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Books : Arts & Photography : Schools, Periods & Styles : Gothic
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From its origins in the eighteenth-century literature of terror to its contemporary manifestations in vampire fiction, cinema, and art, the gothic has embraced the powers of horror and the erotic macabre. “Gothic” is an epithet with a strange history – evoking images of death, destruction, and decay. Ironically, its negative connotations have made the gothic an ideal symbol of rebellion for a wide range of cultural outsiders.
Popularly associated with black-clad teenagers and rock musicians, gothic fashion encompasses not only subcultural styles (from old-school goth to cyber-goth and beyond) but also high fashion by such designers as Alexander McQueen, John Galliano of Christian Dior, Rick Owens, Olivier Theyskens, and Yohji Yamamoto. Fashion photographers, such as Sean Ellis and Eugenio Recuenco, have also drawn on the visual vocabulary of the gothic to convey narratives of dark glamour. As the text and lavish illustrations in this book suggest, gothic fashion has deep cultural roots that give it an enduring potency.
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"Fraktur Mon Amour" reproduces 300 variations of Blackletter, ranging from historical fonts to contemporary reinventions, in a sensuous, beautifully crafted, hot-pink prayer-book style catalog that is destined to become a fetish object for designers and type enthusiasts. Each Blackletter font is presented on a full page along with its complete alphabet, date of origin, the name of its designer, and original foundry. On the facing page is a composition created from that font that explores the subversive beauty of this unique typeface. In addition, 137 of these fonts – including four created exclusively for this book – are collected on an enclosed CD (Mac and PC) for free private and restricted commercial use. "Fraktur Mon Amour" is the winner of several awards including the Type Directors Club of New York’s 2007 Award for Typographic Excellence.
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These substantial volumes on art periods vividly portray the most important achievements from the areas of European architecture, sculpture, and painting. The impressive photographs of works from all visual arts movements are at the center of these richly illustrated volumes. The books successfully provide an overview of the artistic diversity of the individual periods, and they couldn't have been written and illustrated any more clearly. The informative and interesting texts have been written by renowned authors from the fields of history, architecture and art history, providing a multifaceted view of each period. These books are a real pleasure for anyone with an interest in art.
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The author of the New York Times bestseller The Time Traveler’s Wife returns with another evocative “novel in pictures,” the much-anticipated follow-up to 2005’s The Three Incestuous Sisters. The Adventuress follows the dreamlike journey of an alchemist’s daughter. After she is kidnapped by a lascivious baron, she turns herself into a moth and flees to the garden of a charming butterfly collector named Napoleon Bonaparte. The story of how the two become lovers, and how their affair ends in tragedy and transcendence, is told through Niffenegger’s spare prose and haunting aquatint etchings. With a stunning and distinctive visual style reminiscent of the work of Edward Gorey, this gothic romance packs the emotional heft of the world’s great fairy tales. It will delight fans of the author’s previous works and enchant an entirely new legion of readers.
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One of the most lavishly illustrated codices of the Middle Ages, the Belles Heures (1405–1408/9) is the only manuscript executed in its entirety by the famed Limbourg brothers. Commissioned by its magisterial patron, Jean de France, duc de Berry, this richly illuminated Book of Hours, intended for private devotion and now housed in The Cloisters at the Metropolitan Museum, counted among the duke’s large collection of prized possessions. The luminous scenes depicting the legends of the saints, the Hours of the Virgin, and the like, many with elaborately designed borders, exemplify the transcendent splendor of the Limbourg brothers’ talents.
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John Fitchen systematically treats the process of erecting the great edifices of the Gothic era. He explains the building equipment and falsework needed, the actual operations undertaken, and the sequence of these operations as specifically as they can be deduced today. Since there are no contemporary accounts of the techniques used by medieval builders, Fitchen's study brilliantly pieces together clues from manuscript illuminations, from pictorial representations, and from the fabrics of the building themselves.
