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FRENCH

L'Icône Ukrainienne 11e - 18e Siècle (Des Origines Byzantines Au Baroque)

by Liudmila Miliayeva

19,86€ + 10% CARD

 Le royaume de Kiev, première manifestation de la Russie, était constamment en guerre contre les Polonais, les peuples germaniques, les Byzantins et les Tatares. Située à la convergence de diverses civilisations, son unité reposait sur la foi orthodoxe. Les premières icônes obéissaient aux critères édictés par Byzance avant de subir progressivement l’influence des envahisseurs polonais et austro-hongrois. Cet ouvrage rassemble les icônes majeures d’Ukraine, témoignant de l’évolution entre l’orthodoxie byzantine et le rapprochement avec Rome via les mouvements uniates. L’influence austro-hongroise et italienne affine le travail des artistes pour embrasser pleinement l’époque baroque. Certaines icônes peuvent rivaliser avec les œuvres de Fra Angelico et des grands maîtres de cette période. L’auteur a habilement exposé les mécanismes de l’évolution culturelle tout en exprimant les émotions et la foi propres à chaque époque, rendant cet ouvrage fascinant dès le XIe siècle jusqu''au XVIIIe siècle. L’auteur s’est vu décerner la médaille des arts de l’Ukraine, l’ordre de la princesse Olga.
ENGLISH

The Ukrainian Icon 11th - 18th Centuries (From Byzantine Origins To The Baroque) - Faith, Tradition, And National Sacred Imagery

by Liudmila Miliayeva

19,86€ + 10% CARD

 Icon painting, the ultimate expression of Orthodox Christian art, reached its zenith in Ukraine between the 11th and 18th centuries. This book spans the entire period, showing the development of the style. The Ukrainian icon is a surprising synthesis of the traditions of Eastern Byzantine art and the stylistic characteristics of Russian icon painting. The introduction of this book explains the stages of development of icon-painting over five centuries in Ukraine’s major Centres of art - Kyiv, Chernihiv, Transcarpathia, Galicia, and Volhynia - and discusses the life and work of the masters of icon-painting. Despite the strict stylistic considerations imposed by the genre, Ukrainian icons display a striking range and variety of backgrounds and contexts. The author has been awarded the Ukrainian Medal of Arts, the Order of Princess Olga.
ENGLISH

The Art Of Cigar Band

by Philippe Mesmer

19,86€ + 10% CARD

 Cigar-bands have sdorned cigars for more than 150 years. Until World War I they were produced and printed to the hightest quality using the best methods available, with the result that many cigar-bands of the time are genuine works of art. Images depicted on the bands are varied, but specific themes may be distinguished - flowers and foliage, for example, or heraldic ‘charges’, or of course portraits of contemporary rulers and celebrities. This book features nearly 1,800 cigar-bands drawn from the collection of Roger van Reeth, including some of the most beautiful, some of the rarest and some of the oldest. Their presence adds something special to what is already a special publication: the Flavour, perhaps, of a superb Havana cigar.
ENGLISH

Surrealism

by Nathalia Brodskaia

17,65€ + 10% CARD

 Surrealists appeared in the aftermath of World War I with a bang: revolution of thought, creativity, and the wish to break away from the past and all that was left in ruins.This refusal to integrate into the bourgeois society was also a leitmotiv of Dada artists, and André Breton asserted that Dada does not produce perspective. Surrealism emerged amidst such feeling. Surrealists and Dada artists often changed from one movement to another.They were united by their superior intellectualism and the common goal to break free from the norm. Describing the Surrealists with their aversive resistance to the system, the author brings a new approach which strives to be relative and truthful. Provocation and cultural revolution: aren’t Surrealists after all just a direct product of creative individualism in this unsettled period?
ENGLISH

