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)

Circa 1492 • Art In The Age Of Exploration

Marking the 500th anniversary of the meeting of worlds that took place at the end of the 15th century, Circa 1492 reflects on this watershed moment, one that has been called “the most significant secular event in human history.” Informed by the lasting perspective of art and cultural achievement, this exhibition catalog assesses what we have loosely termed the “Age of Exploration.” Including more than 600 paintings, sculptures, prints, drawings, maps, scientific instruments, and works of decorative art from four continents—most of them created during the late 15th or early 16th century—the exhibition provides a broad, thematic survey through space rather than chronologically through time. The juxtapositions presented generate a new, keener understanding, both intellectually and affectively, of this historic era that resulted in links among continents that forever changed the character of the relationships between the world’s cultures.

 

 

Editor Jay A. Levenson (Autor)  

Greek Art of the Aegean Islands • MET

The Metropolitan Museum of Art presents us with a rich sampling of the splendid cultural heritage of Greece. Not only does it emphasize the diverse geographic centers of artistic production but it also covers a broad chronological span, extending from the Early Bronze Age to the Classic Period of the fifth century B.C. Many of the objects are of particular interest in that they are recent finds, which, outside of archaeological circles, are known only to those who have actually visited the National Museum in Athens, and the many different local museums throughout the Greek islands. The loan demonstrates the significant cultural interconnections among the islands as well as the wealth and variety of materials used and the lively forms that characterize so much of Greek art.

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.

American Rococo 1750-1775 - Elegance in Ornament

The rococo style was among the primary artistic contributions of the eighteenth century. Its manifestations throughout Europe have been comprehensively acknowledged and chronicled, but its influence in America, where it was probably the century's crowning design achievement (commonly referred to as the Chippendale style), had never been thoroughly examined. It was a lavish taste that found surprisingly fertile ground in the colonies, where affluent members of society, rejoicing in their hard-won prosperity, strove to adopt London fashions. The exhibition, "American Rococo, 1750–1775: Elegance in Ornament" was organized by The Metropolitan Museum of Art and the Los Angeles County Museum of Art, the latter's motivations emanating from the desire to bring an exhibition of American Chippendale furniture to a city where such objects have always been in short supply.

The book includes chapters on European origins and the American manifestations of the rococo, a brief discussion of firearms, and architecture, and medium-based explorations of objects made of paper, silver, wood, iron, glass, and ceramic.

Velázquez • MET

 

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)

Vasily Kandinsky 1866–1944

 

Caravaggio • Félix Witting & M. L. Patrizi

Hokusai • After Edmond de Goncourt