Kunst / Antiek

Handleiding voor de professionele edelsmeedkunst.

tentoonstellingscatalogus

Empire of Ecstasy offers a novel interpretation of the explosion of German body culture between the two wars--nudism and nude dancing, gymnastics and dance training, dance photography and criticism, and diverse genres of performance from solo dancing to mass movement choirs. Karl Toepfer presents this dynamic subject as a vital and historically unique construction of "modern identity."

The modern body, radiating freedom and power, appeared to Weimar artists and intelligentsia to be the source of a transgressive energy, as well as the sign and manifestation of powerful, mysterious "inner" conditions. Toepfer shows how this view of the modern body sought to extend the aesthetic experience beyond the boundaries imposed by rationalized life and to transcend these limits in search of ecstasy. With the help of much unpublished or long-forgotten archival material (including many little-known photographs), he investigates the process of constructing an "empire" of appropriative impulses toward ecstasy.

Toepfer presents the work of such well-known figures as Rudolf Laban, Mary Wigman, and Oskar Schlemmer, along with less-known but equally fascinating body culture practitioners. His book is certain to become required reading for historians of dance, body culture, and modernism.

Overzicht van leven en werk van de Zweedse schilder (1853-1919).

Dit boek biedt een grote keuze aan illustraties van smeedijzeren siervoorwerpen, ingedeeld in categorieën: poorten, hekwerken, deurkloppers, sloten, deuren etc. De algemene term "smeedijzer" omvat materiaal dat is gesmeed door hameren, buigen en snijden. Ook al werd smeedijzer eeuwenlang vooral praktisch toegepast, de voorwerpen hebben altijd tegelijkertijd een zekere artistieke waarde gehad. De eerste voorwerpen van bewerkt ijzer dateren uit de Oudheid. In dit boek worden de verschillende aspecten middels plaatjes aan u getoond.

Ans Markus is bekend vanwege haar realistische schilderijen, waarop in windsels gehulde vrouwenfiguren een terugkerend element zijn. Enkele jaren geleden raakte Ans Markus volledig in de ban van Medea; de hier getoonde schilderijen zijn het gevolg van deze fascinatie.

Nederlandstalige catalogus Petrus Christus: Renaissance Master of Bruges, paru a l'occasion de l'exposition organisee au Metropolitan Museum of Art a New York ( 14 avril-31 juillet 1994 ). Etat excellent. prima staat ! Petrus Christus als een kunstenaar met heel eigen gevoeligheden. Anders dan Van Eyck, die in dienst van de Bourgondische hertogen werkte, vond Christus zijn clientèle onder de burgers en de rijke buitenlandse kooplieden die zich in Brugge hadden gevestigd. Om die reden weerspiegelt zijn werk in menig opzicht de artistieke normen van zijn tijd op een veelomvattender wijze dan de kunst van Van Eyck, en is de studie van zijn leven en werk van bijzonder belang voor een beter begrip van de vroege kunst in de Nederlanden.

Essay over de invloed van het cultuurpessimisme van de Duitse filosoof op het werk van de Nederlandse schilder (1900-1983).

"This book is the first to describe the growing convergence during the last decade towards a new classical style - a return to painting and building within the western classical tradition. Often misread as Neo-Conservatism, this style cuts across the socio-political spectrum as a radical departure from Modernism. Like the revolutionary classicism of the 1790s and the Free-Style Classicism of the 1900s, it has social and moral roots and is variable in genre. With his customary style and originality, Jencks places this international movement in a historical context and defines the intentions which inform it, the rules which govern it, and the salient characteristics of its various manifestations. In art, five major trends are distinguished: Metaphysical Classicism, which includes Carlo Maria Mariani, Gerard Garouste and Malcolm Morley; Narrative Classicism, which embraces the work of Hockney and Kitaj; Allegorical Classical as exemplified by the work of, among others, Stone Roberts, Bruno Civitico and Lincoln Perry; Realist Classicism, including artists as diverse as John De Andrea and Ben Johnson; and Classical Sensibility, which covers, among others, Avigdor Arikha, Michael Andrews and Milet Andrejevic. Architecture is split into four major groups - the Fundamentalists, Revivalists, Urbanists and Eclectics - and the work of architects as diverse as Takefumi Aida, Leon Krier, Robert Venturi, James Stirling and Michael Graves is discussed."--BOOK JACKET.

