Thames & Hudson strana 65 z 126

From wilderness treks to weekends spent following local coastal paths, adventure cycling combines cycle touring, mountain biking, and camping to open up new and exciting possibilities for adventure on two wheels. Cycling writer and photographer Joshua Cunningham spent eleven months cycling from London to Hong Kong, a journey that spanned twenty- six countries and 13,670 miles. During his journey, he captured thousands of photographs of the landscapes--many barely touched by humans-- and acquired a wealth of invaluable experience, from arranging travel and selecting the best bike to what to pack for each climate and terrain, and how to choose and navigate your route. Part travelogue, part practical guide, this exhilarating account divides the stages of Cunningham's tour into five chapters, each focusing on a geographical environment: forest, desert, mountain, tropical, and urban. Packaged in a travel-friendly format, this combination of practical text and inspiring photography will appeal to every bike adventurer.

Picture books are such good fun and so is making them-- but who knew there were so many things that could go wrong? This is the story of a picture book doomed from the very start. Allan has a good idea for a book about a crocodile, but every time he sits down to write, he's interrupted. The manuscript gets soaked in coffee, nibbled by snails, and when Bruce gets started on the pictures, he gets overexcited and draws a hippo, not a crocodile, at which point the publishers get overexcited too--they want a dinosaur and experiment with all kinds of different fonts. Allan and Bruce finally think they've straightened things out, when the book goes off to the printer and--you guessed it--the trouble really starts. My Worst Book Ever is a clever and amusing introduction to the process of writing books for children, and they--along with their parents--will be delighted to see how hilariously wrong Allan and Bruce's book turns out.

Lighthouses have always unsettled and attracted in equal measure, highlighting the triumphs and failures in humanity's battle with the forces of nature. Taking as its heroes the lighthouses themselves, Sentinels of the Sea describes the engineering genius that allowed their construction on even the smallest of rock outcrops and the innovations that made the lights so powerful and reliable. Intricate, elegant architectural plans and elevations, and evocative period drawings and photographs showcase the innovative designs and technologies behind fifty historic lighthouses built around the world from the 17th to the 20th century. R.G. Grant's engaging and authoritative text chronicles the incredible feats of engineering and endurance that brought these iconic, isolated towers into being, the advances in lens technology that made the lights so effective, and the everyday routines of the lighthouse keepers and the heroic rescues that some performed. Packed with extraordinary stories of human endeavour, desperate shipwrecks, builders defying the elements and heroic sea rescues, the book also reveals the isolation and vulnerability of the dedicated lighthouse keepers. show less

Victor Horta (1861–1947) is well known as the creator of Art Nouveau architecture. Following the design of the Hôtel Tassel, Brussels, in 1893, Horta produced more than 40 buildings during the following decade. This new book discusses the many influences on his designs, and his legacy. Detailed descriptions of 19 projects, including Edicule Lambeaux, Hôtel Autrique, Hôtel Max Hallet and the Brugmann Hospital, are illustrated with Horta’s original drawings and specially commissioned photographs by award-winning architectural photographer Alastair Carew-Cox. Included in this book are extensive photographs of Hôtel Solvay, one of Horta’s most important works; access to photographers had been denied for 20 years, but special access was granted to Alastair Carew-Cox in the summer of 2016 in recognition of his and Professor David Dernie’s significant contribution to the study of Horta. Victor Horta: The Architect of Art Nouveau has been prepared in close collaboration with the Horta Museum, Brussels, ensuring that it is both accurate and up to date. It will appeal to anyone interested in Art Nouveau, one of the great aesthetic movements of the early 20th century. Its richly ornamental style of fluid lines based on natural forms expressed a desire to abandon the historical styles of the 19th century and to develop a language that was beautifully crafted and thoroughly contemporary, laying the foundations for the development of modernism in architecture and interior design.

