Resultados de Pesquisa

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Edvard Munch

de Ashley Bassie e Elizabeth Ingles

16,55€ + 10% EM CARTÃO

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 Edvard Munch (1863-1944), peintre norvégien rattaché à l’expressionnisme, était si impliqué dans ses oeuvres qu’il les appelait ses « enfants », ce qui paraît plutôt cohérent au vu du contenu hautement personnel de ses toiles. En effet, Munch exprimait ses tourments intérieurs à travers son art, en particulier au début de sa carrière. Il ne peignait pas ce qu’il voyait mais ce qu’il ressentait, laissant sa morbidité et sa maladie imprégner ses tableaux d’une sombre tonalité. Ces peintures, parmi lesquelles le célèbre Cri, influencèrent considérablement l’expressionnisme allemand.
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James Mcneill Whistler 1834-1863

de Patrick Chaleyssin

16,55€ + 10% EM CARTÃO

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 Artiste imprévisible et excentrique, le peintre américain Whistler est un véritable personnage de roman, admiré et très discuté. Moderniste avant l''heure, son œuvre se déroule en quatre périodes. Dans une première période de recherche, l''artiste est influencé par le réalisme de Courbet et par le japonisme. Puis Whistler trouve son originalité avec les Nocturnes et la série des Cremorne Gardens en s''opposant à l''académisme qui veut qu''une œuvre ''d''art raconte une histoire. Lorsqu''il peint le portrait de sa mère, Whistler l''intitule Arrangement en gris et noir, ce qui est significatif de ses théories esthétiques. C''est à une véritable découverte de ce personnage hors du commun auquel nous invite Patrick Chaleyssin, critique d''art et auteur de nombreux écrits sur l''art moderne.
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Piet Mondrian

de Virginia Pitts Rembert

16,55€ + 10% EM CARTÃO

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 Pionnier et leader du mouvement de l''art abstrait, Piet Mondrian (1872-1944) était connu pour ses lignes droites et ses couleurs pures. Fasciné par les lois mathématiques de l''univers, cet artiste néerlandais nourrit son travail de découvertes scientifiques et crée un nouveau langage abstrait aux côtés de ses alliés Wassily Kandinsky et Fernand Léger. Au fur et à mesure de ses investigations, ses œuvres deviennent plus pures et plus intenses au rythme des voyages comme New York et des nouvelles rencontres. Reconnu de son vivant comme le fondateur d''un mouvement d''avant-garde, il a propagé son savoir et sa vision artistique à d''illustres architectes et stylistes et demeure encore aujourd''hui une source d’inspiration, en particulier lors de la collection de haute couture d’Yves Saint Laurent.
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Nicolas Poussin

de Natalia Serebriannai e Youri Zolotov

16,55€ + 10% EM CARTÃO

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 Nicolas Poussin (1594-1665) était un peintre classique français qui a choisi la clarté et la lumiere dans ses peintures, peignant souvent des scènes de la mythologie ou de la Bible. Il a eu beaucoup de succès dans le domaine de la peinture de paysage. Il fut un peintre tresapprecie du Roi Louis XIII, mais passa la plus grande partie de sa vie à Rome, son style devenant le style officiel de la peinture à l''Académie de Paris. Son influenceatteignit des artistes plus tardifs tels que Jacques-Louis. David. L''auteur, le Dr Otto Grautoff suit les chemins de Nicolas Poussin depuis sa jeunesse jusqu''à sa mort, créant un panorama qui place toujours le travail du peintre dans le contexte des événements artistiques et contemporains dont il est originaire.
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Best Of The Watches