Bonnard And The Nabis - A Window Into Private Worlds

by Albert Kostenevitch

17,65€ + 10% CARD

 Pierre Bonnard was the leader of a group of post-impressionist painters who called themselves the Nabis, from the Hebrew word meaning ‘prophet’. Bonnard, Vuillard, Roussel and Denis, the most distinguished of the Nabis, revolutionized the spirit of decorative techniques during one of the richest periods in the history of French painting. Influenced by Odilon Redon and Puvis de Chavanne, by popular imagery and Japanese etchings, this post-impressionist group was above all a close circle of friends who shared the same cultural background and interests. An increasing individualism in their art often threatened the group’s unity and although tied together by a common philosophy their work clearly diverged. This publication lets us compare and put into perspective the artists within this fascinating group. The works presented in this collection offer a palette of extraordinary poetic expressions: candid in Bonnard, ornamental and mysterious in Vuillard, gently dream-like in Denis, grim and almost bitter in Vallotton, the author shares with us the lives of these artists to the very source of their creative gifts.
FRENCH

Un Marchand Au Moyen Âge

by Emmanuel Moureau

24,03€ + 10% CARD

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 Barthélemy Bonis, marchand. Et surtout, Barthélemy Bonis, témoin de son temps. Ses livres de comptes, conservés, s'avèrent aujourd'hui constituer une source précieuse pour l'étude des mentalités et de la vie quotidienne au XIVe siècle. En effet, si Barthélemy Bonis tenait ses affaires et ses chiffres à jour, il commentait également, expliquait, racontait. On peut ainsi, grâce à lui, savoir quels étaient les médicaments en usage à son époque, découvrir l'armement ou l'art de la fortification, connaître ce que l'on mangeait - jusqu'aux sucreries ou aux épices -, ou encore découvrir la mode du temps, etc. L'ouvrage d'Emmanuel Moureau fourmille de renseignements historiques précis et uniques, mais aussi d'anecdotes, dont certaines ne manqueront pas de faire sourire tant elles sont parfois savoureuses et drôles. Cette publication d'une source exceptionnelle convie donc le lecteur à entrer par la petite porte du quotidien dans ce lointain et passionnant XIVe siècle, en donnant la parole à celui qui savait tout du détail, puisqu'il avait pour métier d'acheter et de vendre à peu près tout ce qui pouvait alors faire l'objet d'un commerce !
FRENCH

Fées Et Créatures Mythiques

by Annabelle Métayer

18,80€ + 10% CARD

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 Ce livre-affiche avec feuillets détachables est un recueil consacré à 22 créatures issues de contes et légendes du monde entier. Chaque créature illustrée est accompagnée d'une description de ses origines mythologiques, de ses caractéristiques personnelles et de faits particuliers liés à sa nature. Les traditions occidentales, orientales et autres comptent beaucoup de personnages merveilleux qui jouent un rôle important, sans toutefois occuper le premier plan. En y regardant de plus près, les récits mythologiques fourmillent de créatures magiques et discrètes.
FRENCH

Le Guide De Dégustation ; All Beer

by Alex Barlow

19,47€ + 10% CARD

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 Trois prix en 2009 Guilde britannique des auteurs brassicoles : Journalisme national, Meilleur livre sur la bière au Royaume-Uni. et Prix littéraire des éditeurs indépendants : Argent Ce guide unique et simple d'usage est rempli d'éléments fascinants, de belles photographies et illustrations originales. Un livre factuel et bien informé qui couvre un vaste éventail d'ales, de lagers et de bières de dégustation disponibles sur le marché. Quelle est votre saveur préférée ? - Comprenez pourquoi vous aimez certaines bières. - Découvrez de nouvelles variétés qui conviennent à vos préférences. - Mesurez-vous à un expert. Comprend : 6 guides de toutes les bières uniques en leur genre, 6 cartes de saveurs de référence pour des marques de bières spécifiques de différentes sortes et un calepin pré-imprimé pour vous aider à coter vos propres bières.
FRENCH