A Journey Through Art is a global history of art with a time- travel twist, taking young readers on a expedition from the Paleolithic period to the present day, voyaging to thirty locations around the world. As readers travel from one incredible destination to the next, they discover the amazing network of caves carved into the rock in AD 500 at Ajanta, India; Cambodia's Angkor Wat as it stood in AD 1200; the glories of Renaissance Florence in AD 1500; and the remarkable energy of New York in the 1950s. At every location readers encounter stories of artworks and the cultures that surrounded them. The journey is chronological with three sections: prehistoric and ancient; medieval and early modern; and modern and contemporary. Two beautifully illustrated spreads showcase each destination, allowing children to engage with the art, artifacts, and culture of a unique place in time as Aaron Rosen tells the story of how art developed across the world.

‘Architects, sculptors, painters, we all must return to the crafts!’ declared the architect Walter Gropius in his Bauhaus manifesto. Founded as an art school in 1919 and forced to close in 1933 by the Nazis, the Bauhaus established itself as a major influence on 20th-century art and design that continues to this day. The Bauhaus opened in Weimar, the progressive heart of Germany’s postwar republic. Under its first director, Walter Gropius, students were taught by some of the most celebrated artists of the time, including Paul Klee, Lyonel Feininger and Wassily Kandinsky. The school moved to Dessau in 1922, under its radical new director Hannes Meyer, and to Berlin in 1932 under architect Ludwig Mies van der Rohe. In 1933 the Gestapo forced the Bauhaus to close for the last time. This volume uncovers the sources of inspiration that brought the Bauhaus into existence, from medieval cathedrals of Europe and Hokusai prints to William Morris and Arts and Crafts. Each of the various workshops and courses at the Bauhaus is explored in detail, illustrating the extraordinary wealth of experimentation in every field: ceramics, woodwork, metalwork, textiles, glass-painting, sculpture, mural, printing and binding, typography and publicity, theatre, architecture and photography. This essential and accessible guide to the Bauhaus, its history and turbulent political context, provides the key to understanding why it is recognized as the most durable and influential source of modern ideas about art, design and craft. Table of Contents Essays • Sources and Inspirations • Workshops and Lessons • In the Heart of Bauhaus Bauhaus Lives On

The family is a thing of many parts – a complicated puzzle made of brothers, sisters, mums, dads, uncles, friends, grandparents. Sooner or later all of us get lost in the maze of kinship, trying to understand who is a great-uncle and a stepfather, who’s married to whom, what in-laws are, and why someone who’s only just been born can immediately becomes uncle or nephew to someone. The protagonist of this hilarious book, together with his father, ventures to climb his own genealogical tree, happily finding his own place as a part of this big, lively, crowded universe.

How Many Kisses? begins by inviting the reader to give one kiss to the cat, two kisses to the dogs, three kisses to the flowers and so on, following a classic counting technique until readers reach the number ten. The book then takes wild jumps up to seventeen, sixty-four, 823, and finally ‘millions’, prompting a riotous explosion of kisses from the reader. By encouraging the child to interact physically with the book, each reading becomes like a game that celebrates all the things in a child’s life that they love, while familiarizing them with numbers and counting. The unique twist in the counting narrative gives physical expression to numbers too large for younger children to quantify, while inspiring an enjoyment of counting.

This book teaches pre-schoolers how to describe size simply by having them ask the question ‘Who’s the biggest?’ to the pair of objects on every spread. The fun is in the reply; using evocative verbs, the book helps to conjure up some of the character of the object speaking: ‘“I am!” trumpets the elephant’, or “I am!” warns the hammer to the nail. Parents and guardians reading the book to toddlers will inevitably be drawn into the game, and will enjoy making their replies as expressive as possible. The skills being taught are basic mathematics, which Chedru turns into a fun and creative game that children will love playing. By requiring the reader to actively ask the question ‘Who’s the biggest?’ on every page, the book enourages children to apply an enquiring mindset to the things they encounter.