~~135,19€~~ 121,67€ 10% IMEDIATO

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 The very best men's watches produced over the last three decades, illustrated through sumptuous photographs. Presented in a luxurious XL format and features watches from brands including Rolex, Vacheron-Constantin, Patek-Philippe, BrÃ©guet, Blancpain, A Lange & SÃ¶hne and many more. Part of the Best of series. Text in English and French.
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Best Of Porsche

de Christian Martin

~~135,19€~~ 121,67€ 10% IMEDIATO

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 Christian Martin reveals the best of Porsche production. This book truly stands out in the impressive mass of books devoted to the legendary German manufacturer sharing iconic models, rare models, special orders, limited-edition racing cars, concepts and more. Part of the Best of series. Text in English and French.
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Albert Marquet. The Paradox Of Time - The Quiet Fauve

de Mikhail Guerman

19,86€ + 10% EM CARTÃO

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 It is a paradox that Marquet belongs more to the past and future than to the present. His art awaits the silence that is yet to fall. He nevertheless teaches us to appreciate the riches of meditation, directing us to that exalted place of peace so central to his vision.
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The Russian Painters Of Water 1750-1950 - Seascapes And Maritime Visions In Russian Painting

de Sutherland Lyall

16,55€ + 10% EM CARTÃO

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 The Russian painters of water recaptures the impressions of water in the works held at the Russian State Museum of Russian Painters, from the 18th century onward. Among the paintings are works by Sylvester Shechedrin, Ivan Aivazovsky, Polenov. Arkhipov and Repin. Sutherland Lyall narrates vividly and elegantly the exciting and varied appearance of water in the world of Russian art. He invites the reader to discover something of the history and customs of this vast country, and provides an insight into Russian painting.
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Mikhail Vrubel. The Artist Of The Eves - A Soul Torn By Beauty

de Mikhail Guerman

16,55€ + 10% EM CARTÃO

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 Mikhail Aleksandrovich Vrubel (1856-1910) was a painter whose art has been described as a Symbolist and Proto-Expressionist. He exerted a tremendous influence on Russian avant-garde painters. After graduating from the Academy of Fine Art in St. Petersburg, Vrubel made many trips to Italy and earned his living restoring medieval art treasures. This greatly influenced Vrubel''s choice of subject matter, although he was also heavily influenced by the literature of his own country, which was then in full flower. The magnificent full-colour reproductions in this book of the Russian master, whose work deserves to be far better known in the West, will be a revelation to all who are unfamiliar with his work and a delight to the enthusiast.
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James Mcneill Whistler 1834-1863 - Tones, Twilight, And Elegance

de Patrick Chaleyssin

16,55€ + 10% EM CARTÃO

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 Whistler''s work can be divided into four periods. The first was a research period in which the artist was influenced by the Realism of Gustave Courbet and by Japanese art. Whistler then discovered his own originality in the Nocturnes and the Cremorne Gardens series, thereby coming into conflict with the academics who wanted a work of art to tell a story. When he painted the portrait of his mother, Whistler entitled it Arrangement in Gray and Black, and this is symbolic of his aesthetic theories.
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Vasily Surikov - Surikov And The Russian Epic

de Vladimir Kemenov

16,55€ + 10% EM CARTÃO

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 Born in Krasnoiarsk in 1848, Surikov died in Moscow in 1916. He is one of the great masters of history painting, and he occupies a special place in Russian culture. Like Delacroix, he believed that history was not a pretext for nice painting but an inexorable drama with neither culprits nor innocents but rather people driven by invisible forces. He was very knowledgeable about Russian history, and his paintings deal with crucial moments. He sought in historical events the answers to pressing problems of his time. Here is a book about a painter little-known in the West, analysed with understanding by one of the greatest Russian art critics.
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Nicolas Poussin. The Master Of Colours - The Classicist Of French Painting

de Youri Zolotov

16,55€ + 10% EM CARTÃO

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 Nicolas Poussin(1594 - 1665) was undoubtedly a highly significant master of the historical genre. He shaped its aesthetics which, regrettably, subsequently became regarded as a set of hard-and-fast rules (a trap which the Russian followers of the founder of classicism also fell into). We know that Poussin attributed prime significance to the actual choice of matter for depiction, giving preference to subjects which provided food for profound thought. Creatively reworking the aesthetic legacy of the Ancients, he introduced into the realm of painting the concept of the "modus" (mood of depiction), which established the functional unity of three components: the idea, the structure of the depiction, and its perception by the viewer. Composition assumed a predominant significance in his artistic system. In a letter of 1665, Nicolas Poussin put forward three main theses: firstly, painting is simply imitation; secondly, it aims to bring delight; Thirdly, the artist is endowed with a natural talent that no one can give him or deprive him of.
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Anni Et Josef

