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A survey of social and political graphics since the early 1990s.Liz McQuiston Follow-up volume to the hugely successful Graphic Agitation, exploring graphic protest in the digital era from the early 1990s onwards Covers themes and issues such as glob

William Henry Fox Talbot (1800-77) is widely considered to be the father of modern photography, having developed the process by which photographic images could be reproduced. However, he has yet to be sufficiently appreciated as a photographer in his own right. Over the course of his photographic career, he has made more than 5,000 images that include fascinating pictures of his home, Lacock Abbey, portraits of family and friends, and still lifes of botanical specimens, cloth, and household objects. A key intellectual figure of the nineteenth century in science, mathematics, astronomy, politics, and archaeology, Talbot is arguably the most important figure in the invention of photography. His practice established many of the medium's most familiar genres. Talbot was devoted to the advancement of photography, publishing the first photographically illustrated book, The Pencil of Nature (1844-46), which revealed the potential of the medium to a wider audience.This new monograph features many of Talbot's best-known landscapes made around Lacock Abbey and some of the first negatives ever made. It also includes lesser-known and previously unpublished work that reveals the extraordinarily diverse scope of his work. His photographs reflect and embody the social and cultural issues of the time, but they are also fascinating, often beautiful images that are still as engaging today as they were nearly 200 years ago.

Přehledová publikace o současné architektuře určená jak studentům architektury, tak všem jejím milovníkům. A comprehensive survey of international architecture of the late 20th-century. A comprehensive survey of architecture around the world from the l

With a concept similar to "cream", this text is an image-heavy book offering an overview of the state of painting today, and documents the most recent concerns and ideas among contemporary painters. In the wake of media such as installation, video, performance and digital art, the traditional medium of painting has enjoyed a renaissance among a recent generation of artists. Alongside the ever-growing reputation of significant living painters such as Gerhard Richter, Agnes Martin and Peter Halley, many younger artists have chosen painting over any other medium, and are exploring new means to broaden the traditional field of "oil on canvas". It is this younger generation (who emerged in the 1990s) that "Vitamin P" aims to represent in an A-Z survey of 114 of its leading, international practitioners, with each artist illustrated by numerous examples of his or her works, accompanied by a short explanatory text. Often moving beyond the most traditional image associated with this medium, This survey hopes to illustrate the richness, eclecticism, dynamism and contemporaneity of the practice of painting today.

Tiziano Vecellio (c.1488/90-1576) - known in English simply as Titian - was a remarkably versatile painter, equally comfortable with a wide range of genres and subjects. Unlike many artists from history whose work has been appreciated only after their death, Titian enjoyed fame and success throughout his career, which spanned over seven decades. Based in Venice, Titian received commissions from many local patrons and the Venetian government, as well as many distinguished figures from further afield, such as the Pope, the German emperor and the King of Spain. Titian's contemporary biographer, Giorgio Vasari, praised his skill as a colourist, the artist's careful modelling and depth of colour, shown to especially good effect in mythological works such as 'Bacchus and Ariadne' (1520-3) and 'Tarquin and Lucretia' (1569-71), continue to impress viewers in the twenty-first century. In addition to his success in representing pagan mythological themes, his skill as a portrait painter also won him many prestigious commissions, while his renown as a painter of religious subjects resulted in the creation of high-profile altarpieces, as well as individual works for private patrons. This new monologue combines Peter Humfrey's scholarly yet accessible text with 200 beautiful reproductions of Titian's works, from oil paintings and frescos to preparatory drawings. Careful attention has been paid to the scale and quality of the images, allowing the works and their vivid colours to be shown in their true intensity. The book is a perfect introduction to the work of this original and influential Renaissance artist.