"Anyone who has caught the fascination of Gothic Churches (and once caught, has almost necessarily got it in the blood) will find this book enthralling. . . . Clearly written and beautifully illustrated." —A. D. R. Caroe, Annual Review, Central Council for the Care of Churches
"Fitchen's study is a tribute to the extraordinary creative and engineering skills of successive generations of mediaeval builders. . . . This study enables us to appreciate more fully the technical expertise and improvements which enabled the creative spirit of the day to find such splendid embodiment." —James Lingwood, Oxford Art Journal
"Fitchen, in what can only be defined as an architectural detective story, fully explores the problems confronting the medieval vault erectors and uncovers their solution. . . . This is a book that no serious student of architecture will want to miss." —Progressive Architecture
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This collection of writings examines the pervasive and influential role of "the Gothic" in contemporary visual culture. The contemporary Gothic in art is informed as much by the stock themes of the eighteenth- and nineteenth-century Gothic novel as it is by more recent permutations of the Gothic in horror film theory, Lacanian psychoanalysis, and Goth subcultures. This reader from London's Whitechapel Gallery brings together artists as different as Matthew Barney, Gregor Schneider, Louise Bourgeois, and Douglas Gordon; its intent is not to use "the Gothic" to group together dissimilar artists but rather to shed light on a particular understanding of their practice. Anthony Vidler looks at ideas of the uncanny to explore Rachel Whiteread's House, and Jeff Wall uses the motif of vampirism to analyze fellow artist Dan Graham's Kammerspell; Hal Foster considers Robert Gober's recent work—laden with Christian symbolism, criticism of America as a nexus of power, and fragmented bodies—as an updated American Gothic, and Kobena Mercer examines the Gothic's depiction of the Other in relation to Michael Jackson's pop video Thriller. Texts by artists including Mike Kelley, Damien Hirst, Tacita Dean, Jonathan Meese, and Catherine Sullivan are complemented by extracts from Walpole's genre-establishing gothic novel The Castle of Otranto, William Gibson, Bret Easton Ellis, and Stephen King, among others, and theoretical writings by such key thinkers as Carol Clover, Beatriz Colomina, Julia Kristeva, Eve Kosofsky Sedgwick, Marina Warner, and Slavoj Zizek. The Gothic provides the first comprehensive overview of the uses of Gothic in contemporary visual culture.
Artists surveyed:
Matthew Barney, Louise Bourgeois, Tacita Dean, Sue de Beer, Janet Cardiff, Mark Dion, Stan Douglas, Robert Gober, Douglas Gordon, Dan Graham, Damien Hirst, Mike Kelley, Paul McCarthy, Teresa Margolles, Jonathan Meese, Raymond Pettibon, Paul Pfeiffer, Gregor Schneider, Cindy Sherman, Catherine Sullivan, Andy Warhol, and Jane and Louise Wilson.
Writers:
Jean Baudrillard, Elizabeth Bronfen, Edmund Burke, Carol Clover, Beatriz Colomina, Douglas Crimp, Jacques Derrida, Richard Dyer, Umberto Eco, Bret Easton Ellis, Trevor Fairbrother, Alex Farquharson, Hal Foster, Michel Foucault, Sigmund Freud, William Gibson, Christoph Grunenberg, Bruce Hainley, Judith Halberstam, Amelia Jones, Jonathan Jones, Mike Kelley, Julia Kristeva, Jacques Lacan, Patrick McGrath, Kobena Mercer, James Meyer, Edgar Allan Poe, Andrew Ross, Jerry Saltz, Eve Kosofsky Sedgwick, Mary Shelley, Nancy Spector, Robert Louis Stevenson, Anthony Vidler, Jeff Wall, Horace Walpole, Marina Warner, Anne Williams, and Slavoj Zizek.
Copublished with Whitechapel Art Gallery, London
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Gothic offers a lucid and accessible introduction to the Gothic genre, tracing the darkly terrific shapes and developments of a transgressive literary practice which has thrived for over two centuries. Fred Botting explores a number of key texts, their origins and writers, and discusses them in the context of their cultural and historical location, their critical reception and their influence.
Botting's concise introduction examines a remarkably wide and diverse range of authors and critics, varying from such artists as Mary Shelley and Bram Stoker to Angela Carter and David Lynch. Gothic focuses on the various styles and forms of the genre and analyzes the cultural significance of its prevalent figures--the ghosts, monsters, vampires, doubles and horrors that are its definitive features. Botting traces its history from its origins in the 18th century through its modernist and postmodernist representations, highlighting the ways Gothic figures have continued to shadow the progress of modernity, always displaying the underside of human values. He offers a broad overview of the themes, images and effects that not only define the genre, but also endure and re-appear endlessly in both "high" and "popular" literature and culture.
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John Ruskin, Victorian England's greatest writer on art and literature, believed himself an adopted son of Venice, and his feelings for this city are exquisitely expressed in The Stones of Venice. This edition contains Ruskin's famous essay "The Nature of Gothic," a marvelously descriptive tour of Venice before its postwar restoration. As Ruskin wrote in 1851, "Thank God I am here, it is a Paradise of Cities."
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Bram Stoker's initial notes and outlines for his landmark horror novel Dracula were auctioned at Sotheby's in London in 1913 and eventually made their way to the Rosenbach Museum and Library in Philadelphia, where they are housed today. Until now, few of the 124 pages have been transcribed or analyzed.
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One of the most successful art books of all time is now available in paperback for the first time. In their now-classic texts, Longnon and Cazelles recount the history of this work from its inception up until modern times. 139 color plates.
