Phaidon strana 66 z 66

Following on from the publication of "Nicholas", "Nicholas Again", "Nicholas on Holiday" and 'Nicholas and the Gang", this is the equally funny and charming fifth title in this well-loved series of books, now available to English-speaking children all over the world. In "Nicholas in Trouble", the gang sell raffle tickets for good cause, learn how to cross the road safely and bring all kinds of interesting things to school, to the surprise and consternation of their long-suffering teacher. In "Nicholas", Goscinny and Sempe have created an archetypal schoolchild whose world of mishaps, confusions and downright naughtiness are sure to raise a smile, whatever the age of the reader.Written between 1959 and 1965, these classic books are loved by readers around the globe and offer not only a hilarious and entertaining read, but a vivid description of French life and culture. Though clearly set in a more innocent past, the charming world conjured up in this book is instantly familiar, full of situations almost everyone who has ever been seven years old can relate to without any trouble at all: being made to write thank-you letters, having to endure older relatives who keep insisting on giving you a kiss, and all those arguments with your friends that seem like the most important thing in the world one day, and are happily forgotten the next.Considered classics and available in twenty-six languages, the Nicholas stories delight both children and adults, and are regularly used as teaching materials by primary and junior school teachers. Firmly established as a literary cult figure, the sublimely innocent Nicholas has already charmed millions of readers world-wide since these books were first published over forty years ago. "Nicholas in Trouble" was translated from the original French by the award-winning Anthea Bell, who also helped to bring "Asterix the Gaul" to the English-speaking world.

Egon Schiele was an Austrian Expressionist painter and is widely recognised as a major figure in the history of modem art. In this revised edition Simon Wilson explores the influences which helped shape his art. The Austrian painter Egon Schiele is now recognised as a major figure in the history of modern art and in the development of the Expressionist movement. He was only 28 when he died in 1918, yet in his short life he produced a remarkable series of intense and powerful images, and although dogged by unfounded accusations of pornography he pursued his vocation as an artist with uncompromising intensity, giving expression to his most powerful feelings with an anguished honesty. In this recently revised book, Simon Wilson explores Schiele's obsession with sex, life and death, which gave rise to his famous female nudes and nude self-portraits, and examines his vision of the artist in society, and his work as a landscape and portrait painter.

Josef Albers (1888-1976) has long been admired for his progressive vision as an artist and designer who blurred distinctions between fine and applied art, but rarely has his influence as a teacher been examined with such depth and detail. The German-born artist/educator was a remarkable classroom performer whose colorful language, wit, and dramatic flair held his students spellbound and turned his lessons into high adventure. Whether at the Bauhaus in prewar Germany, Black Mountain College in rural North Carolina during the 1930s and 1940s, or at Yale in the 1950s, Albers-the-teacher was driven by one thing: the desire to open his students' eyes to a different way of perceiving art and, ultimately, life. The son of a house painter and decorator in Germany's northwest Ruhr region, Albers grew up surrounded by artisans and learned at an early age to paint, cut stone, and craft wood. Although his ambition had always been to become an artist, Albers entered teacher's training college at his father's insistence and spent his first professional year teaching six- to fourteen-year-olds in a single-classroom school. Later experience at the Koniglichen Kunstschule in Berlin's rough-and-tumble Alexanderplatz neighborhood and exposure to the city's hothouse cultural atmosphere inspired the young Albers to merge his love for art and education-a decision that would have an impact on generations of artists to come in both Europe and the United States. "Josef Albers: To Open Eyes" takes the reader through Albers's life in teaching-from his first years at the pioneering but politically fraught Bauhaus, to his 1933 emigration to the United States, where he and his wife Anni became founding members and teachers at the experimental start-up Black Mountain College, and again to his 1950 appointment to head up Yale University's newly restructured Department of Design. Throughout his 40 years in education, Albers influenced everyone he encountered not, as one former student says, as a "tour guide of the world of art, but rather as a living embodiment of that world."

Photo Trouvee brings together 285 anonymous 'amateur' photographs, which were discovered and collected over a period of over twenty years in flea markets and antique shops. They are taken from the private collections of Michel Frizot, one of the most highly respected photohistorians in France and internationally, and his colleague Cedric de Veigy, professor of photography and film. These images once belonged to hundreds of now anonymous men and women, both young and old, city- and country-dwellers. They show family reunions and individual portraits, holiday scenes and urban landscapes, still lives and everyday objects. Seen together, they form what the authors call "an anthropology of the ordinary". But however ordinary their subjects might be, the photographs themselves are certainly never mundane. Collections of 'amateur' photographs often display the images as being kitsch or funny, here the approach is very different. The images have been selected as much for the atmosphere and universal feelings of humanity that they engender as for their intrinsic quality as photographs, in fact, they often provoke more questions in the viewer than they answer. As photographs portraying scenes of everyday life, originating both from the past and nearer to the present, they conjure up familiar images and emotions in the reader, be it of a place, a person, a gesture, or simply an atmosphere. The images are presented in 18 carefully edited sections of 13, 15 or 17 images, with each picture displayed on a single page. Neither chronological nor thematic in arrangement, the images have been placed according to their composition, their tone, and the rhythm and narrative dimension of the photographs. Frizot and de Veigy introduce this collection of photographs in their own words, providing a concise explanation of their aims when collecting and curating this intimate and intensely atmospheric body of work.