Surrealism is the first in an expanded range of Themes and Movements titles which look beyond the post-1945 period to survey all of the twentieth century's major art movements. Mary Ann Caws is an internationally respected scholar of Surrealism who has translated many of its major texts and published extensively on the Surrealists' art and writings. Aside from academic studies and museum catalogues this is the first comprehensive, art book format survey on Surrealism to be published for a number of years. It also provides an overview of the essential links between the Surrealists' famous artworks and their equally renowned writings. Mary Ann Caws is uniquely qualified to do this, reviwing one of her previous books, Rosalind Krauss, Columbia University's Meyer Schapiro Professor of Art, writes: 'The specialization of critical labour has meant that gifted readers of surrealist texts are rarely in contact with canny viewers of surrealist objects...Mary Ann Caws brings her readerly skills on both sides of the divide, producing an analysis that, in its generosity, erudition and originality, greatly enriches our experience of the movement.' Surrealism is a survey of the twentieth century's longest lasting and, arguably, most influential art movement. Championed and held together by Andre Breton for over forty years, Surrealism was France's major avant-garde artistic tendency from 1924 onwards, rapidly spreading around the globe to become an international phenomenon. During World War II Surrealism's exiled artists and writers had a major impact on American art and were a primary influence for the Abstract Expressionist generation. The official surrealist movement continued to the end of Breton's life in 1966, and its legacy is still pervasive today, in contemporary art as well as in numerous quotations from surrealist imagery in cinema, advertising and the media. The Survey essay by Mary Ann Caws - a distinguished scholar, translator and associate of the Surrealists - describes in clear, perceptive and lively prose the essential characteristics that define Surrealism, as well as tracing a concise path through the chronology of this prolific and wide-ranging movement. The text also demonstrates how surrealist art and writing are interdependent. The Works section follows the movement from its beginnings in the 1920s up to the 1940s and 1950s. Its six sections trace the themes which predominated at different stages: Chance and Freedom - the earliest work, characterized by complete 'automatic' spontaneity, Poetics of Vision - the strategies of surrealist image-making, reflecting the mind's inner visions, Elusive Objects - the fascination with objects of all kinds from which emerged artworks such as Meret Oppenheim's celebrated fur-lined cup and saucer, Desire - the investigation of desire, eroticism and 'mad love' which is central and unique to the movement, Delirium - Surrealism's high-risk engagement with extreme mental states and disturbing, uncanny visions, and the Infinite Terrains of later Surrealism, ranging from Joseph Cornell's magical assemblages in box frames, like 'theatres of the mind', to the infinite fields and dynamic energy of late surrealist painting at the dawn of Abstract Expressionism. The Documents section includes important rediscovered writings alongside the key texts by leading figures. Many of the texts have been specially translated for this volume by Mary Ann Caws and Jonathan Eburne.

Eero Saarinen was one of the world's most celebrated architects at the time of his death at the age of 51, he designed and built more than 35 buildings in his lifetime and collaborated on 30 more with his father, renowned architect Eliel Saarinen. Eero's career began in childhood: As the son of the esteemed Eliel, designer of Cranbrook Academy in Bloomfield Hills, Michigan, Eero grew up in an intellectually charged environment surrounded by art and design, and entered his first architectural competition while still in grade school. Eero Saarinen trained and practiced with his father until the early 1950s, when he established his own firm and began to design some of the most influential institutions of his day, among them residential colleges and a hockey rink at Yale University, an auditorium and chapel at the Massachussetts Institute of Technology, American embassies in London and Oslo, and corporate complexes for General Motors, IBM, and Bell Laboratories that spearheaded the creation of the modern suburban office park. While all of these projects blur the boundaries between architecture, art, and landscape, none share a single, identifiable style. Saarinen explored new materials and techniques in every building, developing innovative uses of granite, glazed bricks, reflective glass, concrete, and curtain-wall technology to suit each program. Such wide-ranging approaches to his architecture made Saarinen difficult to classify, and interest in his work dissipated soon after his death. This volume is the most thorough monograph published to date on Eero Saarinen and the first major publication on the architect in 40 years. Organized chronologically in 14 chapters, it traces Saarinen's life and career from his childhood in Finland to collaboration with his father, through his iconic airport projects of the 1960s, documenting more than 60 commissions and competitions. The approximately 300 illustrations include period photography by renowned architectural photographers Ezra Stoller, Balthazar Korab, Harvey Croze, and others, rarely seen original sketches, concept drawings, and plans, and more recent color photography. The book also quotes numerous interviews with Saarinen's colleagues and architecture critics, such as Robert A.M. Stern, Florence Knoll, and Cesar Pelli, examining how Saarinen was viewed in his own time and today.

In 1996 Bruce Bernard was commissioned to create a collection of photographs for an eminent private collector. After several years of trawling through galleries, art fairs and auction houses he settled on 100 images that "truly stimulated and satisfied" him. One of the leading picture editors of his generation and celebrated for his unique eye, knowledge and judgement of photography, Bruce Bernard has created a collection that emphasizes the magic of the medium - through work of the great figures of the 19th century, to snapshots, taken by amateurs, the genius of Andre Kertesz and the impassioned photo reportage of Weegee. This timeless selection offers a unique insight into photography. It also demonstrates Bruce's love and respect for photography and his unparalleled ability to identify pictures that are imbued with sensitivity, humanity and intelligence.

