Preventa de eBooks de Historia del arte

Un ensayo fascinante sobre cómo "el año terrible" de París desembocó en el nacimiento del impresionismo.Entre el verano de 1870 y la primavera de 1871, un periodo que Victor Hugo bautizó como el "Año Terrible", Paris fue sitiada, padecio una hambruna y hubo de rendirse al ejercito aleman. A continuacion, los republicanos radicales establecieron la Comuna, que fue aplastada tras sangrientas batallas callejeras y el incendio del centro de la ciudad. Como demuestra el prestigioso critico de arte Sebastian Smee, ganador del Premio Pulitzer, fue durante estos tiempos tumultuosos cuando nacio el movimiento impresionista, como respuesta a la violencia, la guerra civil y la intriga politica.Smee relata la historia de aquellos dias dramaticos a traves de los ojos de las grandes figuras del impresionismo. Edouard Manet, Berthe Morisot y Edgar Degas quedaron atrapados en Paris durante el sitio. Otros, como Pierre-Auguste Renoir y Frederic Bazille, se unieron a regimientos fuera de la capital, mientras que Claude Monet y Camille Pissarro huyeron del pais justo a tiempo. En el periodo posterior, estos artistas desarrollaron una nueva conciencia sobre la fragilidad de la vida. Esa sensacion de transitoriedad -reflejada en el enfasis en la luz fugitiva, las estaciones cambiantes, las escenas callejeras fugaces y la impermanencia de todas las cosas- se convirtio en la gran aportacion del movimiento a la historia del arte.En el corazon de todo ello hay una historia de amor: la de Manet, considerado por todos el padre del impresionismo, y Morisot, la unica mujer que desempeño un papel central en el movimiento desde sus inicios. Smee describe con gran sensibilidad su compleja relacion, la influencia mutua que ejercieron y su inmenso legado, al tiempo que otorga el merecido reconocimiento a la mujer en el corazon del impresionismo.Penetrante y absorbente, Paris en ruinas capta las pasiones y politicas cambiantes del mundo del arte y explica el profundo impacto que tuvieron las presiones del sitio y el caos de la Comuna en el arte moderno, y como el genio artistico puede surgir de la oscuridad y la catastrofe.La critica ha dicho:Smee se basa en una gran cantidad de fuentes historicas y biograficas para examinar el nacimiento del impresionismo durante una epoca de feroz agitacion politica y social en Francia... Transmite vividamente el terror de la epoca, los tensos enfrentamientos militares y las conspiraciones, y las pasiones inflamadas... Su descripcion de las obras de los impresionistas es perspicaz, como lo es su sensibilidad hacia las complicadas relaciones entre los artistas. Historia cultural habil y vibrante.Kirkus Reviews Persuasivo y vivido El arte de la rivalidad se enraiza en la teoria de primera mano, pero esta dirigido a lectores no especializados, se trata en parte de minibiografias y en parte de una historia del arte mas amplia. John Williams, The New York Times (Sobre El arte de la rivalidad) Con detalles e incisividad propios de una novela y una prosa vivida y agil El arte de la rivalidad es una delicia pura y cargada de informacion, escrita con astuta autoridad. Michael Upchurch, The Boston Globe (Sobre El arte de la rivalidad) La brillante biografia de grupo de Sebastian Smee es unica en su genero. Ann...

Where is Charles Simonds? Throughout the 1970s, his diminutive Dwellings, tiny architectural ruins of an imaginary civilization, could be found throughout the crumbling infrastructure of downtown New York. Preoccupied with the relationship between the grown and the built, the archaeological and the urban, Simonds shared friendship and ideas with Gordon Matta-Clark and Robert Smithson. Like Lucy Lippard, with whom he lived during that decade, Simonds believed in combining art and activism, always preferring what he called the "real world" to the art world. Yet despite taking part in many of the seminal exhibitions and art events of 1970s New York, Simonds has left few traces on art history. In order to explain Simondss absence while simultaneously arguing for his central place within it, Jules Pelta Feldman reconsiders the decades self-conception, finding that Simonds exemplifies much of what has been ignored in 1970s artand much of what establishes it as a unique period of experimentation and possibility.