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The origins and multiple meanings of Grant Wood's indelible portrait.Is there anyone who has not seen the sturdy Iowa farmer with his pitchfork and his thin-lipped wife or daughter? Ever since it met the public eye in 1930, the work titled American Gothic has elicited admiration, disgust, reverence, and ridicule—and has been reproduced hundreds of thousands of times, in every medium. Painted by a self-proclaimed "bohemian" who studied in Paris, the image was first seen as a critique of Midwestern Puritanism and what H. L. Mencken called "the booboisie." During the Depression, it came to represent endurance in hard times through the quintessential American values of thrift, work, and faith. Later, in television, advertising, politics, and popular culture, American Gothic evolved into parody—all the while remaining a lodestar by which one might measure closeness to or distance from the American heartland.
With broad perspective, acute insight, and humor, Steven Biel explores the strangely enduring life of America's most popular painting. 30 illustrations and 8 pages of color.
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Medieval architecture comprises much more than the traditional image of Gothic cathedrals and the castles of chivalry. A great variety of buildings--synagogues, halls, and barns--testify to the diverse communities and interests in western Europe in the centuries between 1150 and 1550. This book looks at their architecture from an entirely fresh perspective, shifting the emphasis away from such areas as France towards the creativity of other regions, including central Europe and Spain. Treating the subject thematically, Coldstream seeks out what all buildings, both religious and secular, have in common, and how they reflect the material and spiritual concerns of the people who built and used them. Furthermore, the author considers how and why, after four centuries of shaping the landscapes and urban patterns of Europe, medieval styles were superseded by classicism.
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Developments in medieval science that elevated sight above the other senses found religious expression in the Christian emphasis on miracles, relics, and elaborate structures. In his incisive survey of Gothic art and architecture, Roland Recht argues that this preoccupation with vision as a key to religious knowledge profoundly affected a broad range of late medieval works.
In addition to the great cathedrals of France, Recht explores key religious buildings throughout Europe to reveal how their grand designs supported this profusion of images that made visible the signs of scripture. Metalworkers, for example, fashioned intricate monstrances and reliquaries for the presentation of sacred articles, and technical advances in stained glass production allowed for more expressive renderings of holy objects. Sculptors, meanwhile, created increasingly naturalistic works and painters used multihued palettes to enhance their subjects’ lifelike qualities. Reimagining these works as a link between devotional practices in the late Middle Ages and contemporaneous theories that deemed vision the basis of empirical truth, Recht provides students and scholars with a new and powerful lens through which to view Gothic art and architecture.
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Critical introductions to a range of literary topics and genres. The gothic influence on modern writers such as Angela Carter, Iain Banks and Stephen King is vivid and great as is the effect on the world of film and rock music. Part of the function of this book is to offer some guidance: not in terms of a fixed or definitive set of Gothic characteristics, but rather in giving a framework for questions and explorations.
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100 royalty-free alphabets: Blackstone, Dolbey, Germania, 97 more — with many lowercases, numerals, punctuation marks.
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At the turn of the fourteenth century, Enrico Scrovegni constructed the most opulent palace that the city of Padua had seen, and he engaged the great Florentine painter, Giotto, to decorate the walls of his private chapel (1303ñ5). In that same decade, Dante consigned EnricoÃÂs father, a notorious usurer, to the seventh circle of hell. The frescoes rank with DanteÃÂs Divine Comedy as some of the great monuments of late medieval Italian culture, and yet much about the fresco program is incompletely understood.
Most traditional studies of the Arena Chapel have examined the frescoes as individual compositions, largely divorced from their original context, almost as if they were panels detached from an altarpiece and hung on a museum wall for the viewing pleasure of the connoisseur.
Anne Derbes and Mark Sandona, in contrast, consider each image as part of an intricate network of visual and theological associations comparable to that of DanteÃÂs poem. The authors show how this remarkable ensemble of paintings offers complex meanings, meanings shaped by several interested partiesópatron, confessor, and painter.The UsurerÃÂs Heart pieces together new historical evidence on the chapelÃÂs origins and describes the fresco program as, in part, an attempt to ameliorate the Scrovegni familyÃÂs reputation. It interprets the chapelÃÂs fresco program and the chapelÃÂs place in the heart of an ambitious and guilt-ridden moneylender.
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"The Gothic Cathedral is the most stimulating and comprehensive work on the subject to date. . . . If the cathedrals are to be understood, Mr. von Simson rightly declares, they must be seen not in the light of twentieth-century esthetic observation, but of twelfth-century religious experience, through which the supernatural permeated every aspect of human existence. . . . The resulting interpretation of the monuments is a critical tour de force." --Allan Temko, The New York Times Book Review "Not since Mont-St.-Michel and Chartres has so poetic and so evocative a study of the Gothic movement been published. . . . The Gothic Cathedral is based on a wide factual as well as intuitive knowledge, transformed by the author's illuminating style into a text both formidable and pleasurable."--The Virginia Quarterly Review