Univers

by Mark A. Garlick e Mike Goldsmith

16,11€ + 10% CARD

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 Voyage à travers la galaxie et au-delà, et découvre les secrets des confins de l'espace L'Univers est vaste, mais nous le comprenons de plus en plus. Ces pages présentent une exploration visuelle excitante de ce que nous savons et de ce que nous nous attendons à trouver, depuis les secrets de notre propre Système solaire jusqu'à la nature des planètes orbitant autour d'autres étoiles. À mesure que nous nous aventurons de plus en plus loin dans les profondeurs de l'espace, nous croisons des phénomènes stellaires de grande magnitude. De tels changements explosifs peuvent détruire des mondes entiers, mais ils engendrent aussi les forces créatrices, alimentant la naissance de nouvelles étoiles et la possibilité de mondes riches et habitables. Ces domaines lointains de l'espace restent mystérieux, mais ce livre donne vie à notre recherche incessante de réponses.
FRENCH

L'Ours Polaire

by Norbert Rosing

13,43€ + 10% CARD

 Les ours ont frappé l'imagination depuis des milliers d'années surtout l'ours polaire, le plus gros prédateur vivant sur Terre. Les ours polaires sont célèbres pour leur brillante fourrure blanche. Toutefois, quoiqu'elle paraisse blanche, la fourrure est transparente en réalité et chaque poil est creux. Le livre commence dans la tanière de l'ourson, pour se poursuivre à l'extérieur de celle-ci. Ensuite, il se penche sur la manière dont l'ours polaire s'adapte à son environnement : En nageant, en voyageant jusqu'à la mer de glace et en cherchant sa nourriture. Puis il présente certains voisins arctiques de l'ours, dont le phoque, le renard arctique, le béluga et le caribou. L'ouvrage se termine avec un aperçu de l'ours dans son paysage : luttant contre les éléments, puis prenant du temps pour se reposer et se détendre. Aujourd'hui, les ours polaires sont très menacés. Les pays qui abritent des ours polaires ont signé des ententes pour protéger l'espèce. Toutefois, si la tendance au réchauffement se maintient dans l'Arctique, les deux tiers de la population mondiale d'ours polaires pourraient disparaître d'ici à 2050. C'est tragique : le risque existe vraiment de perdre à tout jamais un animal si magnifique et puissant.
FRENCH

Expériences Stupéfiantes

by Trevor Cook

16,11€ + 10% CARD

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 Laissez la science mettre votre esprit au défi ! Ce livre dynamique, amusant, comprend plus de 50 expériences excitantes, qui sont liées à des sujets instructifs comme l'électricité, la photosynthèse et les cinq sens. Chaque expérience est accompagnée d'instructions claires et de photographies étape par étape. Expériences stupéfiantes captivera l'intérêt des scientifiques en herbe durant des heures.
FRENCH

Ma Cuisine Illustrée Automne

26,72€ + 10% CARD

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 Douze auteurs partagent une centaine de recettes de saison. Ce livre, entre bande dessinée et ouvrage de cuisine, s'appuie principalement sur l'utilisation de fruits et légumes locaux. Ce parti pris de l'auteur a plusieurs avantages : vous soutenez les petits producteurs proches de vous, c'est écologique, meilleur pour votre santé et plus savoureux. L'illustration permet de démystifier l'acte de cuisiner en rendant la recette simple à réaliser et amusante à regarder. Remettons le bon petit plat fait maison à sa place : dans votre assiette ! Pourquoi des dessins et pas des photos ? La photo culinaire a souvent un côté très léché, et malheureusement, on ne mange pas ce que l'on photographie. Nous avons préféré tester toutes les recettes et les dessiner ensuite. Le dessin permet d'expliquer les actions beaucoup mieux que les photos. Nous avons travaillé avec une chose en tête : la recette doit être compréhensible uniquement par le dessin. Le texte est là pour le soutenir, mais si vous avez fait une recette une fois, vous n'aurez qu'à vous reporter rapidement aux dessins pour vous en souvenir et la reprendre de manière quasiment instinctive.
ENGLISH