Where is Charles Simonds? Throughout the 1970s, his diminutive Dwellings, tiny architectural ruins of an imaginary civilization, could be found throughout the crumbling infrastructure of downtown New York. Preoccupied with the relationship between the grown and the built, the archaeological and the urban, Simonds shared friendship and ideas with Gordon Matta-Clark and Robert Smithson. Like Lucy Lippard, with whom he lived during that decade, Simonds believed in combining art and activism, always preferring what he called the "real world" to the art world. Yet despite taking part in many of the seminal exhibitions and art events of 1970s New York, Simonds has left few traces on art history. In order to explain Simondss absence while simultaneously arguing for his central place within it, Jules Pelta Feldman reconsiders the decades self-conception, finding that Simonds exemplifies much of what has been ignored in 1970s artand much of what establishes it as a unique period of experimentation and possibility.

Stopgap Measures presents an exciting selection of essays, interviews and shorter pieces on the work of American artist Mike Kelley (19542012) written over more than three decades by the noted art historian and cultural critic John C. Welchman. Kelleys provocative career gave rise to some of the most conceptually and materially diverse work of recent times in performance, writing, painting, drawing, sculpture, banners, multimedia installation, appropriated objects and images and video, as well as numereous collaborations. This volume includes reflections on specific works, and features a signature series of pathbreaking essays on Kelleys innovations in photography and writing as well as explorations of major themes in his practice, research and thinking: physical comedy and verbal humor; memory; popular culture, dress-up and Americana; the uncanny; imaginative projection and dark fantasy; appropriation and giving; authorship and self-construction; and the artists littleremarked upon negotiation with the histories of and ideas about Asia. The book concludes with new essays on Kelleys engagement with animals and the nonhuman; and on the refrain disappearances that punctuate Kelleys career set in relation to specters of social catastrophe and nuclear annihilation.

Stopgap Measures presents an exciting selection of essays, interviews and shorter pieces on the work of American artist Mike Kelley (19542012) written over more than three decades by the noted art historian and cultural critic John C. Welchman. Kelleys provocative career gave rise to some of the most conceptually and materially diverse work of recent times in performance, writing, painting, drawing, sculpture, banners, multimedia installation, appropriated objects and images and video, as well as numereous collaborations. This volume includes reflections on specific works, and features a signature series of pathbreaking essays on Kelleys innovations in photography and writing as well as explorations of major themes in his practice, research and thinking: physical comedy and verbal humor; memory; popular culture, dress-up and Americana; the uncanny; imaginative projection and dark fantasy; appropriation and giving; authorship and self-construction; and the artists littleremarked upon negotiation with the histories of and ideas about Asia. The book concludes with new essays on Kelleys engagement with animals and the nonhuman; and on the refrain disappearances that punctuate Kelleys career set in relation to specters of social catastrophe and nuclear annihilation.

When Abdul Rahman Munif embarked on the first extensive study in Arabic about Marwan Kassab Bachi, he mailed the artist asking about how his art emerged, its contextual influences, and timely interpretations. Marwan recorded his answers on seven audio tapes and sent them to Munif, but also started writing his memoirs in Arabic. This book is an anthology of the letters exchanged between two friends, Marwan in Berlin and Munif in Damascus, from 1990 to 2004.

When Abdul Rahman Munif embarked on the first extensive study in Arabic about Marwan Kassab Bachi, he mailed the artist asking about how his art emerged, its contextual influences, and timely interpretations. Marwan recorded his answers on seven audio tapes and sent them to Munif, but also started writing his memoirs in Arabic. This book is an anthology of the letters exchanged between two friends, Marwan in Berlin and Munif in Damascus, from 1990 to 2004.

For more than three decades, South African artist William Kentridge has created a vast body of work comprising drawings and multimedia installations that have been exhibited worldwide.Here he immerses us in the artistic, intellectual and production processes of his creations, providing philosophical, autobiographical, technical and practical commentary and giving intimate insight into the studios where he has created throughout his life.A Natural History of the Studio is not only a must-read for admirers of Kentridges work, but also a vibrant personal and philosophical exploration of the creative process and a critical look at the world and the human condition.

Stay Connected: Art and China Since 2008 is a landmark compendium produced by Tai Kwun Contemporary and Asia Art Archive. Bringing together over 80 artists from China and beyond, the volume maps artistic responses to the profound social, economic, and technological shifts of the 21st century. Structured around nine keywords, it features newly commissioned essays by curators, writers, and scholars, alongside short texts on artworks and an extensive archival section. With three in-depth curatorial essays, this richly illustrated book offers a panoramic yet incisive account of contemporary arts entanglement with the realities of globalisation, making it an indispensable reference for understanding Chinas place in the world today.

