Phaidon strana 63 z 66

Jean Sibelius (1865-1957) is perhaps Finland's most important musical figure. His beautiful compositions, inspired primarily by Finnish landscapes and literature, helped to form a national identity for his homeland. Sibelius' innovative symphonies and descriptive tone poems encapsulate his desire to create 'pure' music, and have become staples of the orchestral repertoire all over the world. This intriguing biography, which includes previously unavailable material, examines the life and work of this radical yet understated composer.Jean Sibelius is part of Phaidon's successful 20th Century Composers series, which presents authoritative and engaging biographies of the great creative musicians of our time, augmented by striking visual material and essential reference information. This edition of the book features a whimsical new cover by Jean-Jacques Sempé, the world-renowned illustrator and cartoonist.

Influential film critic, leading Nouvelle Vague director and heir to the humanistic cinematic tradition of Jean Renoir, François Truffaut made films that reflected his three professed passions: a love of cinema, an interest in male-female relationships and a fascination with children. A comprehensive, behind-the-scenes examination of his entire career, this fascinating book provides an illuminating and comprehensively illustrated guide to his entire career, and an in-depth look at his methods.

These inimitable drawings and watercolors, accompanied by perfectly judged deadpan captions, are fresh, engaging, and funny. The illustrator's world is populated by nosy neighbors, mischievous schoolboys, thwarted lovers, and frustrated commuters.

How can I raise GBP5000 in a hurry? How do you sleep at night? Is it better to give than to receive? What's the secret of inner peace? In this new volume, influential art collector Charles Saatchi provides the answers to these, and over 100 more, fresh questions. Although Saatchi famously refuses to be interviewed, this new book reveals his brutally frank responses to a battery of questions put to him by leading journalists and critics as well as members of the public. Following on from his bestselling book "My Name is Charles Saatchi" and "I am an Artoholic", Charles Saatchi answers your questions about art, advertising, money, religion, drugs, politics, music and dreams.

The world's oceans are one of the last great largely unexplored places on earth. They teem with life some of it familiar and some of it strange to us and "Fish Face" takes us closer to the fish that live here. Showing full-page pictures of close up portraits of their faces, the book takes us from the beautiful to the ugly, from spiky to rotund. The huge variety of species is appealing and astounding. The book takes a look at the work of David Doubilet, widely acclaimed as the world's leading underwater photographer. He has photographed fish for over 25 years and "Fish Face" looks at the most colourful, fun and bizarre fish he has encountered. This book should appeal to anyone who has ever wondered about the variety of fish living in our oceans and to naturalists and photographers alike.

From the moment of the very first contact in the sixteenth century, Japan has always possessed an irresistible fascination for the West. The fascination was if anything increased when Japan closed its borders in 1638, and for over 200 years the only contact was through a small colony of Dutch traders who were permitted to live on the tiny island of Deshima in Nagasaki Bay. After 1858, full trade was resumed, and a wave of 'Japanomania' swept across Europe and America. The 1862 Great Exhibition in London was the first to display a wide range of Japanese goods in the west. Visited by hundreds of thousands of people, the prints, ceramics and lacquer work became the height of fashion. Christopher Dresser travelled to Japan in 1876 as an agent for Tiffany &, Co. He visited 64 potteries and dozens of other manufacturers. Not only did he take photographs home to spread the word there, but he also advised the Japanese how best to export their trade. This two way dialogue offers a rich synthesis of fine art and the decorative arts, as well as popular culture. Lionel Lambourne tells this remarkable story in a fluent and engaging narrative that focuses on the human drama - often amusing but sometimes tragic - of the individual personalities involved in the two-way dialogue between cultures. After an introduction telling the story of the first contacts, the long isolation and the events leading to the renewal of free trade in Japan, he turns to Europe and captures the excitement as artists - notably Whistler and the Impressionists - discovered Japanese prints and artefacts, and began to incorporate their influence in their own work. The story spreads far beyond fine art and follows the Japanese craze into the decorative arts, interior design, furnishings, fashion accessories and, importantly, literature and theatre. With his inimitable style and his rich store of well-chosen anecdotes, the author brings the personalities to life, and conveys a vivid impression of the enthusiasm that Japonisme generated. He also devotes chapters to travel, Japonisme in America, landscape and gardens, and the curious subject of spooks and ghosts. The visual impact of Japan on the West was enormous, and this is wonderfully conveyed in the rich and varied selection of illustrations - some 250 in all - which include many original Japanese prints and artefacts juxtaposed with the works that they directly inspired, as well as the whole range of the decorative arts, posters, advertisements, book illustrations, fashion, cartoons, photography, gardens and architecture. With its lively text full of human interest and closely supported by a wealth of beautiful illustrations, "Japonisme" will provide the perfect introduction to this popular subject for the widest possible audience, and will also be a valuable reference source for teachers and students.