Leonardo Da Vinci Volume 1

by Muntz Eugene Muntz

17,65€ + 10% CARD

 Leonardo’s early life was spent in Florence, his maturity in Milan, and the last three years of his life in France. Leonardo’s teacher was Verrocchio. First he was a goldsmith, then a painter and sculptor: as a painter, representative of the very scientific school of draughtsmanship; more famous as a sculptor, being the creator of the Colleoni statue at Venice, Leonardo was a man of striking physical attractiveness, great charm of manner and conversation, and mental accomplishment. He was well grounded in the sciences and mathematics of the day, as well as a gifted musician. His skill in draughtsmanship was extraordinary; shown by his numerous drawings as well as by his comparatively few paintings. His skill of hand is at the service of most minute observation and analytical research into the character and structure of form. Leonardo is the first in date of the great men who had the desire to create in a picture a kind of mystic unity brought about by the fusion of matter and spirit. Now that the Primitives had concluded their experiments, ceaselessly pursued during two centuries, by the conquest of the methods of painting, he was able to pronounce the words which served as a password to all later artists worthy of the name: painting is a spiritual thing, cosa mentale. He completed Florentine draughtsmanship in applying to modelling by light and shade, a sharp subtlety which his predecessors had used only to give greater precision to their contours. This marvellous draughtsmanship, this modelling and chiaroscuro he used not solely to paint the exterior appearance of the body but, as no one before him had done, to cast over it a reflection of the mystery of the inner life. In the Mona Lisa and his other masterpieces he even used landscape not merely as a more or less picturesque decoration, but as a sort of echo of that interior life and an element of a perfect harmony. Relying on the still quite novel laws of perspective this doctor of scholastic wisdom, who was at the same time an initiator of modern thought, substituted for the discursive manner of the Primitives the principle of concentration which is the basis of classical art. The picture is no longer presented to us as an almost fortuitous aggregate of details and episodes. It is an organism in which all the elements, lines and colours, shadows and lights, compose a subtle tracery converging on a spiritual, a sensuous centre. It was not with the external significance of objects, but with their inward and spiritual significance, that Leonardo was occupied.
ENGLISH

Jasper Johns

by Craft Catherine Craft

17,65€ + 10% CARD

 At a time when the dominant mode of painting, Abstract Expressionism, emphasised expressive drama through bold brushwork and largely abstract compositions, Johns’ paintings of the American flag, targets, numbers and the alphabet demonstrated a decided departure from convention. Despite being painted with obvious care, they seemed emotionally reticent, cool and quiet, far from the emotional fireworks then fashionable. "It all began… with my painting a picture of an American flag. Using this design took care of a great deal for me because I didn’t have to design it. So I went on to similar things like the targets - things the mind already knows. That gave me room to work on other levels. For instance, I’ve always thought of painting as a surface; painting it in one color made this very clear. Then I decided that looking at a painting should not require a special kind of focus like going to church. A picture ought to be looked at the same way you look at a radiator." Unlike most artists’ statements in New York during the 1950s, Johns’ remarks contained none of the familiar talk of doubt and angst, and his selection of subject matter appeared deliberate, thoughtful, and far removed from emotional attachments and desires. To younger artists, his art seemed not so much cold and unfeeling as clear-eyed and honest after the excesses of Abstract Expressionism. Furthermore, in selecting recognisable subjects, Johns seemed to reject prevailing abstract modes of painting, yet his subjects themselves - flags, targets, numbers - each possessed a vital characteristic of classic abstraction, namely, a flatness rendering them all but indistinguishable from the picture plane itself. This book underlines how Johns’s work made the polarity between abstraction and representation that had dominated debates about modern art for decades seem suddenly obsolete, opening up other ways of thinking about art’s relation to the world. It also tries to understand why, since his first exhibition at the Leo Castelli Gallery at the age of twenty-seven, he has remained one of the major artists of the contemporary artistic scene.
ENGLISH