Guy Bourdin was born in Paris in 1928 and received his first photographic training whilst performing military service in Senegal in 1948-9. His photographs were first shown in Paris in 1952, the catalogue for which exhibition included an introduction by Man Ray, and he began working for French Vogue in 1954. Inspired by Surrealism, and specifically the work of Man Ray, with whom he struck up a relationship, Bourdin rejected the descriptive roles of photography in favour of an exploration of the medium's capacity for the divergent. He broke with tradition in that he remained above all an artist and an inventor, somewhat in the manner of Man Ray. Along with certain American photographers, notably Edward Weston, Bourdin recognized a concern with formal perfection and extremely high finish that became his own objective, one perfectly adapted to the deceptive sophistication of fashion imagery, the terrain in which he developed his ideas for over thirty years. At French Vogue, Bourdin demanded and was allowed unique editorial control and amazingly he extended this to his principal client in advertising, the shoe company Charles Jourdan, who first commissioned him in the 1960s. Bourdin's approach to campaigns reflected a distinct change for advertising in this period. Where it had once been dominated by selling the intangibles of class, alongside the merchandise, Bourdin rejected the 'product shot' in favour of atmospheric, often surreal tableaux and suggestions of narrative. Bourdin was not alone in demystifying the object, but he was the most radical in his approach. The impact of the imagery of Guy Bourdin on both commercial and fine art photography continues to resonate today, Bourdin made radical changes both in the style and the meaning of commercial imagery. His fashion shoots are mysterious, hypnotic, surreal, exposing the true and unnerving nature of desire. He shows that, within the context of fashion, it is rarely the product that compels us. It is the image - carefully staged narrative of sexual fantasy, the quest for the unattainable, the suggestion of danger - that stimulates consumer desire.

Velkoformátová výpravná kniha představuje 1052 staveb (15 staveb z ČR) z celého světa. 5500 barevných fotografií a 2000 kreseb. Kniha je uzavřena do plastového kufru, což zajišťuje snadnou manipulaci i plnou ochranu při dopravě.

Žhavá novinka z nakladatelství Phaidon - komplexní pohled na současné sochařství. A comprehensive and beautifully illustrated overview of contemporary sculpture. A richly illustrated overview of contemporary sculpture from all over the world, the only b

It's Not How Good You Are, It's How Good You Want to Be is a handbook of how to succeed in the world - a pocket 'bible' for the talented and timid to make the unthinkable thinkable and the impossible possible. The world's top advertising guru, Paul Arden, offers up his wisdom on issues as diverse as problem solving, responding to a brief, communicating, playing your cards right, making mistakes and creativity, all notions that can be applied to aspects of modern life. This book provides a unique insight into the world of advertising and is a quirky compilation of quotes, facts, pictures, wit and wisdom, packed into easy-to-digest, bite-sized spreads. If you want to succeed in life or business, this is a must! Paul Arden began his career in advertising at the age of 16. For 14 years he was Executive Creative Director at Saatchi and Saatchi, where he was responsible for some of Britain's best known campaigns including British Airways, Silk Cut, Anchor Butter, InterCity and Fuji. His famous slogans include 'The Car in front is a Toyota' and 'The Independent - It is - Are You?'. In 1993 he set up the London-based production company Arden Sutherland-Dodd where he is now a commercials director for clients such as BT, BMW, Ford, Nestle and Levis.

