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Books : Arts & Photography : History & Criticism : Regional : United States
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With art drawn from a wide variety of sources — books, graphic novels, video games, films, galleries, and advertising — Spectrum 15 reinforces both the importance and prevalence of fantasy art in today’s culture. Featuring over 300 exceptional works by artists from around the globe, this gorgeous full-color collection celebrates a cadre of creators working in every style and medium. Included are luminaries such as Brom, James Gurney, Marc Gabanna, Shaun Tan, and 2008’s Grand Master Award winner, John Jude Palencar.
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American artist and design legend Tony Duquette (1914–1999) was known for his over-the-top style in interiors, jewelry, costumes, and set design. His clients included Elizabeth Arden, the Duchess of Windsor, and Herb Albert.
The multi-talented Duquette designed sets for MGM musicals with Arthur Freed and Vincente Minnelli, and designed Tony Award–winning costumes for the original Broadway production of “Camelot.” Duquette was the first American to exhibit a one-man show at the Louvre in Paris.
Tony Duquette is a lavishly illustrated book with many lost and never-before published photographs from the Duquette archives, including portraits and pictures taken by Man Ray, John Engstead, Fredrich Dapriche, Andre Ostier, George Platt Lynnes, as well as original sketches, designs, and texts by Duquette himself. With commentary, interviews, stories, and contributions from Liza Minnelli, Arlene Dahl, Steven Meisel, Bruce Weber, and others.
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"Textile Designs is a dazzling, informative fabric encyclopedia of archival beauty. It is a necessary tool for the fashion industry, schools, and libraries."—Women's Wear Daily
"An iconography of textile motifs and a vocabulary of pattern. . . . Highly recommended." —Choice
Never before have printed textiles been celebrated in a book of this magnitude. Now in paperback, Textile Designs is the indispensable sourcebook for the colorful patterned materials that have been used in fashion and interiors for the past 200 years. Organized not chronologically or geographically but by motif—Floral, Geometric, Conversational, Ethnic, and Art Movements and Period Styles—this bible of textile design presents a stunning cross-section of the materials of everyday life: printed calicos and cottons, flowered cretonnes and chintzes, polka-dot silks and foulards. With its informative text and pattern names provided not only in English but also in French, German, Italian, Spanish, and Japanese, this is a must-have for everyone interested in color and pattern.
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When Cajun artist George Rodrigue began his series of Blue Dog paintings in 1984, he had no idea that they would consume the greater part of his life for over two decades, and that the mysterious Blue Dog—inspired by his studio dog–turned-model, Tiffany, and the Cajun loup-garou folk legend—would become a wildly popular international icon as well. Blue Dog Speaks is the first book to prominently emphasize Rodrigue’s painting titles, one of the most important elements in the creation of a Blue Dog painting, alongside the works. Rodrigue uses Blue Dog painting titles to provide insight—whether humorous or nostalgic or sad—into the human condition.
In an introduction, Rodrigue reveals how an idea that originated in childhood tales has now grown far beyond; his Blue Dogs have moved beyond Louisiana into formerly uncharted territory and now express larger concepts about contemporary life. His newer titles—such as Right Place Wrong Time and Tiffany Remembers the ’70s—along with other, more abstract ones such as All by Myself with My Happiness capture this shift in style and content.
But most of all, there are the paintings themselves, magnificently displayed, their titles inviting us to ask “What is this dog all about?” and “What is the artist trying to say?” Even though the definitive answers remain a mystery, the titles provide a clue…
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"What is abstract art good for? What's the use--for us as individuals, or for any society--of pictures of nothing, of paintings and sculptures or prints or drawings that do not seem to show anything except themselves?" In this invigorating account of abstract art since Jackson Pollock, eminent art historian Kirk Varnedoe, the former chief curator of painting and sculpture at the Museum of Modern Art, asks these and other questions as he frankly confronts the uncertainties we may have about the nonrepresentational art produced in the last five decades. He makes a compelling argument for its history and value, much as E. H. Gombrich tackled representation fifty years ago in Art and Illusion, another landmark A. W. Mellon Lectures volume. Realizing that these lectures might be his final work, Varnedoe conceived of them as a statement of his faith in modern art and as the culminating example of his lucidly pragmatic and philosophical approach to art history. He delivered the lectures, edited and reproduced here with their illustrations, to overflowing crowds at the National Gallery of Art in Washington in the spring of 2003, just months before his death.