Stay Connected: Art and China Since 2008 is a landmark compendium produced by Tai Kwun Contemporary and Asia Art Archive. Bringing together over 80 artists from China and beyond, the volume maps artistic responses to the profound social, economic, and technological shifts of the 21st century. Structured around nine keywords, it features newly commissioned essays by curators, writers, and scholars, alongside short texts on artworks and an extensive archival section. With three in-depth curatorial essays, this richly illustrated book offers a panoramic yet incisive account of contemporary arts entanglement with the realities of globalisation, making it an indispensable reference for understanding Chinas place in the world today.

From The Real Housewives of Beverly Hills star Dorit Kemsley comes a candid memoir in which she reveals the unscripted moments that shaped who she is today.Dorit Kemsley has spent years cultivating a persona that exudes elegance, ambition, and confidence. But behind the designer labels and otherwise picture-perfect image lies a story of resilience, transformation, and self-discovery. Now, for the first time, shes telling this story in full. Before the cameras started rolling, Dorit was raised in a Jewish home in Connecticut, shaped by her familys international roots. But her early interest in fashion soon took her around the world for school and work, which later brought her back to New York City to launch her own global resort-wear line. Along the way, a charming Britthe man she once thought was the love of her lifeswept her off her feet . . .With the effortless charm of a best friend, Dorit reminisces on her early seasons as a Real Housewife, navigating new motherhood in the spotlight. She reveals the true stories behind #PantyGate and #PuppyGate and the ups and downs of her friendships with cast members across nearly a decade on the show. She delves into the fears and traumas she has long kept private, including the dissolution of her marriage to Paul "PK" Kemsley, the terrifying home invasion that shattered her sense of security, and the pressure of living under constant public scrutiny.With candor, humor, and the kind of perspective earned only by a woman who has lived as a wife and mother onscreen for eight seasons and counting, Dorit recounts the lessons shes learned, the mistakes shes made, and the strength shes discovered in starting over.

Many of us are drawn to a life in the arts but daunted by how to balance that ambition with the very real need to pay rent and put food on the table. It is impossible to become an accomplished painter, composer, or novelist without spending time experimenting, making false starts, absorbing criticism, reading, talking, and moping about the house. All this time must be purchased, one way or another. Is the history of art and ideas just a history of rich kids?The answer, of course, is no. William Carlos Williams was a family doctor. Franz Kafka was an insurance man, as were Charles Ives and Wallace Stevens. Grace Hartigan temped. James Joyce mooched off his brother; Christopher Isherwood ingratiated himself with a wealthy uncle. Virginia Woolf and Louisa May Alcott were determined to make their writing pay no matter what. And their material circumstances had an impact on all of their creative outputs.From family money to jobs to colorful schemes, Mason Currey, author of the acclaimed Daily Rituals, explores both the well-worn and unlikely paths forward for the up-and-coming artist. Making Art and Making a Living is an entertaining and thought-provoking examination of the collision of creative ambitions with real-world necessities and of the messy, glorious, torturous compromises that gifted individuals have patched together when facing the eternal dilemma of an artistic life.

To mark the 200th anniversary of the Karlsruhe Institute of Technology (KIT), its history is being told through 100 selected objects. Proposals from the entire institute were submitted in response to a "Call for Objects." The curators Klaus Nippert and Andrea Stengel provide historical classifications of the objects with regard to their role in research, teaching, and development. The catalogue shows numerous new images of the objects, photographed by Jonas Zilius and Amadeus Bramsiepe, and mediates between their current appearance and the historical perspectives raised. In the design, Christoph Engel interweaves text and image in a special form that invites you to take a visual stroll.Klaus Nippert studied history and philology, and has a doctorate in early modernism. In 2002, he became head of the University Archive Karlsruhe, since 2009 the KIT Archive. He has published in the fields of archival, historical, and literary studies.

To mark the 200th anniversary of the Karlsruhe Institute of Technology (KIT), its history is being told through 100 selected objects. Proposals from the entire institute were submitted in response to a "Call for Objects." The curators Klaus Nippert and Andrea Stengel provide historical classifications of the objects with regard to their role in research, teaching, and development. The catalogue shows numerous new images of the objects, photographed by Jonas Zilius and Amadeus Bramsiepe, and mediates between their current appearance and the historical perspectives raised. In the design, Christoph Engel interweaves text and image in a special form that invites you to take a visual stroll.Klaus Nippert studied history and philology, and has a doctorate in early modernism. In 2002, he became head of the University Archive Karlsruhe, since 2009 the KIT Archive. He has published in the fields of archival, historical, and literary studies.