Hokusai

by De Goncourt Edmond De Goncourt

17,65€ + 10% CARD

 Without a doubt, Katsushika Hokusai is the most famous Japanese artist since the middle of the nineteenth century whose art is known to the Western world. Reflecting the artistic expression of an isolated civilisation, the works of Hokusai - one of the first Japanese artists to emerge in Europe - greatly influenced the Impressionist and Post-Impressionist painters, such as Vincent van Gogh. Considered during his life as a living Ukiyo-e master, Hokusai fascinates us with the variety and the significance of his work, which spanned almost ninety years and is presented here in all its breadth and diversity.
ENGLISH

Botticelli

by Charles Victoria Charles e Gebhart Emile Gebhart

17,65€ + 10% CARD

 He was the son of a citizen in comfortable circumstances, and had been, in Vasari’s words, "instructed in all such things as children are usually taught before they choose a calling." However, he refused to give his attention to reading, writing and accounts, continues Vasari, so that his father, despairing of his ever becoming a scholar, apprenticed him to the goldsmith Botticello: whence came the name by which the world remembers him. However, Sandro, a stubborn-featured youth with large, quietly searching eyes and a shock of yellow hair - he has left a portrait of himself on the right-hand side of his picture of the Adoration of the Magi - would also become a painter, and to that end was placed with the Carmelite monk Fra Filippo Lippi. But he was a realist, as the artists of his day had become, satisfied with the joy and skill of painting, and with the study of the beauty and character of the human subject instead of religious themes. Botticelli made rapid progress, loved his master, and later on extended his love to his master’s son, Filippino Lippi, and taught him to paint, but the master’s realism scarcely touched Lippi, for Botticelli was a dreamer and a poet. Botticelli is a painter not of facts, but of ideas, and his pictures are not so much a representation of certain objects as a pattern of forms. Nor is his colouring rich and lifelike; it is subordinated to form, and often rather a tinting than actual colour. In fact, he was interested in the abstract possibilities of his art rather than in the concrete. For example, his compositions, as has just been said, are a pattern of forms; his figures do not actually occupy well-defined places in a well-defined area of space; they do not attract us by their suggestion of bulk, but as shapes of form, suggesting rather a flat pattern of decoration. Accordingly, the lines which enclose the figures are chosen with the primary intention of being decorative. It has been said that Botticelli, "though one of the worst anatomists, was one of the greatest draughtsmen of the Renaissance." As an example of false anatomy we may notice the impossible way in which the Madonna’s head is attached to the neck, and other instances of faulty articulation and incorrect form of limbs may be found in Botticelli’s pictures. Yet he is recognised as one of the greatest draughtsmen: he gave to ‘line’ not only intrinsic beauty, but also significance. In mathematical language, he resolved the movement of the figure into its factors, its simplest forms of expression, and then combined these various forms into a pattern which, by its rhythmical and harmonious lines, produces an effect upon our imagination, corresponding to the sentiments of grave and tender poetry that filled the artist himself. This power of making every line count in both significance and beauty distinguishes the great master- draughtsmen from the vast majority of artists who used line mainly as a necessary means of representing concrete objects.
ENGLISH

Art Of The Devil

by Graf, Arturo Graf

17,65€ + 10% CARD

 "The Devil holds the strings which move us!" (Charles Baudelaire, The Flowers of Evil, 1857.)Satan, Beelzebub, Lucifer… the Devil has many names and faces, all of which have always served artists as a source of inspiration. Often commissioned by religious leaders as images of fear or veneration, depending on the society, representations of the underworld served to instruct believers and lead them along the path of righteousness. For other artists, such as Hieronymus Bosch, they provided a means of denouncing the moral decrepitude of one’s contemporaries. In the same way, literature dealing with the Devil has long offered inspiration to artists wishing to exorcise evil through images, especially the works of Dante and Goethe. In the 19th century, romanticism, attracted by the mysterious and expressive potential of the theme, continued to glorify the malevolent. Auguste Rodin’s The Gates of Hell, the monumental, tormented work of a lifetime, perfectly illustrates this passion for evil, but also reveals the reason for this fascination. Indeed, what could be more captivating for a man than to test his mastery by evoking the beauty of the ugly and the diabolic?
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Art Of Islam