With brilliance, passion, and humor, Varnedoe addresses the skeptical attitudes and misunderstandings that we often bring to our experience of abstract art. Resisting grand generalizations, he makes a deliberate and scholarly case for abstraction--showing us that more than just pure looking is necessary to understand the self-made symbolic language of abstract art. Proceeding decade by decade, he brings alive the history and biography that inform the art while also challenging the received wisdom about distinctions between abstraction and representation, modernism and postmodernism, and minimalism and pop. The result is a fascinating and ultimately moving tour through a half century of abstract art, concluding with an unforgettable description of one of Varnedoe's favorite works.
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This sumptuous book is the third volume of the definitive catalogue raisonnŽ of the work of the American painter John Singer Sargent (1856-1925). Comprising over two hundred portraits and portrait sketches in oil and watercolor painted between 1900 and the artist's death in 1925, this book completes the trilogy of portrait volumes. The catalogued works have been grouped into two chronological sections, each with an introduction that sets the particular group in context. There is also a section of undated portraits and an appendix listing previously unrecorded works. Each work is documented in depth: entries include traditional data about the painting or watercolor; details of the work's provenance, exhibition history, and bibliography; a short biography of the sitter; a discussion of the circumstances in which the work was created; and a critical discussion of its subject matter, style, and significance in Sargent's career. Most of the works are reproduced in color. There is also an illustrated inventory of Sargent's studio props and accessories and a cross-referenced checklist of the portraits in which they appear.
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Anecdotal, funny, frank, POPism is where Warhol, in the detached, back-fence gossip style he was famous for, tells it all-the ultimate inside story of a decade of cultural revolution. Foreword by Andy Warhol; Index; photographs.
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In 1805, Jean Jacques Audubon was a twenty-year-old itinerant Frenchman of ignoble birth and indifferent education who had fled revolutionary violence in Haiti and then France to take refuge in frontier America. Ten years later, John James Audubon was an American citizen, entrepreneur, and family man whose fervent desire to “become acquainted with nature” had led him to reinvent himself as a naturalist and artist whose study of birds would soon earn him international acclaim. The drawings he made during this crucial decade—sold to Audubon’s friend and patron Edward Harris to help fund his masterwork The Birds of America, and now held by the Houghton Library and the Museum of Comparative Zoology at Harvard University—are published together here for the first time in large format and full color. In these 116 portraits of species collected in America and in Europe we see Audubon inventing his ingenious methods of posing and depicting his subjects, and we trace his development into a scientist and an artist who could proudly sign his artworks “drawn from Nature.” The drawings also serve as a record of the birds found in Europe and the Eastern United States in the early nineteenth century, some now rare or extinct.
The drawings are enhanced by an essay on the sources of Audubon’s art by his biographer, Richard Rhodes; transcription of Audubon’s own annotations to the drawings, including information on when and where the specimens were collected; ornithological commentary by Scott V. Edwards, along with reflections on Audubon as scientist; and an account of the history of the Harris collection by Leslie A. Morris.
Splendid in their own right, these drawings also illuminate the self-invention of one of the most important figures in American natural history. They will delight all those interested in American art, nature, birds, and the life and times of John James Audubon.
(20080901)
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This interactive pop-up book makes the perfect gift for anyone who loves the holiday traditions that originate in New York – from the lighting of the Christmas tree to watching the ball drop on New Year's Eve in Times Square. CHRISTMAS IN NEW YORK features these world-famous holiday events, as well as scenes of the Metropolitan Museum of Art's Angel Tree, George Balanchine's Nutcracker at Lincoln Center, and holiday store windows through the 20th century in the three-dimensional art of a pop-up book. Its unique construction combines original art by Chuck Fischer with photographs of famous New York City landmarks. The pop-up spreads include short histories, architectural legacies, anecdotes, and fun facts contained in pull-outs, removable booklets, and other extras. No collection of Christmas keepsakes is complete without the magic of CHRISTMAS IN NEW YORK.