de Katsumi Komagata

24,84€ + 10% EM CARTÃO

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 Pour Josef et Anni Albers, l'art est une expérience. Il faut faire, essayer, avec tous les matériaux possibles. Et puis, surtout, ouvrir grand les yeux et regarder les couleurs, comme elles dialoguent entre elles. Katsumi Komagata révèle, par un jeu subtil de découpes et en s'appuyant sur des idées exprimées par les deux artistes, la force lumineuse de leurs créations. En collaboration avec The Josef and Anni Albers Foundation.
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Amedeo Modigliani - Bohemian Beauty And Tragic Genius

de D. H. Lawrence, Frances Alexander, Jane Rogoyska e Klaus H. Carl

16,55€ + 10% EM CARTÃO

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 Equally famous for his masterful canvasses and tumultuous mental health, Amedeo Modigliani (1884-1920) was, in many ways, the prototypical tortured artist. A lifelong sufferer of painfully degenerative tuberculosis, Modigliani was famous for denying his disease with a frenzied bohemian lifestyle of hard drinking, drug abuse, and passionate love affairs. But at the same time, he managed to produce some of the modern movement’s most enduring masterpieces, and today his work sells for record-breaking sums whenever it comes up for auction. In this fascinating examination of Modigliani’s life and works, Klaus H. Carl, Frances Alexander, and Jane Rogoyska turn their penetrating gaze on this most enigmatic of artistic geniuses. Their insightful text is accompanied by extracts from D.H. Lawrence’s highly sensual novel Lady Chatterley’s Lover, chosen to complement Modigliani’s art and to give a new perspective to it.
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Edvard Munch - The Scream And The Soul

de Ashley Bassie e Elizabeth Ingles

16,55€ + 10% EM CARTÃO

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 Edvard Munch (1863-1944), a Norwegian painter involved in Expressionism, was so attached to his work that he called his paintings his children, which is rather unsurprising given that they were deeply personal. Indeed, Munch expressed much of his own inner turmoil through his art, particularly in the earlier part of his career. He painted not what he saw, but what he felt when he saw it, allowing his morbidity and illness to imbue his paintings with a sombre tone. These darker paintings, including his famous The Scream, endured and would greatly influence German Expressionism.
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Hokusai

de Edmond De Goncourt

16,55€ + 10% EM CARTÃO

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 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.
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Ivan Shishkin - Russian Pines And Silent Beauty

de Irina Shuvalova e Victoria Charles

16,55€ + 10% EM CARTÃO

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 Russian countryside is some of the world’s most lovely, from the celebrated explosions of wild flowers that fill its forests in the spring, to the icy winter tundra that defeated the advances of Napoleon and Hitler, and provided the backdrop for the drama of many of Russian literature’s celebrated scenes. And no one immortalized it better than Ivan Shishkin (1832-1898), a Russian landscape painter. In this comprehensive work of scholarship, Irina Shuvalova and Victoria Charles make a thorough examination of Shishkin’s work.
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Valentin Serov - Serov And The Soul Of A Nation

de Dmitri V. Sarabianov

16,55€ + 10% EM CARTÃO

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 Among the "young peredvizhniki" who joined the World of Art group, the most brilliant portraitist was Valentin Serov. Like many of his contemporaries, he delighted in painting out of doors, and some of his most appealing portraits - such as Girl with Peaches, Girl in Sunlight and In Summer - owe their naturalness to their setting or to the interplay of sunlight and shadows. Indeed, Serov regarded them as "studies" rather than portraits, giving them descriptive titles that omitted the sitter''s name. The subject of Girl with Peaches - painted when Serov was only twenty-two - was in fact Mamontov''s daughter Vera. The model for In Summer was Serov''s wife. When only six years old, Serov began to display signs of artistic talent. At nine years old, Repin acted as his teacher and mentor, giving him lessons in his studio in Paris, then let Serov work with him in Moscow, almost like an apprentice. Eventually Repin sent him to study with Pavel Chistiakov - the teacher of many of the World of Art painters, including Nesterov and Vrubel. Chistiakov was to become a close friend. Because Serov''s career spanned such a long period, his style and subject matter vary considerably, ranging from voluptuous society portraits (the later ones notable for their grand style and sumptuous dresses) to sensitive studies of children. Utterly different from any of these is the famous nude study of the dancer Ida Rubinstein, in tempera and charcoal on canvas, which he painted towards the end of his life. Although Serov''s early style has much in common with the French Impressionists, he did not become acquainted with their work until after he had painted pictures such as Girl with Peaches.
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Ilya Repin

