An in-depth exploration of how the iconic artist created his works over the course of his full career.
Among the most celebrated figures of modern art, Amedeo Modigliani (1884-1920) has been the subject of many exhibitions and publications, but none until now has examined in depth how the artist created his paintings and sculptures. Drawing on research using the latest scientific techniques, the authors explore the artist's reuse of materials in his early years; his pivot from artistic trends such as Cubism to engage with a stylized form of figuration; the timeline of his evocative sculptures; and the evolution of his approach from heavily worked canvases to more ethereal paintings. The richly illustrated book also looks at the role of Albert C. Barnes, an early collector of Modigliani's work, in shaping the Italian artist's critical reception in the United States. The Barnes Foundation today owns one of the most important groups of Modigliani works in the world. These, together with some forty other paintings and sculptures from public and private collections worldwide, are interpreted through the lens of new studies carried out by leading international museums.
Distributed for the Barnes Foundation.
A revealing exploration of Edward Hopper's inspired relationship to New York City through his paintings, drawings, prints, and never-before-published archival materials This engaging book delves into the iconic relationship between Edward Hopper (1882-1967) and New York City. This comprehensive look at an essential aspect of the revered American artist's life reveals how Hopper's experience of New York's spaces, sensations, and architecture shaped his vision and served as a backdrop for his distillations of the urban experience. During sidewalk strolls and elevated train rides, Hopper sketched the city's many windowed facades. Exterior views gave way to interior lives, forging one of Hopper's defining preoccupations: the convergence of public and private. These permeable walls allowed Hopper to evoke the perplexing awareness of being alone in a crowd that is synonymous with modern urban life.
Drawing on the vast resources of the Whitney Museum of American Art, the largest repository of Hopper's work, and the recently acquired gift of the Sanborn Hopper Archive, this book features more than 300 illustrations and fresh insight from authoritative and emerging scholars.
Distributed for the Whitney Museum of American Art.
A comprehensive survey of the work of the legendary Swiss artist, this book illustrates and examines more than 100 of his sculptures, paintings, drawings, and prints This lavishly illustrated retrospective traces the early and midcareer development of the preeminent Swiss artist Alberto Giacometti (1901-1966), examining the emergence of his distinct figural style through works including a series of walking men, elongated standing women, and numerous busts. Rare paintings and drawings from his formative period show the significance of landscape in Giacometti's work, while also revealing the influence of the postimpressionist painters that surrounded his father, the artist Giovanni Giacometti. Other areas of inquiry on which Alberto Giacometti casts new light are his studio practice-amply illustrated with photographs-his obsessive focus on depicting the human head, his collaborations with poets and writers, and his development of the walking man sculpture, thanks to numerous drawings, many of which have never been shown. Original essays by modern art and Giacometti specialists shed new light on era-defining sculptural masterpieces, including the Walking Man, the Nose, and the Chariot, or on key aspects of his work, such as the significance of surrealism, his drawing practice, or the question of space.
Distributed for the Cleveland Museum of Art.
Cleveland Museum of Art (March 12-June 12, 2022).
Seattle Art Museum (July 14-October 9, 2022).
Museum of Fine Arts, Houston (November 13, 2022-February 12, 2023).
The Nelson-Atkins Museum of Art, Kansas City (March 19-June 18, 2023).
Une excursion fascinante à travers les incomparables collections personnelles de Warhol, du plus bizarre au plus éclairant. Andy Warhol (1928-1987) demeure une icône du XXe siècle et une figure majeure du mouvement Pop Art. Il était également un collectionneur obsessionnel de choses grandes et petites, ordinaires et décalées. Depuis 1994, le musée Andy Warhol a étudié et sauvegardé les archives de l'artiste, qui regroupent des centaines de milliers de ces objets, étranges, amusantes et poignantes. De ce tableau, beaucoup de ces éléments ont été recherchés et décrits dans ce livre pour la première fois. Écrit par Matt Wrbican, le chef de file de la collection personnelle de Warhol, A is for Archive présente une sélection de cette collection, mettant en lumière le travail et les motivations de l'artiste, ainsi que sa personnalité et sa vie privée. Le volume est organisé par ordre alphabétique, rendant hommage à l'utilisation par Warhol d'une structure alphabétique fantaisiste: «A is for Autograph» (une sélection d'objets signés, dont beaucoup ont influencé ses oeuvres les plus populaires), «F is for Fashion» (ses collections de bottes de cow- boy, cravates et vestes), «S est pour Stamp» (oeuvres d'art de Warhol et autres relatives aux timbres et envois postaux), et «Z est pour Zombie» (un regroupement de photographies et d'éphémères de Warhol sous divers déguisements : drag, robot, zombie, clown). Le livre présente également un essai perspicace du critique d'art et biographe de Warhol, Blake Gopnik. Pour les myriades de fans de Warhol et de son monde interrogateur, ce volume est essentiel et inoubliable.