Overzicht van het werk van de schilders van de Haagse School (tweede helft negentiende eeuw).

De inhoud van dit boek, het lettertype, de ontwerpen voor de typografie van binnenwerk, band en omslag, de ruim honderd illustraties in kleur en zwart-wit, de keuze van de papiersoort, linnen, drukker en binder, alles kwam voort uit de handen dezelfde schrijver-kunstenaar. 

50 jaar Cobra

De invloedrijke beweging in de beeldende kunst, die met ingang van 1917 in het gelijknamige tijdschrift en in kunstwerken abstractie propageerde.

Aan de hand van 22 voorbeelden van overwegend in Den Haag gemaakt zilver wordt de geschiedenis van het Nederlandse zilver belicht.

Sociale satire uit het Duitsland omstreeks WO I, waarvoor George Grosz in 1923 veroordeeld werd, waarna een deel van zijn werk werd vernietigd. In dit boek kunt u daar afbeeldingen van zien. Engelstalige uitgave. 

The Treasures of Venice will guide you through one of the most beguiling, historic, and architecturally rich cities in the world. Its exquisite and detailed images and accompanying text are the perfect companion on long walks through Saint Marks Square, the Doge's Palace, and along the Grand Canal.
The guide includes nottobemissed highlights from the major art collections and from Venice's many churches. With more than 300 photographs and illustrations, and captions that carefully and intelligently describe each of the objects depicted, this guide is a perfect companion. The many detailed maps and itineraries help you stay on track in a city whose winding streets and canals invite exploration on foot. In addition, comprehensive explanations of Venetian history and culture give visitors the right tools to truly understand the beauty of this remarkable city.

352 pagina's lees- en kijkgenot. Leer ze kennen, die oude meesters. 

Teksten met betrekking tot het Rijksmuseum te Amsterdam, waarvan de auteur directeur was.

Anno nu krijgt een mens op één dag meer beelden te verwerken dan iemand in de middeleeuwen gedurende zijn hele leven. Als reactie op deze "hyperventilerende" samenleving klinkt de oproep tot rust, bezinning en stilte. Steeds meer mensen vinden die verstilling door naar kunst te kijken. Joost Zwagerman gaat in 'De stilte van het licht' op bevlogen wijze op zoek naar de facetten van deze "intensiteit van de stilte". Van de religieus geïnspireerde stilte bij Jan van Eyck en Zurbarán, via de abstracte stilte van Mark Rothko en Malevich, tot de stilte als suspense bij Edward Hopper. Bij alle kunstenaars is licht een belangrijk middel om de sfeer van de stilte uit te drukken.

Breakfast at Sotheby's is a wry, intimate, truly revealing exploration of how art acquires its financial value, from Philip Hook, a senior director at Sotheby'sWhen you stand in front of a work of art in a museum or exhibition, the first two questions you normally ask yourself are 1) Do I like it? And 2) Who's it by? When you stand in front of a work of art in an auction room or dealer's gallery, you ask these two questions followed by others: how much is it worth? how much will it be worth in five or ten years' time? and what will people think of me if they see it hanging on my wall?Breakfast at Sotheby's is a guide to how people reach answers to such questions, and how in the process art is given a financial value. Fascinating and highly subjective, built on thirty-five years' experience of the art market, Philip Hook explores the artist and his hinterland (including -isms, middle-brow artists, Gericault and suicides), subject and style (from abstract art and banality through surrealism and war), "wall-power", provenance and market weather, in which the trade of the art market is examined and at one point compared to the football transfer market. Comic, revealing, piquant, splendid and absurd, Breakfast at Sotheby's is a book of pleasure and intelligent observation, as engaged with art as it is with the world that surrounds it.Philip Hook is a director and senior paintings specialist at Sotheby's. He has worked in the art world for thirty-five years during which time he has also been a director of Christie's and an international art dealer. He is the author of five novels and two works of art history, including The Ultimate Trophy, a history of the Impressionist Painting. Hook has appeared regularly on television, from 1978-2003 on the BBC's Antiques Roadshow.