de Kirillina Jelena Kirillina e Sternin Grigori Sternin

16,55€ + 10% EM CARTÃO

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 Ilya Repin was the most gifted of the group known in Russia as "The Itinerants". When only twelve years old, he joined Ivan Bounakov’s studio to learn the icon-painter’s craft. Religious representations always remained of great importance for him. From 1864 to 1873 Repin studied at the Academy of the Arts in Saint Petersburg under Kramskoï. Repin also studied in Paris for two years, where he was strongly influenced by outdoor painting without, becoming an Impressionist, a style that he judged too distant from reality. Taken with French pictorial culture, he worked to understand its role in the evolution of contemporary art. Most of Repin’s powerful work deals with the social dilemmas of Russian life in the nineteenth century. He established his reputation in 1873 with the celebrated picture Barge Haulers on the Volga, symbol of the oppressed Russian people pulling their chains. This struggle against the autocracy inspired many works. He also painted Russia’s official history in such works as Ivan the Terrible Meditating at the Deathbed of his Son Ivan. Seen as one of the masters of realist painting, he devoted himself to portraying the lives of his contemporaries: the most renowned Russian writers, artists, and intellectuals; peasants at work; the faithful in procession; and revolutionaries on the barricades. He understood the pains of the people perfectly, as well as the needs and the joys of ordinary lives. Kramskoï said on this subject: "Repin has a gift for showing the peasant as he is. I know many painters who show the moujik, and they do it well, but none can do so with as much talent as Repin."Repin’s works, which depart from the academic constraints of their predecessors, are both delicate and powerful. He achieved a superior mastery of skill, and found new accents to transcribe the many-coloured and brilliant vibrations he sensed in the ordinary world around him.
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Vincent Van Gogh

de Victoria Charles

7,29€ + 10% EM CARTÃO

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 Vincent van Gogh’s life and work are so intertwined that it is hardly possible to observe one without thinking of the other. Van Gogh has indeed become the incarnation of the suffering, misunderstood martyr of modern art, the emblem of the artist as an outsider. An article, published in 1890, gave details about van Gogh’s illness. The author of the article saw the painter as "a terrible and demented genius, often sublime, sometimes grotesque, always at the brink of the pathological." Very little is known about Vincent’s childhood. At the age of eleven he had to leave "the human nest", as he called it himself, for various boarding schools. The first portrait shows us van Gogh as an earnest nineteen year old. At that time he had already been at work for three years in The Hague and, later, in London in the gallery Goupil & Co. In 1874 his love for Ursula Loyer ended in disaster and a year later he was transferred to Paris, against his will. After a particularly heated argument during Christmas holidays in 1881, his father, a pastor, ordered Vincent to leave. With this final break, he abandoned his family name and signed his canvases simply "Vincent". He left for Paris and never returned to Holland. In Paris he came to know Paul Gauguin, whose paintings he greatly admired. The self-portrait was the main subject of Vincent’s work from 1886c88. In February 1888 Vincent left Paris for Arles and tried to persuade Gauguin to join him. The months of waiting for Gauguin were the most productive time in van Gogh’s life. He wanted to show his friend as many pictures as possible and decorate the Yellow House. But Gauguin did not share his views on art and finally returned to Paris. On 7 January, 1889, fourteen days after his famous self-mutilation, Vincent left the hospital where he was convalescing. Although he hoped to recover from and to forget his madness, but he actually came back twice more in the same year. During his last stay in hospital, Vincent painted landscapes in which he recreated the world of his childhood. It is said that Vincent van Gogh shot himself in the side in a field but decided to return to the inn and went to bed. The landlord informed Dr Gachet and his brother Theo, who described the last moments of his life which ended on 29 July, 1890: "I wanted to die. While I was sitting next to him promising that we would try to heal him. [...], he answered, ‘La tristesse durera toujours (The sadness will last forever).’"
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Edward Hopper