A close look at Man Ray's interwar portraiture, as well as the friendships between the photographer and his subjects: the international avant garde in Paris.
Shortly after his arrival in Paris in July 1921, Man Ray (1890-1976)-the pseudonym of Emmanuel Radnitzky-embarked on a sustained campaign to document the city's international avant-garde in a series of remarkable portraits that established his reputation as one of the leading photographers of his era. Man Ray's subjects included cultural luminaries such as Berenice Abbott, Andre Breton, Jean Cocteau, Marcel Duchamp, Ernest Hemingway, Miriam Hopkins, Aldous Huxley, James Joyce, Lee Miller, Meret Oppenheim, Pablo Picasso, Alice Prin (Kiki de Montparnasse), Elsa Schiaparelli, Erik Satie, and Gertrude Stein. As this lavishly illustrated publication demonstrates, Man Ray's portraits went beyond recording the mere outward appearance of the person depicted and aimed instead to capture the essence of his sitters as creative individuals, as well as the collective nature and character of Les Annees folles (the crazy years) of Paris between the two world wars, when the city became famous the world over as a powerful and evocative symbol of artistic freedom and daring experimentation.
A celebration of Robert Motherwell's drawings that provides new insight into the thematic continuities and techniques that informed the artist's working methods Throughout his long and prolific career, Robert Motherwell (1915-1991) sustained a fascination with making art on paper. His multifaceted drawing practice was an integral part of his search for a personal, spontaneous language of mark-making. Presenting works spanning from The Mexican Sketchbook of the early 1940s to the Joyce Sketchbook of the 1980s, this overview of Motherwell's work on paper highlights the way the artist embraced the suggestive potential of his materials-blending the accidental and the intentional in the creative gesture. Large-scale reproductions encourage close looking and immerse the reader in details such as a stroke of the brush or a tear of paper, while an essay by Edouard Kopp examines how the artist's practice of "automatic drawing" dovetailed with his love of paper and ink in the creation of these unique and compelling works. The book closes with Motherwell's own "Thoughts on Drawing" (1970).
A definitive resource, full of fresh insights and new revelations, on one of the most influential interwar artists This richly illustrated book offers a definitive new assessment of the oeuvre of Kurt Schwitters (1887-1948), a central figure of the interwar European avant-garde. Active as an artist, designer, publisher, performer, critic, poet, and playwright, Schwitters is best known for intimately scaled, materially rich collages and assemblages made from found objects-often refuse-that the artist described as having lost all contact with their role and history in the world at large. But as Graham Bader explores, such simple separation of art from life is precisely what Schwitters's "poisoned abstraction" calls into question.
Considering works reaching from Schwitters's earliest collage-based pieces of 1918-19, through his 1920s advertising designs, to his seminal environmental installation the Merzbau, Bader carefully unpacks the meaning behind such projects and sheds new light on the tumultuous historical conditions in which they were made. In the process, he reveals a new Schwitters-aesthetically committed and politically astute-for our time. This authoritative account reframes our understanding of Schwitters's multifaceted artistic practice and explores the complex entwinement of art, politics, and history in the modern period.
An unparalleled reassessment of Pierre Bonnard, exploring his paintings, drawings, photography, and prints.
As one of the founders of the post-Impressionist group the Nabis, French artist Pierre Bonnard (1867-1947) is frequently seen as a transitional figure between the Impressionists and modernists. This beautifully illustrated book offers a fresh interpretation, revealing the artist's central concern with expanding representation beyond the limits of natural vision. The result is a new understanding not only of Bonnard but of modernism itself.
Exploring how Bonnard's dazzling domestic scenes and landscapes reimagine perception, embodiment, and the passage of time, Lucy Whelan characterizes him as a painter of unusual insight in his consideration of the relationship between vision and representation. The book covers Bonnard's paintings, drawings, photographs, and prints, with special focus on his later works from the 1920s to his death in 1947, and draws on an in-depth study of the artist's diaries, interviews, and other written sources. A groundbreaking reassessment, Pierre Bonnard Beyond Vision presents an artist engaged in avant-garde forms of experimentation who complicated vision in innovative ways.