This series acts as an introduction to key artists and movements in art history. Each title contains 48 full-page colour plates, accompanied by extensive notes, and numerous comparative illustrations in colour or black and white, a concise introduction, select bibliography and detailed source information for the images. Monographs on individual artists also feature a brief chronology.

Naoto Fukasawa (b.1956) is one of the best-known Japanese product designers working today. After graduating from Tama Art University in 1980, he moved to the United States and worked at IDEO, one of the world's most innovative design companies. In 1997, Fukasawa moved back to Japan to set up the IDEO Tokyo office. During his time at IDEO, he developed his sense for how people perceive and use objects. In 2003, Fukasawa left IDEO to form his own design company Naoto Fukasawa Design. Besides being a consultant for major companies, especially MUJI, he has also set up a new product brand called PLUS MINUS ZERO, a collection of minimal home appliances and products that has achieved worldwide acknowledgement for its user-friendly aesthetics. Moreover, Fukasawa's designs for companies such as Driade and B&,B Italia attracted attention in Europe at the 2005 Milan Furniture Fair, and have continued to do so since. Fukasawa's design philosophy relies on carefully observing what people do and feel in their everyday lives in order to find simple solutions that touch the senses and link to shared memories. By working with the 'iconic' value of a product, be it a watch or a sofa, Fukasawa is able to come up with designs that address the common knowledge about things that people have. His groundbreaking wall-mounted CD player for MUJI in 1999 was based on the image of a kitchen fan and moved away from all the conventions of hi-fi equipment manufacture. It was a simple appliance, restrained in appearance and function, and very different from the numerous black boxes that had become the standard in the market. Interestingly, as Fukasawa's products are based on people's common and not always conscious view of things, his design solutions sometimes swim against the current of received opinions to achieve popularity and success. The LCD TV monitor he designed for PLUS MINUS ZERO reinstates the shape of the cathodic-tube TV set instead of becoming even thinner, his mobile telephone Infobar for KDDI/au has large keypads, referring back to the first models of the 1980s. The book is the first monograph published in English of the work of this innovative designer. Edited by Fukasawa himself and with contributions by writers from East and West, it includes a selection of his products to date, ranging from umbrellas and vases to sofas and telephones. Illustrated with never-before-seen photographs and drawings, Fukasawa's text elucidates the ideas behind each of his projects. Essays by artists, designers, and lecturers, notably Antony Gormley, Jasper Morrison and Bill Moggridge from IDEO, complete the book by giving an account of Fukasawa's design philosophy and of the significance of his work for the contemporary design world.

LIFE STYLE is the first book to document Maus creative process and his studio practice, Bruce Mau Design (BMD). Since founding his Toronto-based studio in 1985, Mau has become one of the worlds most sought-after designers. He became an international figure following the publication of the groundbreaking and award-winning tome S,M,L,XL (Small, Medium, Large, Extra-Large), which he designed and co-authored with Dutch architect and recent winner of the Pritzker Architecture Prize, Rem Koolhaas. Wri tten by Mau and conceived and designed by BMD, Life Style is a collection of playful and critical statements about the visual and cultural trends that influence todays image-driven environment. The book showcases the methodology, philosophy, world vi ew and projects of BMD. With over 1,000 images and available in a variety of luminous satin covers - each reader can choose his/her color to match his/her life style.

Emma Dexter's introductory text offers a critical account of the recent evolution and role of drawing in the art world, and introduces some of the trends, methods and artists included in the book. In the following and largest section of the book (over 300 pages and approximately 500 illustrations), the 100 or more artists are presented in an A to Z order. Some artists are presented on 2 pages, some on 4 pages. About 5 selections of work are reproduced for each artist, along a text written by an author who is a specialist on the artist's work. The 500-word texts are brief surveys of the artist's career to date, and aim at introducing the methods and subject matter at issue in their recent works. A selected list of exhibitions and bibliography also complements the reproductions and text on each artist.