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One of America’s pre-eminent painters, George Tooker (born 1920) is known for his haunting works that evoke the alienation and anonymity of urban life. Working in egg tempera, a Renaissance medium that produces a luminous quality yet requires meticulous application, Tooker first came to prominence as part of the post-war Magic Realist movement, creating surrealistic visions that captured the uncertainty of the Cold War era. Often compared with Hopper and Wyeth, Tooker continues to examine modern life with his disquieting imagery. This beautifully produced book, published to coincide with the first major retrospective in 30 years, features superb reproductions of Tooker’s timeless paintings, and includes essays offering new perspectives on his passion for composition, his spirituality and his exploration of identity.
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Eric Fischl emerged in the 1980s as one of America's most important figurative painters. His paintings, many of which show a single intense moment, compel the viewer to participate in a world of middle-class suburban ambiguity and drama. In Fischl's engaging distinctly American canvases, narrative, morality, sexuality, and psychology are preeminent.
This volume, an expanded edition of Eric Fischl 1970-2000, is the most comprehensive examination of this important contemporary painter. More than 250 works, selected in conjunction with the artist, present the full scope of Fischl's career: the formative work of the 1970s; the breakthrough paintings of the 1980s, including the controversial Sleepwalker and Bad Boy; and the mature work, often of a personal and contemplative nature, of the 1990s and 2000s. In his most recent paintings, Fischl has turned to multipiece cycles: The Bed, The Chair series, starting with The Philosopher's Chair; canvases inspired by trips to Italy and India; and the paintings—Fischl terms them "narrative fictions"—of the "Krefeld Project." These engrossing images have been accomplished with a mastery that has been compared to that of Caravaggio.
The introduction, by philosopher and critic Arthur C. Danto, offers a perceptive study of Fischl's work over the course of four decades. Commentary drawn from interviews with the artist, conducted by noted writer Robert Enright, accompanies the paintings. Finally, a witty and personal afterword by Steve Martin, best known as a gifted comic actor and author, but also an astute collector of modern art, discusses Barbeque, a famed Fischl painting from his private collection.
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Richard Diebenkorn in New Mexico is the first comprehensive overview of internationally acclaimed artist Richard Diebenkorn's New Mexico period, which greatly influenced his artistic maturation. Features 86 seminal works from the early period of this internationally acclaimed artist.
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The visual arts have always played a significatn role in Bob Dylan's worldview, and drawing and painting served as an outlet for his huge creative energy. Exquisitely reproduced, these intensely colored works are variations of sketches Bob Dylan completed while touring America, Europe and Asia, revealing a new facet of the artist.
Bob Dylan's watercolors and gouachse recreate scenes of everyday life in riotous color: hotel room and apartment interiors; land- and cityscapes; views of sidewalk cafes, train tracks and wandering rivers. this beautiful collection, which reveals yet another dimension of Bob Dylan's poetic vision, will be treasured by all who respond to his extraordinary talent.
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This beautifully produced, oversized monograph on the American artist Mark Rothko, presents over 100 of his works in full-color plates that reveal his remarkable genius. Rothko is one of the towering figures of Abstract Expressionism, and in fact, of 20th-century painting as a whole. His paintings, predominantly in a large format and featuring horizontal layers of pigment on a monochrome foundation, will forever be in our pictorial memory as the epitome of classical modernism. By considering Rothko's central groups of works from all creative periods-among them the Rothko Room in the Phillips Collection and the Harvard Murals at Harvard University-this book documents the artist's continuous struggle to arrive at "a consummated experience between picture and onlooker." Rothko's adamant insistence on controlling the presentation of his works set him apart from the art scene as early as the 1950s. His pictures were to be hung closely together in small rooms, in which soft lighting and his large formats were to provide an immediate viewing experience. This book attempts to recreate that atmosphere with a large, uninterrupted plate section that brings to life the vibrancy and power of these paintings, especially when looked at in abundance.
In addition to the over 100 color works, Mark Rothko includes essays about specific groups of work, an extensive, year by year, descriptive chronology of his life and work, and an exhaustive bibliography of writings about him from the past five years. An essential addition to any collection on 20th century art.
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