Art is my life and my life is art . . .The story of the twentieth-century avant-garde is a story of resistance, of the outsider, of strangeness, of individual freedom, of rejecting the ordinary and overcoming marginalisation through self-invention. It is also a story that can be told through the prism of one of its most renowned figureheads: Yoko Ono.From her early life escaping aristocratic Japanese society and the horrors of World War II to adventurous and productive exile in New York, Onos work built upon the histories of Dada, surrealism, Zen Buddhism, and experimental music. A significant influence on the elusive Fluxus artistic network, she was connected to all its major personalities. Pursuing dreams of revolutionary liberation and aiming to recreate shattered post-war reality through performance, art and text, she established a legacy - despite her tumultuous personal life - as one of the most visionary artists and activists of her generation.Marking the intersection of biography, cultural history and artistic meditation, Love Magic Power Danger Bliss explores the deep history and vitality of the 20th century avant-garde movement and the inspiring, provocative figure who became its most celebrated, most misunderstood icon.

Timeless sculptures between presence and absence an insight into the unique artistic world of Walter MoroderWalter Moroder is one of the most distinctive sculptors of our time. His life-size figures, which refuse any imitation of human existence, embody a state of waiting, silence, and stillness creating a powerful interplay of presence and absence. This monograph presents, for the first time, a comprehensive overview of more than three decades of his artistic career. Structured into 16 chapters and enriched with large-format images, it allows readers to experience the depth and uniqueness of Moroders work. Book Highlights: Comprehensive monograph covering 30 years of artistic creation Life-size sculptures of existential intensity 16 chapters offering a clear overview and art-historical context Large-format illustrations and sophisticated book design A must-have volume for collectors, art lovers, and anyone fascinated by the power of contemporary sculpture.Markus Klammer is an editor, art critic, and curator of numerous exhibitions of modern and contemporary art, with publications and texts on Heinz Gappmayr, Remy Zaugg, Gerhard Merz, Michele Bernardi, Hugo Vallazza (selection). Hatje Cantz published his monograph on Gianpietro Carlesso in 2014. Markus Klammer lives and works in Bolzano (Italy).Walter Moroder (born 1963) comes from a renowned family of sculptors in Val Gardena (Italy). During his training, he went through all the stages of the regions craft and artistic tradition, only to leave them behind after studying at the Academy of Fine Arts in Munich (graduating in 1988) and making a decisive decision about his future direction. His sculptural exploration of the forms of the human body confirms his affinity for classical sculpture, but in conjunction with a decidedly postmodern visual thinking that goes beyond figurative, abstract, or neo-expressive conventions.

Timeless sculptures between presence and absence an insight into the unique artistic world of Walter MoroderWalter Moroder is one of the most distinctive sculptors of our time. His life-size figures, which refuse any imitation of human existence, embody a state of waiting, silence, and stillness creating a powerful interplay of presence and absence. This monograph presents, for the first time, a comprehensive overview of more than three decades of his artistic career. Structured into 16 chapters and enriched with large-format images, it allows readers to experience the depth and uniqueness of Moroders work. Book Highlights: Comprehensive monograph covering 30 years of artistic creation Life-size sculptures of existential intensity 16 chapters offering a clear overview and art-historical context Large-format illustrations and sophisticated book design A must-have volume for collectors, art lovers, and anyone fascinated by the power of contemporary sculpture.Markus Klammer is an editor, art critic, and curator of numerous exhibitions of modern and contemporary art, with publications and texts on Heinz Gappmayr, Remy Zaugg, Gerhard Merz, Michele Bernardi, Hugo Vallazza (selection). Hatje Cantz published his monograph on Gianpietro Carlesso in 2014. Markus Klammer lives and works in Bolzano (Italy).Walter Moroder (born 1963) comes from a renowned family of sculptors in Val Gardena (Italy). During his training, he went through all the stages of the regions craft and artistic tradition, only to leave them behind after studying at the Academy of Fine Arts in Munich (graduating in 1988) and making a decisive decision about his future direction. His sculptural exploration of the forms of the human body confirms his affinity for classical sculpture, but in conjunction with a decidedly postmodern visual thinking that goes beyond figurative, abstract, or neo-expressive conventions.

Este livro é um convite ao mergulho: nas emoções, nas lembranças, nos silêncios e nas palavras que, muitas vezes, tentam dizer o indizível. Nascido de uma escrita despretensiosa, mas profundamente ve

De onde brota a criatividade? Existem maneiras de estimulá-la? O que fazer quando, no cotidiano exaustivo que vivemos, sentimos que nossas fontes internas de criação se perderam?Lançado há 35 anos, e