This new monograph examines the life and works of Auguste Rodin (1840-1917), whose compelling career and legacy continue to captivate audiences, artists and critics alike. As one of the greatest and most prolific sculptors of the nineteenth and twentieth centuries, Rodin transformed sculpture-making and reinvigorated what was considered to be a dying art form. Born into a working-class family, Rodin had little formal education in the fine arts and struggled against poverty throughout his career. At an early age, he attended the Petite Ecole, a school for drawing and mathematics, learning skills aimed at the commercial sector. Then, having failed the entrance examinations for the Ecole des Beaux-Arts three times, Rodin supported himself by working for several commercial studios as an assistant for a few years. In 1863, devasted by the death of his beloved sister, Maria, the artist joined a religious community, the Order of the Blessed Sacrament, which was under the direction of Father Pierre-Julien Eymard, who would become the subject of one of Rodin's first sculptures. Realizing that religion was not his calling, Rodin returned to Paris, where he began to work in the studios of Albert Carrier-Belleuse, a fashionable commercial sculptor, who was to have a considerable impact on the art and career of the young sculptor. At this time, Rodin also began to work on his own, creating portraits of his father and studying the works of Rubens. After a trip to Italy in 1875, Rodin also studied the works of Michelangelo, whose influence was crucial to his development and his determination to be a sculptor. Rodin's signature style of working directly from the model was formed early with his "Man with the Broken Nose", which was rejected for the Salon exhibition in 1865, although the marble version was accepted ten years later. Rodin then created "The Age of Bronze", the first work in which a sense of his true potential can be seen. The originality of this work was met with resistance, and critics accused Rodin of making a cast from a live model, suspicious as they were of the incredible realism of the statue. In spite of this, Rodin's "The Age of Bronze" was purchased in 1880 by the French state, who subsequently commissioned the sculptor for the large entrance portal for the Musee des Arts Decoratifs, soon to be called "The Gates of Hell". Drawing inspiration from Dante's "The Divine Comedy" and Baudelaire's "Les Fleurs du Mal", Rodin created such masterpieces as "The Kiss", "The Thinker" and "The Three Shades", originally parts of "The Gates of Hell". Another monumental project, "The Burghers of Calais", also demonstrates the sculptor's tendency to play with the relationship between volume and space through the technique of fragmentation and assemblage as Rodin studied every aspect of the work intensively, creating maquettes and sculptures for the heads, hands, feet and the lines of the burgher's robes. Other important works such as Rodin's "Monument to Balzac" and his portraits of Victor Hugo, among many others, are also examined in detail. In 1910 Rodin was named Grand Officer in the Legion of Honour and became one of the very few artists to achieve such a high status. This new monograph is a perfect introduction to the work of this original and influential sculptor. The book combines Jane Mayo Roos' scholarly yet accessible text with 200 beautiful photographic reproductions of Rodin's works, from his early drawings to his well-known sculptures. In relating the history of Rodin's sculpture, the author has set the artist's career in the context of the art world of the period and emphasized the ways in which his sculptures differed significantly from the works produced by his contemporaries. In addition, Roos also offers an analysis of the making of sculpture in the nineteenth century, explaining the role mechanical reproduction played in the processes by which marble and bronze sculptures were made at the time, thereby clarifying the existence of posthumous casts.

A collection of unique portraits by British born, New York based, fashion photographer Platon. Over 120 photographs have been selected from an enormous range of powerful images taken over the last decade and together they constitute a unique and dynamic cross-section through the cult of fame and power. Platon’s Republic is a window into today’s media-led culture that bombards, and sometimes overwhelms us with images of world-wide importance juxtaposed with frivolity. Platon’s Republic replicates the same intense and sometimes surreal experience with portraits of Al Pacino, Bill Clinton, Vivienne Westwood, Leonard Cohen as well as more documentary photographs of Jesse Jackson and Bianca Jagger demonstrating against the death penalty and football supporters. Granted extraordinary access to some of the west’s most powerful people, Platon’s subjects are all leaders in their field. Whether they are from the TV industry, politicians, actors, fashion designers, writers or musicians, they all wield enormous influence within their arena. Platons’ portraits are graphic and intimate, but the unusual angles and revealing expressions are his hallmark.

This is the first book published on Los Angeles architect Archibald Quincy Jones (1913-1979), a pioneer in affordable housing designed with a modern aesthetic. The introductory essay traces Jones's life and career, his post-war planning projects and his long association with Palo Alto building magnate Joseph Eichler. The book contains a catalogue of sixty of Jones's projects illustrated with high-quality black and white period photographs, as well as plans and renderings by Jones. These projects are quintessential examples of mid-twentieth-century American architecture.

