reflects a period in which Hockney relocated from Los Angeles to his native East Yorkshire. Their exchanges communicate the immense delight and inspiration that Hockney finds in the changing seasons and natural splendours of this sparsely inhabited corner of England – a delight that is, in the words of Margaret Drabble, ‘an invitation to us all to look better, see better, enjoy more’.

From bestselling author Juliette Aristides comes an inspirational guide to thinking, making, and embodying the mind of a creative person The third Monacelli Studio title from Juliette Aristides, The Inner Life of the Artist contains a series of short, insightful essays and significant, meaningful quotes by contemporary and historical artists, each accompanied by a moving and inspiring selection of nearly 100 artworks from the past and present. For those interested in drawing, painting, and other art forms, important principles of Atelier teaching (classical and traditional art training and instruction) and fun practical exercises are applied throughout, with an emphasis on cultivating the artistic mind, along with the hand and the eye. Presented in a visually arresting compact package and wrapped in a cerulean cloth case, this is the perfect book to inspire creative thinkers.

The strange story of the twentieth-century artists who sought to destroy art by transforming it into the substance of everyday life “Art has poisoned our life”, proclaimed Dutch artist and De Stijl co-founder Theo van Doesburg. Reacting to the tumultuous crises of the twentieth century, especially the horrors of the First World War, avant-garde artists and writers sought to destroy art by transforming it into the substance of everyday life. Following the evolution of these revolutionary groups, How to Be Avant-Garde charts its pioneers and radical ideas. From Paris to New York, from Zurich to Moscow and Berlin, avant-gardists challenged the confines of the definition of art along with the confines of the canvas itself. Art historian Morgan Falconer starts with the dynamic Futurist founder Filippo Tommaso Marinetti, whose manifesto extolling speed, destruction and modernity seeded avant-gardes across Europe. In turn, Dadaists Hugo Ball and Emmy Hennings sought to replace art with political cabaret and the Surrealists tried to exchange it for tools to plumb the unconscious. He guides us through the Russian Constructivists with their adventures in advertising and utopianism and then De Stijl with the geometric abstractions of Piet Mondrian. The Bauhaus broke more boundaries, transmuting art into architecture and design. Finally, the Situationists swapped art for politics, with many of their ideas inspiring the 1968 Paris student protests. How to Be Avant-Garde is a journey through the interlocking networks of these richly creative lives with their visions of a better world, their sometimes sympathetic but often strange and turbulent conversations and their objects and writings that defied categorisation. “Art has poisoned our life”, proclaimed Dutch artist and De Stijl co-founder Theo van Doesburg. Reacting to the tumultuous crises of the twentieth century, especially the horrors of the First World War, avant-garde artists and writers sought to destroy art by transforming it into the substance of everyday life. Following the evolution of these revolutionary groups, How to Be Avant-Garde charts its pioneers and radical ideas. From Paris to New York, from Zurich to Moscow and Berlin, avant-gardists challenged the confines of the definition of art along with the confines of the canvas itself. Art historian Morgan Falconer starts with the dynamic Futurist founder Filippo Tommaso Marinetti, whose manifesto extolling speed, destruction and modernity seeded avant-gardes across Europe. In turn, Dadaists Hugo Ball and Emmy Hennings sought to replace art with political cabaret and the Surrealists tried to exchange it for tools to plumb the unconscious. He guides us through the Russian Constructivists with their adventures in advertising and utopianism and then De Stijl with the geometric abstractions of Piet Mondrian. The Bauhaus broke more boundaries, transmuting art into architecture and design. Finally, the Situationists swapped art for politics, with many of their ideas inspiring the 1968 Paris student protests. How to Be Avant-Garde is a journey through the interlocking networks of these richly creative lives with their visions of a better world, their sometimes sympathetic but often strange and turbulent conversations and their objects and writings that defied categorisation.

In Permanent Red, John Berger argues that the contemporary artist should strive for a realism that aims for hope, to transform the world. Surveying the work of historical artists as well as that of near contemporaries such as Picasso, Léger and Matisse, he explores the role of the artist, dividing these figures into those that struggle, those that fail, and the true masters. He explains why we should study the work of the past: in order to understand the present and to rethink the future. First published in 1960, Permanent Red established John Berger as a firebrand critic willing to broadcast controversial opinions on some of the most important British artists of the day, including Henry Moore and Barbara Hepworth.

