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This richly illustrated book features an introduction by the National Portrait Gallery's chief curator and nearly 150 insightful entries on key self-portraits in the museum's collection. Eye to I provides readers with an overview of self-portraiture while revealing the intersections that exist between art, life, and self-representation. Drawing primarily from the museum's collection, Eye to I explores how American artists have portrayed themselves over the past two centuries. The book shows that while each individual approaches self-portraiture under unique circumstances, all of their representations raise important questions about self-perception and self-reflection. Sometimes artists choose to reveal intimate details of their inner lives. Other times they use the genre to obfuscate their true selves or invent alter egos. Today, with the proliferation of selfies and the contemporary focus on identity, it is time to reassess the significance of the self-portrait.

The Cubist Cosmos traces the development of Cubism between 1907 and 1917. The publication reveals the boundless innovative power of the works of Pablo Picasso and Georges Braque. It also shows how the Cubist pictorial language was received and advanced by the artists of the Parisian avant-garde - such as Fernand Leger and Sonia Delaunay - and how it evolved into colourful large-format pictures. The volume reflects not only the enormous range of this stylistic direction but also its revolutionary potential, which went on to influence the further development of twentieth-century art. In chronologically and thematically devised chapters the publication shows how the influence of folk art and archaic sculpture as well as the works of Paul Cezanne initially became increasingly evident in the paintings of Picasso and Braque. From 1908 crystalline, geometric elements as it were, appear. Until 1911 the characteristic prismatically fragmented forms and an almost colourless austerity dominated. The new pictorial language was taken up by artists like Juan Gris, Fernand Leger, Robert and Sonia Delaunay and Henri Le Fauconnier, who developed and presented it in large formats in the Salon exhibitions of the Paris art world.

Over a career that now spans nearly seven decades, the American painter Alex Katz (b. 1927, New York) has devoted himself to the representation of the here and now and to the immediacy of human perception - a commitment to what the artist has often described as "painting in the present tense." Alex Katz emerged on the New York scene in the 1950s during the heyday of Abstract Expressionism and just prior to the explosion of Pop Art, yet his unique aesthetic has always stood apart from other painters of his generation. Influenced by con-temporary music, dance and poetry, he has long pursued his own idiosyncratic and decidedly modern form of realism. From his iconic portraits of family, friends, and artistic collaborators to his less well-known landscapes and city scenes, Katz's consummate technique and sensitivity for painterly surfaces unfolds in productive tension with the formal languages of film, fashion, and advertising.

The Architecture of Expressionism is the upheaval of architecture in the roaring twenties - with regionally different emphases, schools and protagonists. The series' third volume documents all surviving buildings in Poland, the Czech Republic and Slovak ia. The shared heritage of this important European region is presented in a fascinating rediscovery. The enthusiasm for the expressionist metropolis, an architecture of complexity, verticality and theatricality, in the 1920s captured also East - Central Euro pe. Despite regional differences, the surviving fragments bear witness to a determined will of form and a rich, skilful handling of colour, material and light. Joint together, the buildings tell the story of the expressionist vision of a new modern society . In contemporary photographs and plan drawings Fragment of Metropolis - East documents 170 buildings in Bratislava, Brno, Gdansk, Hradec Kralove, Katowice, Krakow, Legnica, Prague, Szczecin, Usti nad Labem, Warsaw, Wroclaw, as well as many other places. A detailed index and clearly arranged maps complete the reference work.

The private collection of 80 inro, ojime and netsuke presented here was donated to the Museum for Lacquer Art in 2017. The wealth of objects reproduces plants and animals with symbolic significance, literary subjects, historical scenes and famous landscape scenarios - and thus presents an image of Japan in miniature. An inro, meaning "seal container" in English, is a small, flat stackable box which a Japanese man in a kimono could carry on the silk belt slung around his hips. This gem was invented in the late sixteenth century, and before long numerous workshops were specialised in its production. The donation of a private collector to the Museum for Lacquer Art includes 80 inro with a variety of decorative techniques and shows a wide range of artistically designed motifs. This new acquisition of astounding quality and diversity has been knowledgeably compiled in this inventory catalogue by Heinz and Else Kress.

More than any other artist, Claude Monet represents Impressionist painting. This volume illustrates Monet's career from Realism via Impressionism to a form of painting in which the colo urs and light gradually become detached from the object. It focuses on the artist's colour concept, an aspect of his oeuvre which has hitherto not been examined in detail, as well as his passionate study of subjects from his garden in Giverny. The French "Master of Light" (1840 - 1926) was a key forerunner of twentieth - century painting. He painted by the sea, on the steep coast of Normandy and on the banks of the Seine. Monet's light and colours intera ct on the canvas with a nature that is constantly changing. In order to record the variety of atmospheric impressions, he painted many of his subjects in series. In his study of the world of plants and water in his garden the subject gradually becomes inde pendent of his observation of nature. In this way the artist's late work paved the way for the painting of Abstract

2018 marks the centenary of Egon Schiele's death. To coincide with this occasion the publication will present the painting collection of the Belvedere Vienna including highlights such as Eduard Kosmack, House Wall, Death and Girl, The E mbrace and Four Tr ees. The book provides an opportunity to study the artist's work processes in greater detail and to follow the fascinating routes taken by his works before reaching the museum. In 1918 the OEsterreichische Galerie under Director Franz M. Haberditzl was the first Austrian museum to acquire an oil painting by Schiele during his lifetime. Today the museum owns one of the top collections of paintings from the years 1907 - 1918 by the artist. The publication will examine each work separately and will answer questi ons with regard to their acquisition and subject as well as related works. At the same time, the results of the investigations into painting technique which the works have undergone since 2016 will be presented for the first time. Complementary essays the history of the collection and the changes to the stocks of Schiele's works which are taking place as a result of museum reforms, the exchange of pictures or the restitution of individual works.