Designers, stylists and artists from across the country and around the globe make London their home, finding inspiration in its quirky British style and lively cosmopolitanism. The New Creative Home is a celebration the city’s rich mix of living spaces – from a spacious, contemporary flat in trendy Clerkenwell to a stylish Victorian terrace in Notting Hill. This exclusive peek into the personal spaces of the world’s most ingenious talents offers lifestyle and interior inspiration for any home, whatever your style. Table of Contents Introduction • Chris Dyson • Owen Pacey • Alice Gomme • Nina Litchfield • Caroline Legrand • Alex Eagle • Jessica McCormack • Francis Sultana • Matilda Goad • Lee Broom Hubert Zandberg • Laura Myers • Clements Riberio • Basso & Brooke • Carina Cooper Gillian Hyland • Adam Brown • Matthew Williamson • Nikki Tibbles • Camille Walala Rebecca Louise Law • Serafina Sama • Kevin Torre • Sophie Ashby • Daniela Cecilio Hayley Newstead • Fydor Golan • Directory

The coming of the Industrial Revolution in the early 19th century witnessed unprecedented changes in society: rapid economic progress went hand-in-hand with appalling working conditions, displacement, squalor and destitution for those at the bottom of the social scale. These new circumstances presented a challenge to contemporary image-makers, who wished to capture the effects of hunger, poverty and alienation in Britain, Ireland and France in the era before documentary photography. In this groundbreaking book, the eminent art historian Linda Nochlin examines the styles and expressive strategies that were used by artists and illustrators to capture this misere, roughly characterized as poverty that afflicts both body and soul. She investigates images of the Irish Famine in the period 1846–51; the gendered representation of misery, particularly of poor women and prostitutes; and the work of three very different artists: Théodore Géricault, Gustave Courbet and the less wellknown Fernand Pelez. The artists’ desire to depict the poor and the outcast accurately and convincingly is still a pertinent issue, though now, as Nochlin observes, the question has a moral and ethical dimension – does the documentary style belittle its subjects and degrade their condition? Table of Contents Misere: An Introduction • 1. Misere: The Irish Paradigm • 2. The Gender of Misery • 3. Géricault, Goya and the Representation of Misery • 4. Representing Misery: Courbet’s Beggar Woman • 5. Fernand Pelez: Master of Miserable Old Men • Conclusion

In a town where a lot of poor people suffer and where there are a lot of miseries, a swallow who was left behind after his flock flew off to Egypt for the winter, meets the statue of the late ‘Happy Prince’, who in reality has never experienced true sorrow, for he lived in a palace where sorrow isn’t allowed to enter. Viewing various scenes of people suffering in poverty from his tall monument, the Happy Prince asks the swallow to take the ruby from his hilt, the sapphires from his eyes, and the golden leaf covering his body to give to the poor. As the winter comes and the Happy Prince is stripped of all of his beauty, his lead heart breaks when the swallow dies as a result of his selfless deeds and severe cold. The statue is then brought down from the pillar and melted in a furnace leaving behind the broken heart and the dead swallow and they are thrown in a dust heap. These are taken up to heaven by an angel that has deemed them the two most precious things in the city. This is affirmed by God and they live forever in his city of gold and garden of paradise.

Living with Leonardo is a set of highly focused memoirs, a personal journey interwoven with historical research that encapsulates the author’s relationship with Leonardo da Vinci over more than half a century. We learn of his encounters with the vast population that surrounds Leonardo: great and lesser academics, collectors and curators, devious dealers and unctuous auctioneers, major scholars and authors and pseudohistorians and fantasists; but also how he has grappled with swelling legions of ‘Leonardo loonies’, walked on the eggshells of vested interests in academia and museums, and fended off fusillades of non-Leonardos, sometimes more than one a week. Kemp leads us through his thinking on the Last Supper and the Mona Lisa, retells his part in the identification of the stolen Buccleuch Madonna and explains his involvement with and his theories on the two major Leonardo discoveries of the last 100 years, one of which plummeted into controversy (La Bella Principessa), while the other underwent a rapid ascent into widespread acceptance (Salvator Mundi). We learn firsthand of the thorny questions that surround attribution, the scientific analyses that support the experts’ interpretations, and the continuing importance of connoisseurship. Throughout, from the most scholarly interpretations to the popularity of Dan Brown’s Da Vinci Code, we are reminded of Leonardo’s rare genius and wonder at how an artist from 500 years ago continues to make such compelling posthumous demands on all those who engage with him. Table of Contents Preface and Acknowledgements Introduction: Art History in Action Prologue: a Sketch of Leonardo 1. The Last Supper and the First Steps 2. The “Original” Last Supper 3. Looking at Lisa 4. The Stolen Madonna 5. The Beautiful Princess 6. Ugly Arguments 7. The Saviour 8. Science and Seeing 9. Codices and Computers 10. Exhibitions 11. Codes and Conjectures