The Dutch Golden Age of painting spawned some of history’s greatest artists and artisans, but few can boast the genius and legacy of Rembrandt Harmensz. van Rijn (1606–1669). Despite never leaving his native Netherlands, Rembrandt projected his oeuvre past the boundaries of his own experience, producing some of art’s most diverse and impactful works across portraiture, biblical, allegorical, landscape, and genre scenes. In all their forms, Rembrandt’s paintings are built of intricacies?the totality of each subtle facial wrinkle, gaze, or figure amounting to an emotional force that stands unmatched among his contemporaries and artistic progeny alike. Each work is imbued with feeling. Biblical scenes, like Bathsheba at her Bath, become vehicles for meditations on human longing, probing depths beyond that which is canonized in scripture or depicted in other representations. His portraits, be them of wealthy patrons or tradesmen, communicate the essence of an individual through fine demarcations, their faces bathed in an ethereal light against darkened earthtones. Perhaps most striking, his series of self-portraits is a triumph of the medium; beginning in his youth and spanning until a year prior to his death, Rembrandt’s self portraiture is an intimate glimpse into his lifelong process of self-reflection. This XL monograph compiles all 330 of Rembrandt’s paintings in stunning reproductions. From Belshazzar’s Feast to The Anatomy Lesson of Dr. Nicolaes Tulp, we discover Rembrandt’s painted oeuvre like never before.

Výtvarnú dráhu Daniela Szalaia (1964) sleduje galéria od jeho nástupu v 90. rokoch 20. storočia. Jeho diela predstavila na dvoch výstavách. Prvýkrát prezentovala pastely zo série Hebrejskej abecedy (1999) a druhýkrát výber z kresieb a diel „transplant artu“ – prác na röntgenových snímkach (2014). V rámci tejto originálnej autorskej techniky, od roku 2002 vznikajú objekty a inštalácie so silným existenciálnym nábojom – ktoré sú utkané z pásov röntgenových snímkov. Nedávna retrospektíva (2024) načrtla výtvarnú dráhu autora od študentských čias, po jeho aktuálne obdobie – vo svojej žánrovej rozmanitosti. Dostali v nej priestor práce z oblasti textilu, maľby, kresby, objekty a inštalácie z „transplant artu“ – či novšie koláže s ekologickou témou. Katalóg výstavy predstavuje svojrázny profil výtvarníka-pedagóga, ktorý odráža symbiózu jeho profesionálnej a výtvarnej dráhy.

Known for the audaciously simple but game-changing strategy of painting the motif on its head, Georg Baselitz has been a consistently challenging artist since the start of the 1960s. His work is always highly charged but surprisingly diverse, beginning with the raw, existential male figures famously removed from his first solo exhibition for indecency, and the series of “Heroes” that portrayed disabled and exposed figures in a destroyed landscape. During this development, the picture space became more and more fractured, and by the end of the decade the artist fully turned the world upside down: trees, factories, eagles, or nude self-portraits actually painted on their heads. This soon allowed him to freely paint and to engage with conceptual color schemes or off-beat themes, such as men eating oranges, Soviet propaganda paintings, or more recently so-called remixes in a reengagement with his own earlier work as a dialogue in time. Already a master of drawing, woodcut, and engraving, from 1980 on Baselitz also created rough sculptures hewn from wood with axe and chainsaw, then adding bronze to his materials in the late 2000s. Now available in an updated unlimited edition, this book features large-format reproductions of more than 400 works in all media plus installation views and portrait shots. Texts approach the subject from different perspectives: there is a portrait of Baselitz and his dark sense of humor by long-time connoisseur Richard Shiff, an essay on the formation of his art and development as a painter by critic Jonathan Jones, on the sculptural work since his scandalous success at the Venice Biennale 1980 by art historian Eva Mongi-Vollmer, on his artistic strategies by art historian Carla Schulz-Hoffmann, a collection of literary vignettes relating to the artist’s use of myth and history by author and director Alexander Kluge, and a studio conversation with art journalist Cornelius Tittel. Statements from the artist and an illustrated biography complete this unprecedented exploration of Georg Baselitz’s work.

The first book to focus exclusively on Harland Miller’s popular series of Letter Paintings Infused with irreverent wit and shaped by his love of language, Harland Miller’s playful and graphically vernacular paintings have an enduring appeal. With references spanning music, literature, self-help manuals, and medieval iconography, his artwork has garnered an enthusiastic following. The first book to focus exclusively on Miller’s popular series of ‘Letter Paintings’, XXX includes more than 100 artworks alongside new photography of the artist in his studio, offering a unique view into Miller’s world.