This opulent volume on Paul Klee celebrates one of the most important and productive artists of the twentieth century, whose work is as topical today as it ever was: growing out of the inner conflict of modern man, Klee's imaginative works provide a link between the world of reason and the irrational "secrets" of human existence. The works of Paul Klee (1879-1940) charm the viewer with their inventiveness, delight in experimentation, subtle humour and brilliant colour schemes. He contrasts the technical and rational tendencies of the 1920s with the significance of playfulness, intuition and artistic genius. Subdivided according to pictorial subjects of transcendental longing like ladders, mountains and stars as well as Bauhaus aspects of architecture and construction of space, the lavishly illustrated volume covering the period from 1905 until 1940 draws an impressive picture of Klee as an original "thinking artist" who confronts the challenges facing man in the modern age and brilliantly permits rational methods of picture construction to be transformed into the open and mysteriohe biographies of Jewish collectors and artists who were the victims of art theft and the Holocaust. A further topic of investigation is how stolen works were returned to the museums and private collections after 1945. The official catalogue of the Kunstmuseum Bern and the Kunst- und Ausstellungshalle der Bundesrepublik Deutschland (Bundeskunsthalle) in Bonn permits for the first time a nuanced understanding of this case which is unique in the postwar history of Germany.

In the spring of 2008, a think tank of engineers, designers, trend researchers, and financial experts met on a factory floor of BMW's parent plant in Munich to rethink mobility for a world of dwindling resources. Providing extensive insight into BMW's workshop of ideas, this volume traces the venture's design history and looks to the future of sustainable cars. Grappling with major challenges of our time--from climate change to megacities and the scarcity of resources--contributors imagine solutions taking shape through technological innovations, networked mobility, sustainability in production, and the use of renewable materials. A unique look behind the scenes, this volume opens a window onto BMW's complete development process, from initial conception to world premiere, presenting models for everything from plug-in hybrids with eucalyptus wood interiors to full-electric, self-driving cars. Replete with close-up photographs and fascinating model drawings, BMW i is a must-have for lovers of modern design and automobiles and for anyone interested in electro-mobility and sustainable technologies.

Joan Jonas (b. 1936, New York) is one of the most highly regarded and influential artists working today. This book focuses on her new exhibition, film screenings and performances at Tate Modern and Haus der Kunst, and includes several interviews with the artist, giving valuable insights into her interdisciplinary approach and artistic processes. A pioneer of performance art in the 1960s, Joan Jonas's experimental installations include projections, videos, drawings, soundscapes, props and masks. Featuring her new exhibition at Tate Modern and Haus der Kunst, this publication focuses on new and past interviews with the artist. Jonas reveals her artistic processes, her influences and inspirations, from literature and Noh Theatre to rituals, and speaks of collaborations with Babette Mangolte or Jason Moran. Joan Jonas (b. 1936, New York) has exhibited and performed her work extensively at an international level, including Documenta and the U.S. Pavilion at the 56th Venice Biennial.

Henry Moore has influenced the history of twentieth - century sculpture more decisively than anyone else. He was one of the first contemporary sculptors to realise his ideas in the public space throughout the world. His oeuvre was a lasting source of inspiration for an entire generation of artists – from Hans Arp, Alberto Giacometti and Pablo Picasso to the younger generation of German sculptors. Henry Moore (1898 – 1 986), known as the “Picasso of Sculpture”, is regarded as one of the most important sculptors of the twentieth century and the epitome of the modern artist. Typical of his work is the interrelationship between nature and abstraction. He discovered the “voi ds“, so - called openings and holes which heighten the sculptural, three - dimensional effect of his works. With this new approach Moore exercised a strong influence on younger sculptors, who gained decisive impulses from his sculptures. This volume presents M oore as the dominant personality of modern sculpture in collaboration with the members of the younger generation of artists.

In 2011 a sensational find came to light in Andy Warhol's estate: an extensive collection of drawings that provides impressive evidence of Warhol's artistic talents. He used iconic photographs and magazine illustrations, many of which were taken from Life magazine, as inspiration. This publication explores these sources and presents them in juxtaposition. Drawing was an essential element of Warhol's everyday life during his early years in New York. He was particularly inspired by the blossoming magazine culture and its pictorial language. Extensive research has now identified the majority of the sources he used. Warhol drew a large number of subjects from the world-famous Life magazine. This publication presents notable examples of the copying technique developed by Warhol, known as "blotted line", and presents the drawings in direct juxtaposition with the sources that he used. The accompanying essays explore Andy Warhol's unique design process and his very own method for making transfers between the media of photography and drawing.