Charles Saatchi's collection of young British artists is one of the most celebrated collections of contemporary art in the world. 'But is it art?' was a frequent cry during the mid-90s, when he exhibited the works of artists such as Damien Hirst, Marc Quinn, Gavin Turk and Marcus Harvey. Artists such as these soon fulfilled their promise and consolidated their reputations, vindicating Saatchi's enthusiasm and their inclusion in this eclectic group. The book explores the ideas, aspirations and attitudes that inform each artist and the way that they are manifested in the end product. This publication, long out of print, remains an essential record of 35 artists that were collected by Charles Saatchi during the 1990s and is being reprinted to celebrate the opening of the new Saatchi Gallery later this year.
The book explores the ideas, aspirations and attitudes that inform each artist and the way that they are manifested in the end product.
This publication, long out of print, remains an essential record of 35 artists that were collected by Charles Saatchi during the 1990s and is being reprinted to celebrate the opening of the new Saatchi Gallery later this year.
'Art today makes approaches towards the unknowable... artists reflect something both psychological and social off that gaze, something that may hint at the face the future will present. In this activity artist and critic are linked in an intimate collaboration. The artist makes unverifiable hypotheses or intuitive proposals about the unknown, and the critic drives out into the verbal open their networks of implications.' Thomas McEvilley, 'Father the void' in 'Tyne International: a new necessity' 1990, p.133.
The name of this book is derived from Damien Hirst's extraordinary sculpture, 'The Physical Impossibility of Death in the Mind of Someone Living, ' 1992, a fourteen-foot tiger shark suspended in a tank of formaldehyde. It is appropriate that Hirst should introduce this anthology, since he was responsible for making visible many of the artists included in these pages and, in many people's minds, has come to epitomize the wild boy whose shock tactics and cool media manner give art a high profile and a bad name. His presence emphatically colours the 20water.
In 1988 while still a student at Goldsmiths', Hirst organized 'Freeze, ' an exhibition that included sixteen of his fellow students. This marked the beginning of a vital period of optimism and enthusiasm. The recession provided a plentiful supply of empty factories, warehouses and offices and young artists seized the initiative, raised funds and mounted further shows such as 'Modern Medicine' and 'Gambler' in these dramatic spaces.
Charles Saatchi had been collecting their work and bought Hirst's first major piece, 'A Thousand Years, ' with its rotting cow's head and flies. Support of this kind is of incalculable value; it sustains energy and optimism. Whereas struggling in a vacuum is soul-destroying, the prospect of having one's work enter a major collection provides both a goal and a context; it generates hope. Damien Hirst's shark swam into view in the first show of Young British Artists mounted at the Saatchi Gallery in 1992 and attracted unprecedented media attention.
At first sight there seem to be few links between the thirty-five artists represented in this book. What possible preoccupations could be shared by a minimalist painter and a pickler of sharks? In writing about them, the author was determined not to impose artificial groupings. Despite their work being lumped together under the rubric of 'conceptualism, ' often by those hostile to it, these artists do not form a group or a school. Many of them studied at Goldsmiths' and some are friends, but others have never met or even heard of one another. Kerry Stewart graduated only recently, Jenny Saville lives in Scotland, Carina Weidle has returned to Brazil and, although most of the others live in London, it is a big city. There is no cafe society or artists' meeting place and these people do not form a cosy coterie.

Die Ausstellung im Suermondt-Ludwig-Museum zeigt die Entwürfe des Meisters in ihrer ursprünglichen Form, so wie er sie bei der Arbeit vor Augen hatte. Dabei darf man nicht vergessen, dass das gedruckte Werk stets die gespiegelte Wiedergabe der ursprünglichen Komposition auf der Kupferplatte ist. Nicht selten verändert sich dadurch die Wirkung entscheidend. Auch wenn sich jeder Grafiker dessen bewusst ist, so bleibt die Frage, wie weit dies im Einzelfall berücksichtigt wird. Beim Großteil der so genannten Reproduktionsgrafik, also der drucktechnischen Vervielfältigung etwa von Gemälden, finden sich Seitenverkehrungen, und das selbst dann, wenn dieser Prozess von den Schöpfern der umzusetzenden Werke genau überwacht wurde, wie im Falle Rubens. Technische Möglichkeiten für seitenrichtige Reproduktionen hatte man durchaus, wie etwa Marcantonio Raimondis frühere Stiche nach Raffael zeigen. Exhibition: Suermont-Ludwig Museum, Aachen (12.11.2011-5.2.2012).