Monumentální dvoudílná monografie malíře Vojtěcha Hynaise s bohatou obrazovou přílohou si klade za cíl zaplňovat mezeru v dosavadním bádání o českém a evropském umění přelomu 19. a 20. století. Proto se v první části předkládá náhled na Hynaisův život v kontextu soudobého kulturního dění. Kromě kapitol zaměřených na způsob malby, stavbu kompozic a práci s modely jsou těžištěm knihy tematicky učleněné bloky. Zázemí života, kontakt se světově významnými osobnostmi či práci s žáky na Akademii přibližuje vhled do autorovy korespondence. Druhý díl knihy zahrnuje soupisový katalog Hynaisových olejomaleb a pastelů, přičemž bohaté přílohy přibližují životopisná data, soupis výstav, cen a vyznamenání, adres ateliérů a bydlišť a ukázky Hynaisových podpisů. Vychází ve spolupráci s Galerií KODL.

Kristina Láníková ve své umělecké dokumentaci výtvarně zpracovává zkušenost s dlouhodobým užíváním psychofarmak a jejich vysazením. Kniha obsahuje přípravné náčrty, fotografie objektů, cyklus rukopisných „omluv“ a asambláže. Jednotlivé série záměrně pracují s omezeným počtem motivů i použitých materiálů – kombinují obrysy náplastí či obalů od léků, odřezky kůže, otisky lékových blistrů, drobné zdravotnické a kancelářské potřeby, poznámkové lístky. Autorka metodicky sleduje téma, které bývá považováno za intimní, a dává mu úsporný, repetitivní, jakoby kódovaný výraz. Zranitelnost, k níž se vztahuje, tak vynáší z osobní sféry a představuje ji jako společné omezení.

Tato kniha je první reprezentativní publikací, která je věnována umělecké tvorbě Vratislava Nechleby (1885–1965), jenž působil jako profesor na pražské Akademii výtvarných umění po čtyři desetiletí. Patřil k nejvyhledávanějším portrétistům své doby v českých zemích, o čemž svědčí jak jedinečná série portrétů prezidentů od T. G. Masaryka až po Antonína Zápotockého, tak i soudobé podnikatelské, intelektuální a kulturní elity. Ačkoli vnímal proměnlivé proudy moderního umění, obracel se spíše k jistotám starých mistrů. Veristický způsob malby a technický perfekcionismus mu přinášely obdiv široké veřejnosti a lukrativní zakázky. Navzdory dobové popularitě se osobnost malíře a pedagoga dočkala monografického zpracování až po téměř šedesáti letech od jeho smrti, a to v souvislosti s výstavou uspořádanou Galerií Středočeského kraje v Kutné Hoře, která vycházela ze záměru poprvé shromáždit a komplexně prozkoumat jeho dílo rozptýlené v mnoha institucionálních i soukromých sbírkách a zároveň ho zařadit do kontextu umění 20. století

Výtvarná monografie malíře a grafika (*1942), který je možná známější svým dílem literárním, především sbírkami básní, přestože v letech 1968 –2023 uspořádal třicet samostatných výstav (z toho dvě v SRN) a účastnil se sedmi výstav kolektivních. Úvodní studii o umělci napsal kunsthistorik Petr Štěpán. V první části knihy je uveřejněno 88 kreseb, linorytů a pastelů z let 1960–2024, v druhé je seřazeno 138 obrazů z let 1962–2024. V delších odstupech jsou reprodukce obrazů proloženy sedmnácti autorovými básněmi z již publikovaných sbírek. V závěru monografie je otištěn portrét Pavla Rejchrta od českokanadské malířky Máriy Gabánkové z roku 2017.

Pavel Reisenauer je známý především jako autor originálních titulních stran a ilustrací pro týdeník Respekt, které byly po desítky let nezaměnitelnou součástí českého mediálního prostoru. Téměř neznámá je však jeho volná tvorba, do níž patří obrazy, velkoformátové digitální tisky, knižní ilustrace, komiksy a také fotografie. Reisenauerovo dílo je tak obrovské, že jeho šíře překvapila i ty, kdo Pavla dlouhé roky znali a podíleli se na této publikaci, tedy jeho kolegy a přátele. Až budete listovat touto knihou, naleznete pouhý zlomek jeho prací. Kromě reprodukovaných děl publikace obsahuje rovněž odborné texty a vzpomínky jeho přátel a spolupracovníků. Kniha vznikla jako pocta autorovi po jeho náhlém úmrtí v roce 2024 a u příležitosti výstavy v Museu Kampa.