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Paul Klee (1879-1940) began to experience the first symptoms of scleroderma--a systemic autoimmune disease--in 1933, although it was only diagnosed posthumously. His interest in angels arose while he was ill, and they became a dominant theme, particularly from 1938 on. Klee's depictions of angels are among his most popular paintings. Perhaps one reason for their enduring popularity is that angels are trapped in human form; like us, they have flaws and weaknesses, can be playful, worried or even malicious. While these works reflect the fear of death as well as the fragility of the incurably ill, they are also imbued with the artist's quiet sagacity and whimsical humor. With 138 reproductions in color and writings on Klee by Walter Benjamin among others, "Paul Klee: The Angels" sheds new light on individual works in the series, such as the iconic "Angelus Novus," which Benjamin purchased in 1921--for the equivalent of about $30--and which led him to formulate his notion of the "angel of history."

Well-traveled photographer and war correspondent Felice Beato (1832–1909) reached the Japanese port city of Yokohama in July 1863 and spent more than twenty years there. He captured unique portraits of geishas in splendid kimonos, samurai, sumo wrestlers, and scenes of everyday life or classic Japanese landscapes. Beato’s photographs deeply influenced the style of the Yokohama School, not so his fellow Japanese enthusiasts and contemporaries Charles Wirgman, Raimund Freiherr Stillfried von Rathenitz, and Adolfo Farsari. Characteristic of Beato’s photographs—which in the early days were exposed on albumin plates—is their careful composition, occasionally recalling woodcuts by master artists Hiroshige or Hokusai. However, the Anglo-Italian photographer and his fellow artists were pioneers in hand-colored photography: their vivid impressions provide a view of traditional Japanese society of the waning Edo period, and for a long time they shaped the European notion of the exotic, distant Asian country.

Frantisek Drtikol (1883 1961) is considered to be the first Czech photographer enjoying international fame. Anna Fárová s legendary exhibit in Prague in 1972 led to the rediscovery of his briefly forgotten work. This elaborate, illustrated volume is devoted to the nude portraits, one of the focal points in Dritkol s oeuvre. Art Nouveau and Symbolism were strong influences on his early photographs, in which his nudes are presented as dreamy nymphs or femme fatales. After the end of World War I, he developed his own fascinating photographic style, characterized by geometric elements, expressive, dynamic poses, and dramatic lighting. An Art Deco photographer, as Fárová called him, Drtikol was inspired by Futurism, Expressionism, and Cubism to discover his own lyrical, formal vocabulary.

After a successful career in advertising design, Andy Warhol (1928-1987) change course to pursue a career in art. His concerns, however, did not change, remaining centered on the world of consumerism and mass production. This publication illuminates Warhol's early years as a painter and producer of drawings, from 1961 to 1964. During this period, Warhol gradually replaced his somewhat individualized visual language with purely media-derived (and therefore collective) subject matter, and developed the mechanical painting process of silkscreening on canvas for which he became so well known. This fascinating process--in essence the gestation of Pop art--is examined here through several series, such as the Campbell's soup can paintings and the Dollar Bills, the star series of Elvis and Liz, the Death and Disaster pictures and the Flowers series from 1964. By concentrating on Warhol's early years, this publication makes it possible to comprehend the scope of his impact.

After a successful career in advertising design, Andy Warhol (1928-1987) change course to pursue a career in art. His concerns, however, did not change, remaining centered on the world of consumerism and mass production. This publication illuminates Warhol's early years as a painter and producer of drawings, from 1961 to 1964. During this period, Warhol gradually replaced his somewhat individualized visual language with purely media-derived (and therefore collective) subject matter, and developed the mechanical painting process of silkscreening on canvas for which he became so well known. This fascinating process--in essence the gestation of Pop art--is examined here through several series, such as the Campbell's soup can paintings and the Dollar Bills, the star series of Elvis and Liz, the Death and Disaster pictures and the Flowers series from 1964. By concentrating on Warhol's early years, this publication makes it possible to comprehend the scope of his impact.

Překrásná, hojně ilustrovaná, obsáhlá publikace s více než čtyřmi stovkami barevných ilustrací znovu přehodnocuje historii této školy a její vliv. Text v angličtině. The Bauhaus—founded in Weimar in 1919, located in Dessau beginning in 1925, and closed in Berlin in 1933—continues to be the most effective and successful export article of twentieth-century German culture. Even more than seventy years after it was closed, this interdisciplinary school for art, architecture, design, and theater has not lost any of its currentness. On the occasion of the ninetieth anniversary of the founding of the Bauhaus, this profusely illustrated, comprehensive publication with around four hundred color illustrations reexamines and reevaluates the art school’s history and influence. In this collaborative project by the three leading institutes at the former sites of the Bauhaus’s activities—the Bauhaus-Archiv Berlin, the Stiftung Bauhaus Dessau, and the Bauhaus-Museum der Klassik Stiftung Weimar—the historic Bauhaus and the trail of its reception are closely examined and analyzed based on sixty-eight selected highlights, including the hitherto neglected aspects of the Bauhaus during the period of National Socialism as well as its international propagation and commercialization.