Frida Kahlo • Taschen [español]

Reseña del editor: 

Las cautivadoras imágenes creadas por Frida Kahlo (la mayoría de ellas autorretratos de pequeño formato) son, en muchos sentidos, la manifestación de un trauma. Hija de un fotógrafo alemán emigrado a México y una madre mexicana de ascendencia indígena, Kahlo (1907–1954) resultó gravemente herida en un accidente de tráfico a los 18 años de edad. Sus considerables lesiones vertebrales, pélvicas y abdominales la condenaron a una vida de continuos problemas de salud y le impidieron tener hijos. Entre otras penurias, sufrió hasta 35 intervenciones quirúrgicas, largos periodos de dolor extremo, embarazos fallidos y, hacia el final de su vida, la amputación de parte de una pierna. El sufrimiento físico de Kahlo se vio a un tiempo aminorado y exacerbado por sus tumultuosas vivencias emocionales. Con 21 años contrajo matrimonio con el famoso pintor muralista Diego Rivera. La suya fue una relación tormentosa, marcada por el fuerte carácter de ambos, así como por numerosas infidelidades, un divorcio y un nuevo matrimonio. Pese a lo volátil de sus disputas, Rivera describió el día que murió Kahlo (posiblemente por suicidio) como el más trágico de su vida. Aún adolescente, Kahlo empezó a pintar en su lecho de convalecencia. En poderosos y simbólicos retratos de su padecer físico y psicológico, Kahlo supo combinar sobre el lienzo la tradición religiosa mexicana con elementos surrealistas para plasmar el dolor y la soledad, pero también el amor, el deseo, el lujo y los ideales comunistas que profesaban tanto ella como su marido. La obra de Kahlo se revalorizó póstumamente, a partir de la década de 1970, y en 1983 fue declarada propiedad del Estado mexicano. Hoy está considerada una de las más importantes pintoras del siglo xx, así como un icono feminista y una pionera del arte latinoamericano.

 

 

  Andrea Kettenmann (Autor)

Art Deco 1910–1939

 

 

This lavishly illustrated book brings together nearly 40 essays from leading experts in the field to discuss the phenomenon that was Art Deco.

 

Charlotte Benton (Author),  

Tim Benton (Author),  

Ghislaine Wood (Author),  

Oriana Baddeley (Collaborator)  

 

American Naive Painting • National Gallery Of Art

Deborah Chotner with contributions by Julie Aronson, Sarah D. Cash, and Laurie Weitzenkorn

Published 1992

688 pages

The American naive paintings at the National Gallery of Art have long been appreciated as wonderfully appealing, and in some cases visually stunning, works of art. Yet with the exception of those paintings by important, known artists such as Erastus Field or Edward Hicks, few had been studied thoroughly. Whereas other volumes of the systematic catalogue build upon decades, sometimes centuries, of scholarship, many of the more than 300 pictures included here are now published for the first time. The research presented here reveals much about the growth of the United States, its centers of commerce a century and a half ago, the pathways for the spread of visual ideas in the 19th century, and the aspirations and sentiments of the middle class. The majority of the works included originated in the northeastern United States during the 19th century.

AbeBooks ...

American Impressionism and Realism The Painting of Modern Life 1885 1915 • MET

"A true historical painter ... is one who paints the life he sees about him, and so makes a record of his own epoch." This principle, voiced by the Impressionist Childe Hassam, was heeded by the artists whose contributions are the focus of this volume: the American Impressionists and the Realists of the generation that succeeded them. The authors of the book, which accompanies a major exhibition, illuminate the continuities and differences between American Impressionism and Realism, two movements that are traditionally viewed as merely opposed.

They explore the roots of American Impressionism in European art, especially in the French Impressionists' engagement with the contemporary scene. Also elucidated are the evolving responses of both the American Impressionists and Realists to the changing realities of life in the United States at the turn of the century, as the nation shifted rapidly from an agrarian to an increasingly industrialized urban society. In an examination of paintings that represent the country, the city, and the home - the triad of subjects that engaged the artists - these responses are shown to reflect a tension between enthusiasm for the new and a sense of loss of the rural past. Studying a wide range of painters, including John Singer Sargent, William Merritt Chase, Childe Hassam, John Sloan, William Glackens, and George Bellows, the authors offer new insights into the threads of nationalism, optimism, euphemism, and nostalgia that link the two movements. They demonstrate that these painters of modern life endowed their European-rooted art with a distinctly American inflection and produced a selective register of an energetic nation, revealing a complex commitment to Robert Henri's assertion that "painting is the giving of evidence."

The volume brings a new approach to this area of American art history, which has tended to be more descriptive than interpretive: it offers detailed historical and social contexts for the works and movements under consideration as well as penetrating stylistic analyses. Lavish illustrations of the paintings in the exhibition, comparative works and period photographs, a biography of each of the twenty-six artists in the exhibition, a selected bibliography, and an index are included.

The Work of Artː Plein Air Painting and Artistic Identity in Nineteenth-Century France

In The Work of Art, Anthea Callen analyzes the self-portraits, portraits of fellow artists, photographs, prints, and studio images of prominent nineteenth-century French Impressionist painters, exploring the emergence of modern artistic identity and its relation to the idea of creative work. Landscape painting in general, she argues, and the “plein air” oil sketch in particular were the key drivers of change in artistic practice in the nineteenth century―leading to the Impressionist revolution.