de Souter Gerry Souter

16,55€ + 10% EM CARTÃO

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 In his works, Hopper poetically expressed the solitude of man confronted to the American way of life as it developed in the 1920s. Inspired by the movies and particularly by the various camera angles and attitudes of characters, his paintings expose the alienation of mass culture. Created using cold colours and inhabited by anonymous characters, Hopper’s paintings also symbolically reflect the Great Depression.Through a series of different reproductions (etchings, watercolours, and oil-on-canvas paintings), as well as thematic and artistic analysis, the author sheds new light on the enigmatic and tortured world of this outstanding figure.
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Michelangelo

de Muntz Eugene Muntz

16,55€ + 10% EM CARTÃO

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 Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo''s painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor''s imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pietà. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.
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Michelangelo Da Caravaggio

de Felix Witting e M.L. Patrizi

7,29€ + 10% EM CARTÃO

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 After staying in Milan for his apprenticeship, Michelangelo da Caravaggio arrived in Rome in 1592. There he started to paint with both realism and psychological analysis of the sitters. Caravaggio was as temperamental in his painting as in his wild life. As he also responded to prestigious Church commissions, his dramatic style and his realism were seen as unacceptable. Chiaroscuro had existed well before he came on the scene, but it was Caravaggio who made the technique definitive, darkening the shadows and transfixing the subject in a blinding shaft of light. His influence was immense, firstly through those who were more or less directly his disciples. Famous during his lifetime, Caravaggio had a great influence upon Baroque art. The Genoese and Neapolitan Schools derived lessons from him, and the great movement of Spanish painting in the seventeenth century was connected with these schools. In the following generations the best endowed painters oscillated between the lessons of Caravaggio and the Carracci.
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Egon Schiele

de Esther Selsdon e Jeanette Zwingenberger

7,29€ + 10% EM CARTÃO

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 Egon Schiele’s work is so distinctive that it resists categorisation. Admitted to the Vienna Academy of Fine Arts at just sixteen, he was an extraordinarily precocious artist, whose consummate skill in the manipulation of line, above all, lent a taut expressivity to all his work. Profoundly convinced of his own significance as an artist, Schiele achieved more in his abruptly curtailed youth than many other artists achieved in a full lifetime. His roots were in the Jugendstil of the Viennese Secession movement. Like a whole generation, he came under the overwhelming influence of Vienna’s most charismatic and celebrated artist, Gustav Klimt. In turn, Klimt recognised Schiele’s outstanding talent and supported the young artist, who within just a couple of years, was already breaking away from his mentor’s decorative sensuality. Beginning with an intense period of creativity around 1910, Schiele embarked on an unflinching exposé of the human form - not the least his own - so penetrating that it is clear he was examining an anatomy more psychological, spiritual and emotional than physical. He painted many townscapes, landscapes, formal portraits and allegorical subjects, but it was his extremely candid works on paper, which are sometimes overtly erotic, together with his penchant for using under-age models that made Schiele vulnerable to censorious morality. In 1912, he was imprisoned on suspicion of a series of offences including kidnapping, rape and public immorality. The most serious charges (all but that of public immorality) were dropped, but Schiele spent around three despairing weeks in prison. Expressionist circles in Germany gave a lukewarm reception to Schiele’s work. His compatriot, Kokoschka, fared much better there. While he admired the Munich artists of Der Blaue Reiter, for example, they rebuffed him. Later, during the First World War, his work became better known and in 1916 he was featured in an issue of the left-wing, Berlin-based Expressionist magazine Die Aktion. Schiele was an acquired taste. From an early stage he was regarded as a genius. This won him the support of a small group of long-suffering collectors and admirers but, nonetheless, for several years of his life his finances were precarious. He was often in debt and sometimes he was forced to use cheap materials, painting on brown wrapping paper or cardboard instead of artists’ paper or canvas. It was only in 1918 that he enjoyed his first substantial public success in Vienna. Tragically, a short time later, he and his wife Edith were struck down by the massive influenza epidemic of 1918 that had just killed Klimt and millions of other victims, and they died within days of one another. Schiele was just twenty-eight years old.
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