Author: Till-Holger Borchert
Publisher: Taschen America Llc
Release Date: 2017-04-15
van Eyck under the magnifying glass After our sumptuous, XL monographs on Leonardo, Michelangelo, Caravaggio, and Klimt, TASCHEN now puts Jan van Eyck in the spotlight. Leader of the Early Netherland School and arguably the most important painter of the Early Renaissance, van Eyck (c. 1390–1441) completely revolutionized the use of oil paints, allowing for great intensity and depth of color; his own contemporaries were astounded by the detailed realism of his style and the luminosity of his palette. With its unprecedented precision (down to the most minute details reflected in the background mirror), The Arnolfini Portrait is one of the most famous and beloved paintings of all time. The Ghent Altarpiece is itself a milestone in the history of art; in it, for the first time, pictorial conventions of the Middle Ages were replaced by a visual language that is still current today. In his religious paintings in particular, Jan van Eyck's ground-breaking realism is married with a symbolism that allowed the artist to illustrate even the most complex theological concepts in a highly accessible way. This volume explores van Eyck's complete life and work in large-scale illustrations—featuring many enlarged details—setting the cultural and historical scene for the revolutionary painting and life story of this enigmatic artist. The result is a richly faceted panorama that looks not just at the content and artistic interpretation of van Eyck's paintings, but also at the patrons who commissioned them and the original functions they were designed to fulfill. Analysis also extends to the production of his assistants, whose workshop paintings are here presented to a broader public for the first time. This comprehensive tome is rounded off by a catalogue raisonné of all the currently known works by Jan van Eyck and his workshop, together with a detailed inventory of lost works which has been reconstructed on the basis of the literature or later copies.
Author: Andrea Korda
Release Date: 2017-07-05
Printing and Painting the News in Victorian London offers a fresh perspective on Social Realism by contextualizing it within the burgeoning new media environment of Victorian London. Paintings labelled as Social Realist by Luke Fildes, Frank Holl and Hubert Herkomer are frequently considered to typify the sentimental Victorian genre painting that quickly became outdated with the development of modernism. Yet this book argues that the paintings must be considered as the result of the new experiences of modernity-the urban poverty that the paintings represent and, most importantly, the advent of the mass-produced illustrated news. Fildes, Holl and Herkomer worked for The Graphic, a publication launched in 1869 as a rival to the dominant Illustrated London News. The artists? illustrations, which featured the growing problem of urban poverty, became the basis for large-scale paintings that provoked controversy among their contemporaries and later became known as Social Realism. This first in-depth study of The Graphic and Social Realism uses the approach of media archaeology to unearth the modernity of these works, showing that they engaged with the changing notions of objectivity and immediacy that nineteenth-century new media cultivated. In doing so, this book proposes an alternative trajectory for the development of modernism that allows for a richer understanding of nineteenth-century visual culture.
Author: Derek Walcott
Publisher: Farrar, Straus and Giroux
Release Date: 2014-02-18
Two masterful artists—Gauguin and van Gogh—come alive in a vibrant drama about friendship, art, and madness Two painters—Paul Gauguin and Vincent van Gogh—are living together in the sleepy town of Arles in 1888. Soon, Gauguin, frustrated by van Gogh's refusal to acknowledge his increasingly troubled mind, will depart for Paris. In two years, van Gogh will be dead by his own hand. In the meantime, the friends discuss their craft; they frequent a local café that van Gogh will soon immortalize; they become acquainted with a young prostitute, Lotte, who becomes Gauguin's lover; they argue; they paint. In Derek Walcott's new historical play, O Starry Starry Night, two world-renowned artists come to life as they wrestle both with grand themes—friendship, loyalty, fame—and with more mundane concerns, money primary among them. The scenes Walcott sketches summon several of van Gogh's most famous paintings: Sunflowers, The Night Café, The Bedroom at Arles. His manipulation of language—van Gogh's eloquent monologues giving way to more abstract speeches—evokes the painter's descent into madness. Over the action hangs the threat of violence, of death, which lends the play a potent urgency; for at least one of the characters, time is quickly running out. O Starry Starry Night is powerfully wrought, and demonstrates once again the sharpness of Walcott's eye: as a painter, as a poet, as a writer, and, above all, as an observer of human follies, foibles, failings, and aspirations.
Author: Maurice Berger
Publisher: Yale University Press
Release Date: 2014
An engaging exploration of the relationship between avant-garde art and American network television from the 1940s through the 1970s The aesthetics and concepts of modern art have influenced American television ever since its inception in the 1930s. In return, early television introduced the public to the latest trends in art and design. This engaging catalogue comprehensively examines the way avant-garde art shaped the look and content of network television in its formative years, from the 1940s through the mid-1970s. It also addresses the larger cultural and social context of television. Artists, fascinated with the new medium and its technological possibilities, contributed to network programs and design campaigns, appeared on television to promote modern art, and explored, critiqued, or absorbed the new medium in their work. More than 150 illustrations reveal both sides of the dialogue between high art and television through a selection of graphic designs, ephemera, and stills from important television programs--from The Twilight Zone to Batman to Rowan & Martin's Laugh-In, and more--as well as works by artists including Salvador Dal�, Lee Friedlander, Agnes Martin, Man Ray, Andy Warhol, and many others. Revolution of the Eye uncovers the cultural history of a medium whose powerful influence on our lives remains pervasive.
Dizi: Paintings is a catalogue raisonne presented by the Dizi Kulkarni Foundation. The publication features 112 paintings by the Indian artist D. G. (Dizi) Kulkarni (1921-1992), considered "one of the most interesting Modernist artists in India" by Richard R. Brettell in his introduction to The Robert Lehman Collection. Vol. 3, Nineteenth- and Twentieth-Century Paintings, The Metropolitan Museum of Art, New York. A student of the Sir J. J. School of Art (Mumbai), Dizi - a contemporary of M. F. Husain, S. H. Raza, S. B. Palsikar and V. S. Gaitonde - belonged to the generation of modern Indian artists who transcended tradition to explore and articulate new ideas of visual expression. Their work reflects the influence of the European artists Cezanne, Dubuffet, Dufy, Kandinsky, Klee, Matisse and Picasso. The works in the catalogue document Dizi's evolution as an artist over a period of five decades."