Макс Хаазе. Живопись, рельефы, графика, горельены

Андреян Захаров - первый альбом, посвящённый Зодчим нашего города, о парадоксальности Адмиралтейства и первой градостроительной ошибке с ним связанной. Эстетское издание с эстампами брутального Ивана Чемакина и эссе архитектурного критика Марии Элькиной и искусствоведа Павла Герасименко. В ручной лимитированной(!!!) обложке с конгревным тиснением.

Although we are now, more than ever before, bombarded with portraits in both social and traditional media, interest in the three-dimensional sculptural portrait has declined dramatically. What accounts for this trend, and what does it mean for our understanding of the portrait as a medium? Portraits have a visceral power of attraction. They arouse our curiosity, prompting us to wonder who the person is behind the face ? and, by extension, to reflect on our own identity. But whereas portrait paintings and photographs are immediately arresting, and fascinating, sculptural portraits can seem harder to approach there is no background and few details to help orient the beholder. As a result, sculpted portraits may seem like a sea of unknown faces that one only takes fleeting note of in passing; irrelevant, immaterial, perhaps even boring. But that is not how it used to be. Bertel Thorvaldsen (1770–1844) was one of Europe’s most popular portrait artists. Over the course of his lifetime, he created approximately 160 portraits, ranging from members of Europe’s royal houses to leading cultural figures to ordinary Danes. Thorvaldsen’s portraits thus make up the biggest single category of artworks in his oeuvre. In former times, such sculptural portraits were a common phenomenon. So what happened? Why did they go out of fashion? These are some of the questions that this book seeks to illuminate. The book contains essays and articles by 42 authors, amongst them Whitney Davis, Malcolm Baker, Grant Parker, Ulrich Pfisterer, Rolf Schneider, Peter Fibiger Bang, Tim Flohr Sшrensen, and Jane Fejfer. The catalogue is published in conjunction with the exhibition Face to Face at Thorvaldsens Museum in Copenhagen from 8 March to 18 October 2020.

The aesthetics of a non-Soviet form of socialism, drafted by four Yugoslav artists in the 1950s. As the cold war gained momentum in Europe, Tito's break with Stalin led to Yugoslavia's expulsion from the Eastern bloc in 1948. Confronted with this new reality, the Yugoslav government decided to bridge the indeterminacy of its cultural politics through a creative strategy: it commissioned young artists and architects to draft the aesthetics of a non-Soviet form of socialism. Agents of Abstraction frames the liaison of socialist cultural politics and modernist artistic practice by interlinking ideas of decentralization, experiments in state-funded arts and architecture, nonrepresentational forms, and self-reliance. The cultural and geopolitical contexts are accompanied by rare visual material, much of which appears in print for the first time.

The white, free abyss--infinity lies before us«, according to Kazimir Malevich in 1919 when describing his use of white as a monochrome ground in »Suprematist painting« and as a surface in front of which his geometric shapes seem to float weightlessly. For Wassily Kandinsky, the compositional white area in his expressive abstractions was the all-important opening of pictorial space through which the complexity of the world was to be reflected synaesthetically and thereby art simultaneously ranked alongside science. Piet Mondrian, for his part, tried to find universal harmonies through the depiction of mathematical problems behind visible phenomena. His exploration of »non-colour« in his grids of black lines and primary coloured surfaces forms a »neoplastic system« devoid of any representational function and is unique in the history of painting. On the occasion of the 2014 Quadrennial, the Kunstsammlung Nordrhein-Westfalen will premiere an attractive synopsis the work of these three great artists, considered the most prominent pioneers of the avant-garde and of abstraction in the twentieth century. The show will focus upon selected major works and the complex issue of white surfaces, all which is meticulously recreated the catalogue. The discussion of materiality and immateriality of the colour white arising here is also reflected in the latest research results from the restoration process. This leads to some surprising answers that are treated separately. If the colour white provided an umbrella for art, science and parareligions, did it necessarily have to function as a symbol of a future world?

Альбом посвящен Свято-Троицкой Александро-Невской лавре - возрожденному центру духовной жизни Санкт-Петербурга. Краткий очерк рассказывает об истории создания уникального архитектурного ансамбля и церковной жизни монастыря от основания до настоящего времени. Издание включает около 300 репродукций живописных и графических произведений, архивных и современных фотографий обители, а также тексты и аннотации к иллюстрациям на русском и английском.