It was during the depth of the Great Depression of the late 1920s and 30s, when at least 14 million people were out of work in the USA, that Dorothea Lange (1895-1965) first ventured out on the streets with her camera. In 1935 a report on migrant workers, illustrated with Lange's photographs, came to the attention of Roy Stryker and in response he invited Lange to become a member of the Farm Security Administration (FSA) photographic unit. Like Stryker, Lange believed that photography was a tool of political action, and this was no more apparent then when the federal government responded to the starvation crisis shortly after the San Francisco News received Lange's photographs - it quickly supplied 20,000 pounds of food to feed hungry migrants at the camps. Lange's championing of black migrants can be seen in the photograph "Plantation Overseer"and his Field Hands" of 1936, in which Lange captured the image of a man who exemplified the racist, exploitative and un-democratic attitudes that were rife in Southern plantation life. The evidence of racism revealed in this photograph - and others - is countered by Lange's many dignifying portraits of black subjects. When the bitter years of the Depression were overtaken by the advent of World War II, she continued to demonstrate her opposition to the poor treatment of migrants by opposing the relocation of 110,000 American Japanese to internment camps. She recorded the evacuation in Northern California after being assigned by the War Relocation Authority. In 1955, after a bout of ill health, Lange continued to work on contemporary social issues, namely a photo-essay for "Life" magazine, a sensitive study of the work of a Yugoslav-American public defender, representing those who could not afford to pay their own legal expenses. Lange watched and photographed him on and off for a year, catching the reflective moments of his defendants' body language. Lange was the first woman to be awarded the Guggenheim Fellowship (1941) and was placed on the Honour Roll of the American Society of Magazine Photographers in 1963. She was honoured with major solo exhibitions at the San Francisco Museum of Art (1960) and the Oakland Art Museum (1960) and she began preparing a retrospective at the Museum of Modern Art, New York shortly before she died in 1965.

After studying architecture at Cornell University, Matta-Clark developed more interest in buildings about to be destroyed than in the ones about to be built, as most architects would. He first forced his way into abandoned apartment buildings in the Bronx , and using a chain saw, would act as an architecture pirate, cutting pieces of walls and floors, only to leave behind the remains of what once was architecture. From pieces of walls his work shifted, in 1974, to the scale of a whole suburban house. "Splitting", probably his most popular work, was made by cutting a vertical line through the entire width of the house, and transforming the cut into a yawn, after lowering the foundations on both sides of the house. Erasing the boundaries between architecture, sculpture, and even drawing (his cuts have often been refered to as drawings in space), his building-cuts can also be understood as a social critique of the standardized suburban architecture that flourished during the postwar decades. The book opens with Thomas Crow's survey text on the artist (24,000 words). Divided into 4 chapters plus an epilogue, this richly illustrated essay provides insight into the career of the artist, from his childhood spent between New York and Paris, to his premature death in 1978 at the age of 35. These essays span the multi-faceted practice of Gordon Matta-Clark, with a particular emphasis on his building-cuts, the group of works he is most renowned for and that compose the most important part of his career. This book also includes a "Documents" section, composed of original interviews, articles, and documents compiled by editor Corinne Diserens. Several interviews, some of them never published before, allow the reader to understand more fully, and through Matta-Clark's own voice, the more pragmatic, technical, and physical dimensions related to the creation of his building-cuts. Some articles and essays of reference, most of them published in the 1970s and today out of print, are also republished and offer a unique critical background and context to his work.

Isa Genzken's work encompasses sculpture, collage, film and photography. As one of Germany's leading sculptors to have emerged since the 1980s, her work is noted for combining references to architecture, modernism and art history with the personal, such an installation drawing together photographic images of her own body set alongside sleek, 'constructivist' forms. She is interested in the detritus of material culture, particularly architectural detritus of concrete blocks, glass, mirrored sheets and steel. The combination of materials in her work is remarkable, drawing together animal heads, transparent fluorescent plastic, spray-painted pinecones, found objects such as binoculars or kitchen utensils, and airplane windows, to name but a few. Her work can be uncomfortably 'ugly' - assemblages of unrelated objects and artist's materials (oil paint on store-bought action figures, for example) - or shining and beautiful, as with her magnificent 'cities' of 'New Buildings': small, impeccably crafted, glass and wood skyscrapers. One of her best known and loved works, Rose (1997) is a romantic public sculpture of a single long-stemmed rose made from enamelled stainless steel, rising over 8 metres in height and permanently installed in Leipzig's museum district. Genzken has been exhibiting since the 1970s, but her work came to international attention particularly following her impressive installation of skyscrapers at Documenta 11 in Kassel, Germany, in 2002. She is included at this year's prestigious Carnegie International in Pittsburgh, Pennsylvania (2005). Genzken's work is represented by Galerie Daniel Buchholz, Neven-DuMont-Str. 17, Cologne 50667, Germany, [email protected], Hauser &, Wirth, 196A Piccadilly, London, W1J 9DY, [email protected] and David Zwirner Gallery, 525 W 19th Street, New York, NY 10011, USA, [email protected]