by Migeon Gaston Migeon e Saladin Henri Saladin

17,65€ + 10% CARD

 Following the ideals of beauty of Islamic art, the book shows high-quality representations of numerous monumental masterpieces, such as the Al-Aqsa mosque in Jerusalem, the Taj Mahal in Agra or the Alhambra in Granada, in which one recognises the stylisation of motives of the Muslim ceramics.
ENGLISH

American Realism

by Souter Gerry Souter

17,65€ + 10% CARD

 Urban realism, snow-covered streets of New York, boxing matches, children on the banks of a river, the painters of the Ash Can School preferred realistic images. Their paintings are a true hymn to noise and sensations. This unconventional movement enabled the birth of a true national artistic identity which broke free from the establishment. The Ash Can School resolutely promoted the affirmation of the modernist current of American art. Edward Hopper, who was a student of Robert Henri, embraced the principles of this movement and brought them to another level.
ENGLISH

William Morris

by Clutton-Brock Arthur Clutton-Brock

17,65€ + 10% CARD

 Through his eclecticism, William Morris (1834-1896) was one of the most emblematic personalities of the nineteenth century. Painter, architect, poet and engineer, wielding the quill as well as the brush, he jolted Victorian society by discarding standards established by triumphant industry. His commitment to the writing of the Socialist Manifesto was the logical result of the revolution he personified in his habitat, the form of his design and the colours he used. Forerunner of twentieth-century designers, he co-founded with John Ruskin the Arts and Crafts movement. As an independent man, William Morris led the way to Art Nouveau and later Bauhaus. Through the essential body of his written and visual work, Arthur Clutton-Brock’s masterwork deciphers the narrow relationship between ideals and creation, as well as between evolution and revolution.
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Brueghels

by Charles Victoria Charles e Michel Emile Michel

17,65€ + 10% CARD

 Fascinated by people, this "painter of peasants" - Pieter I Bruegel - did not hesitate to paint scenes from the life of common people, as well as Biblical themes, the humour and restlessness of which invoke Hieronymus Bosch. This work covers Flemish painting through the history of one family, emblematic of art history as a whole.
ENGLISH

Taiwan Art & Civilisation

by Wang Hsiu-Huei Wang

17,65€ + 10% CARD

 Taiwan''s specific situation in Asia is the source of its thorn past. Situated in the South East of China, Taiwan was at the crossroads of many maritime routes and squeezed between its neighbors, China and Japan. After centuries of foreign occupation, Taiwan has a unique history. Taiwan, Art and Civilization sheds light on Taiwan''s beautiful scenery as well as its colorful history in the form of a true initiatory trip. Through magnificent illustrations, Taiwan reveals its secret beauty, its fauna and flora intertwined with its unique architecture. Home of the traditional and the modern, the gorgeous island is also the home of a very dynamic artistic scene. One thus fully grasps why the Portuguese named her Ilha Formosa, beautiful island.
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Hans Memling

by Michiels Alfred Michiels

17,65€ + 10% CARD

 Little is known of Memling’s life. It is surmised that he was a German by descent but the definite fact of his life is that he painted at Bruges, sharing with the van Eycks, who had also worked in that city, the honour of being the leading artists of the so-called ‘School of Bruges’. He carried on their method of painting, and added to it a quality of gentle sentiment. In his case, as in theirs, Flemish art, founded upon local conditions and embodying purely local ideals, reached its fullest expression.
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Fra Angelico

by Beissel Stephan Beissel

17,65€ + 10% CARD

 Through a series of illustrations, combined with artistic and biographical analysis, this work unravels the talent of an artist who alone knew how to paint a Christian soul, and whom Andre Malraux considered to be the painter who marked the severance between the sacred art of the Middle Ages and the art born with the Renaissance.
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