Swiss designer Josef Muller-Brockmann established himself as one of the most important and prolific voices of twentieth century graphic design, setting up his own studio in Zurich in 1936 and working until his death in 1996 for numerous clients, creating a countless quantity of design for posters, which he considered "barometers of social economic, political, and cultural events, as well as mirrors of intellectual and practical activities." Muller-Brockmann began his career as an illustrator, where his aesthetic sensibilities first took root, but it was not until his turn to graphic design that he found his true calling. He is perhaps best-known as graphic design's foremost proponent of grid systems to assist in functional, objective design, which he discussed in detail in his books "Grid System in Graphic Design" and "The Graphic Designer and his Design Problems". The grid system allowed Muller-Brockmann to organize his subject matter to create more effective design, to not be overwhelmed by the seeming chaos and complexity of design decisions. Muller Brockmann's wide-range passions, interests, and commitments enables one to approach his work from several points of view and his influence graphic design extends well beyond his familiar poster work. He also was an accomplished photographer, often integrating experimental photography, photomontages, and light paintings into his design work. He loved music and over the course on many years made now famous poster designs for the Zurich Tonhalle (Concert Hall), which were highly influenced by the "feeling" aroused by music-resulting in a seemingly more abstract design. Nevertheless, all his works were built upon a grid system, and it is interesting that even those designs that appeared free of structure were rigidly organized beneath the surface. Perhaps because if his design philosophies and his ability to create design systems, Muller-Brockmann's greatest legacy may be as an influential mentor to contemporary designers. The development of the grid was also the main subject of his teaching (he held many lectures and seminars throughout the world) and of his contributions to magazines such as "New Graphic Design." In many ways, Muller-Brockmann is the perfect subject to study for a representative understanding of the so-called Swiss Design movement. Muller-Brockmann's work ranged from social/civic projects such as posters for the Swiss Automobile Club and Zurich Police to commercial projects for IBM (for whom he was design advisor in western Europe), Rosenthal, and Hermes Typewriters. His large body of work, created as graphic design gained importance during the twentieth century, serves as a gauge for the study of design history and a acted as a harbinger for what was to come. Illustrated by images of the final designs but also by sketches, production drawings, and unused design drafts from Muller-Brockmann's archive-and with long captions explaining in detail the design structure and the brief given by the client-the monograph give a complete visual understanding of Muller-Brockmann's growth as a graphic designer. It is an essential volume for anyone interested in the history of graphic design, design students, and professional designers.

Eliot Noyes (1910-77) was a remarkable figure in twentieth-century design. An architect who began his career working in the office of Walter Gropius and Marcel Breuer, he went on to become the first Director of the Industrial Design department at MoMA in the 1940s. From the late 1950s until his death in 1977, he was Consulting Director of Design for IBM, Mobil Oil, Westinghouse and Cummins Engine Company, and was responsible for bringing about a change in the way that these corporations, and others that followed, were to think about design and its impact on business. He enlisted pioneering designers, notably Charles Eames, Paul Rand, Ivan Chermayeff and Tom Geismar, to help him bring about innovative architectural, graphic and industrial design. He was personally responsible for the design of some notable twentieth-century classics, such as IBM's Selectric typewriter and Mobil Oil's service stations and petrol pumps. His own work includes architectural projects, such as the award-winning Noyes family residence in Connecticut. This major monograph will trace the life of this unique architect, designer and businessman who devoted a great deal of his career to encouraging large American businesses to respect and develop policies that were rich in cultural expression. The author has had extended access to the Noyes' archive of personal as well as business projects, materials and letters, and he has carried out extended interviews with a great deal of Noyes' acquaintances and relations. His comprehensive and lively text is accompanied by archival and new colour photography, drawings, plans and a diverse range of documentary material, much of which is previously unpublished.

Each designer is represented by a full-page illustration, mostly in colour, of their most significant garden and an accompanying text that describes the image and discusses the type of garden and its role in the further development of the tradition. Each page includes cross-references to other designers working in a similar style, movement, or time period, as well as biographical information about the designer, and complete data on the garden reproduced.

This is a comprehensive survey of one of the most fertile and varied eras in the history of painting. It embraces not just the United Kingdom but also the British-speaking countries linked to Britain by cultural ties of empire and emigration, such as the US, Canada, Australia, New Zealand and Africa. Long regarded as a backwater of sentiment and outmoded academic convention that was bypassed by the mainstream of development in Western art, Victorian painting is now enjoyed in its own right. Unfettered by old prejudices, Lionel Lambourne presents a vivid panorama of an age of unparalleled energy and creativity. Wealth, optimism, education and self-confidence created a huge demand for art and a remarkable array of talent emerged to meet it. Producing works in a wide variety of styles, subjects and media, many artists became rich celebrities, while the profession as a whole enjoyed unprecedented public esteem. The author tackles this protean subject by dividing it into themes which reflect its richness and variety. Chapters are devoted to such topics as mural/history painting, the nude, the portrait, sporting painting, genre scenes and women painters, to social themes such as the fallen woman, social realism, travel and emigration, to movements such as the Pre-Raphaelites. Written with a light touch, full of anecdotes, and with 600 colour illustrations, this study should be entertaining and informative. It should also be a valuable reference work, for in addition to many famous and well-loved images, it presents work by lesser-known artists and explores the byways as well as highways of Victorian art, demonstrating the sheer range and depth of talent that that age produced.