         

Putting the work of artists from Courbet and Cézanne to Pissaro under a microscope, Callen examines modes of self-representation and painting methods, paying particular attention to the painters’ touch and mark-making. Using innovative methods of analysis, she provides new and intriguing ways of understanding material practice within its historical moment and the cultural meanings it generates. Richly illustrated with 180 color and black-and-white images, The Work of Art offers fresh insights into the development of avant-garde French painting and the concept of the modern artist.

Camille Pissarro by Klaus H. Karl

Camille Pissarro was a pivotal figure of Impressionism, perhaps the world’s most famous art movement. He also tackled different forms of Neoimpressionism, while maintaining very personal characteristics in his art all throughout his life. A key figure in the Impressionist movement and a participant in every one of their exhibitions, Camille Pissarro (1830-1903) was considered the patriarch of the group. Born in the Danish West Indies, he travelled to Venezuela, and studied with Corot in France, who influencedhis early works and who triggered his passion to paint outdoors. His style evolved as he progressed in life, influenced too by the debateswith his fellow-painters.After the outbreak of the Franco-Prussian War, he moved to England, but his style of painting, which was a forerunnerof the"Impressionism", did not do very well.Like Degas, Pissarro was a great draughtsman. His representations of rural and urban life are often closely intertwined with his social concerns and anarchist beliefs. A quintessential artist ahead of his time, Pissaro sold very few works during his lifetime.

 

 

Klaus H. Karl (Autor) 

German Paintings of the Fifteenth through Seventeenth Centuries • NGA

This catalogue contains entries on fifteenth- and sixteenth- (and one seventeenth-) century German (and Austrian) paintings in the National Gallery of Art, Washington DC, both German and Austrian. Entries are arranged alphabetically by artist and there is a short biography and bibliography for each artist. Individual entries follow the model established by earlier systematic catalogues and full scholarly and technical information is provided for each painting. Questions of attribution, iconography, and social and religious function and context are discussed and, where relevant, comparative examples, reconstructions of altarpieces, x-radiography and infra-red reflectogram assemblies are included. The catalogue also contains the results of dendrochronological examinations of the paintings.

Paul Signac, 1863-1935 • Master of Neo-Impressionist

Surrealism - Genesis of a Revolution

 

 

The Dada movement and then the Surrealists appeared in the First World War aftermath 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 lead Georg Grosz to remark of Dada, ""it's the end of-isms."" Breton asserted that Dada does not produce perspective, ""a machine which functions full steam, but where it remains to be seen how it can feed itself."" Surrealism emerged amidst such feeling. These artists often changed from one movement to another. They were united by their superior intellectualism and the common goal to break from the norm. Describing Dada with its dynamic free-thinkers, and 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: Dada and the Surrealists, aren't they above all just a direct product of creative individualism in this unsettled period?

 

Vincent Van Gogh: 800 imágenes indizadas / 800 indexed images

 

Comprende más de 800 imágenes indizadas por título y año, en archivos jpg de alta calidad.
1,63GB

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It includes more than 800 indexed images per title and year, in high quality jpg files.
1,63GB

Gods, Saints & Heroes - Dutch Painting in the Age of Rembrandt

Our present appreciation of Dutch 17th-century painting still owes a great deal to 19th-century art critics, who mainly valued the naturalistic qualities of the Dutch masters. A realistic approach may have been the vital force of those artists, but art theory of the period had little appreciation for painters who merely copied nature. In the hierarchy of subjects, portraiture and still life ranked lowest, while the true and highest goal of an artist was to become a history painter, one who depicted ethical ideas through biblical and mythical scenes or allegories. Our traditional way of looking at Dutch art makes us overlook precisely those works the artists themselves esteemed most. Gods, Saints, and Heroes presents a comprehensive survey of an eminent area of Dutch painting and reaffirms the accolades once bestowed on Dutch history painting.

A. et al. Blankert (Autor)

Caravaggio • Félix Witting & M. L. Patrizi

Hokusai • After Edmond de Goncourt

Painting in the Dutch Golden Age - A Profile of the Seventeenth Century

 

Portrais By Ingres • The Metropolitan Museum Of Art New York

Jean-Auguste-Dominique Ingres

Jean-Auguste-Dominique Ingres, más conocido como Dominique Ingres, (Montauban, 29 de agosto de 1780 – París; 14 de enero de 1867), fue un pintor francés.

Ingres no es, en sentido estricto, neoclásico ni académico, sino un ferviente defensor del dibujo. Resulta a la vez clásico, romántico y realista. Ingres constituye un claro exponente del romanticismo en cuanto a los temas, el trazo abstracto y las tintas planas de intenso colorido. Algunas de sus obras se enmarcan en el llamado «Estilo trovador», inspirándose en el ideal estético griego y gótico, además de en las miniaturas de los libros de horas de Fouquet. Igualmente, es ejemplo de orientalismo, pues muchos de sus cuadros, especialmente desnudos femeninos, están dominados por un sentido irreal del exotismo propio del siglo XVIII. Bio completa en wiki

También es interesante Bio en Artehistoria.

Formato: pdf / 610 págs. / Idioma: Inglés

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Jean-Auguste-Dominique Ingres (French: [ʒɑnoɡyst dominik ɛ̃ɡʁ]; 29 August 1780 – 14 January 1867) was a French Neoclassical painter. Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and drawn, that were recognized as his greatest legacy.

A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented by his nemesis, Eugène Delacroix. His exemplars, he once explained, were "the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art ... I am thus a conservator of good doctrine, and not an innovator."[1] Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time,[2] while his expressive distortions of form and space make him an important precursor of modern art.

Complete Bio

Format: pdf / 610 p. / Language: English