Despite his posthumous fame as a painter of flowers, still-lifes, gardens, landscapes and city scenes, during his lifetime Vincent van Gogh believed that his portraits constituted his most important works. Although as an artist he was ‘touched by so many different things’, he was nevertheless committed to the art of portraiture – a quality that distinguished him from his contemporaries. Van Gogh was passionate in his avoidance of bland, photographic resemblances, in the hope of capturing the essential character of his models by means of expressive colour and brushwork. Showcasing a dramatic set of portraits created during Van Gogh’s ten-year career, this book reflects the strong visual impact with which the artist captured the diversity of contemporary life. In his many portraits, we can discern the artist’s desire to record expressively a number of themes, from the plight of the agricultural workers in his native Brabant and the destitution of prostitutes and their children in urban Europe, to the lives of his cosmopolitan acquaintances in Paris, including café owners and art dealers. It was here that he began his remarkable sequence of self-portraits. With reference to Van Gogh’s extensive correspondence, Skea elaborates how the artist perceived his chosen subjects as would a writer, and how he felt that his portraits should somehow evoke what he considered to be the spiritual underpinning of human existence Table of Contents Introduction: ‘And painted portraits have a life of their own that comes from deep in the soul of the painter…’ • 1. The Netherlands • 2. Paris • 3. Arles • 4. Saint-Rémy-deProvence • 5. Auvers-sur-Oise • Sources of Quotations, Further Reading

This sumptuous book is not a reference work, nor it is simply a collection of beautiful flowers. It is the product of a longstanding collaboration between renowned flower artist Makoto and botanical photographer Shunsuke Shiinoki. Working together, they have selected hundreds of plant species and arranged them in striking combinations that could never exist in the natural world, so creating a unique floral aesthetic. The result is a series of dense, luxuriant images, rich in colour and texture, in which nature and artifice are skilfully mingled. The four chapters are themed according to the cycle of the seasons: the freshness and new life of spring, the exuberance and abundance of summer, the fading grandeur of autumn and the deepening shadows of winter. Recalling the opulent still-life paintings of the 17th century, the photographs not only capture the surface beauty of the flowers, but suggest the burgeoning life brimming within them as well as its transience. From the sensuality of opening petals to the unfurling elegance of fern fronds, these gorgeous displays are vividly preserved in a meditative and inspirational book that will enchant all lovers of nature and art. Table of Contents Foreword by Hideto Fuse • Introduction by Mokoto Azuma • 1. The Season of Birth 2. The Season of Flourish • 3. The Season of Maturity • 4. The Season of Silence List of Works

Only 16% of the most recent Venice Biennale artists were female. A mere 14% of MoMA’s 2016 display is by non-white artists. Only one third of artists represented by US galleries are female, but over two-thirds of the enrolment in art and art-history programmes is young women… The fight for gender and race equality in the art world is far from over. Indeed, the more closely one examines the numbers, the more glaring it becomes that white, Euro-American, heterosexual, privileged and, above all, male artists continue to dominate the art world. Arranged in thematic sections focusing on feminism, race and sexuality, this book examines and illustrates pioneering examples of exhibitions that have broken down boundaries and demonstrated that new approaches are possible, from Nochlin’s ‘Women Artists’ at the LACMA in the mid-1970s to Martin’s ‘Carambolages’ in 2016 at the Grand Palais in Paris. By exposing both the disparities and inclusive solutions, the author addresses the urgent need in the contemporary art world for curatorial strategies that provide alternatives to exclusionary models of collecting and display. In so doing, she provides an invaluable source of information for current thinkers and, in a world dominated by visual culture, a vital source of inspiration for today’s ever-expanding new generation of curators. Table of Contents Foreword • Preface • 1. What is Curatorial Activism? • 2. Resisting Masculinism and Sexism • 3. Tackling White Privilege and Western-Centrism • 4. Challenging Heterocentrism and Lesbo-Homophobia • 5. A Call to Arms: Strategies for Change