MICHAEL BOCKEMUHL

La obra de Joseph Mallord William Turner (1775-1851) provoca un impacto similar al que sentiría una persona que pudiera ver de repente. Sus paisajes terrestres y marinos desprenden tal luz y color, tienen una fuerza tan tremenda, que es como si el sol brillara en el interior del cuadro.Conocido como "el pintor de la luz", Turner trabajo con grabados, acuarelas y oleos para transformar los serenos paisajes contemplativos en imagenes llenas de vida. Su trabajo giro en torno al rio Tamesis y el mar. Sin embargo, realizado en el contexto historico de la Revolucion Industrial tambien incluyo embarcaciones, trenes y otros signos de la actividad humana que mostraban el firme avance de la civilizacion frente a las fuerzas de la naturaleza.Este libro ofrece un repaso al amplio e ilustre repertorio de Turner, un artista que dio un toque de modernismo radical a un genero tradicional.Sobre la serieCada libro de la Basic Art Series de TASCHEN incluye:un detallado sumario cronologico de la vida y obra del artista en el que se aborda su importancia historica y cultural;una concisa biografia;aproximadamente 100 ilustraciones en color con comentarios explicativos.

El misterio de la forma revelada Un espejo del devenir artístico e intelectual en el siglo XVII Rembrandt Harmensz van Rijn (1606-1669) fue uno de los artistas más complejos y polifacéticos del sig

La inocencia de la mirada Como un ciego vería el mundo si el don de la vista regresase de repente, así se puede describir el efecto que las pinturas de Turner ejercen sobre el espectador. John Ruskin, el defensor incondicional en el siglo XIX de la pintura de William Turner (1775-1851), hablaba de la "inocencia de la mirada" que percibía los colores y las formas del mundo antes de reconocer el significado. Pero para desarrollar este estilo, Turner primero tuvo que superar todo el legado de las enseñanzas académicas del Rococó tardío. Fue simultáneamente un romántico y un realista, aunque sin identificarse con ninguno de los dos. Sus paisajes, adelantados a su tiempo, se han considerado precursores del Impresionismo, pero también poseen rasgos que influyeron en el Expresionismo y muchas de sus composiciones posteriores son completamente surrealistas.

As a blind person would see the world if the gift of sight suddenly returned - so might one describe the effect of Turner's paintings on the observer. John Ruskin, the uncompromising nineteenth-century defender of the painting of William Turner (1775-1851) spoke of the 'innocence of the eye', which perceived the colours and forms of the world before it recognized their significance. But in order to develop such a style, Turner first had to overcome the entire legacy of late rococo academic teachings. He was simultaneously a romantic and a realist - and yet he was neither. His landscapes, far in advance of their time, have been called forerunners of Impressionism, but they also possess traits that influenced Expressionism, and many of his late compositions are thoroughly surrealistic. In reality, Turner's art cannot be comprehended by such classifications: its essence remains a riddle to art history even today. For his work arises from a unique relation to the nature that it depicts: through his brilliant sketches, he found his way already in the 19th century to a rigorously open kind of painting in which nature sets free the use of colour. And through the workings of the natural elements - especially atmospheric light - Turner confronted nature at the point where nature itself is an image. This book provides the understandings necessary to open up Turner's paintings for the eye, demonstrating that Turner was not simply illustrating nature, but that his pictures speak directly to the eye as nature does itself - through a world of light and colour.

Rembrandt Harmensz. van Rijn (1606-1669) was one of the most complex and multi-faceted artists of the 17th century. From his initial period in Leiden to his earlier and later phases in Amsterdam, the stages of Rembrandt's career mirror the artistic and intellectual developments of the century. After breaking off his studies in Leiden, the young Rembrandt trained as a painter for two years and eventually established his own painting workshop. Characteristic of the Leiden period are his biblical histories, such as "The Raising of Lazarus," but the roots of Rembrandt's portraiture, nourished by his intensive studies of physiognomy, also are to be found in these same years. Later, in Amsterdam, the perfection of Rembrandt's likenesses initially won him the favor of numerous patrons- but the artist soon surpassed their expectations. Transcending traditional modes of presentation, Rembrandt composed his portraits in the same manner he had earlier constructed his scenes. The results are visible, for example, in the famous group portrait "The Anatomy Lesson of Dr. Nicolaes Tulp" from 1632. In the last phase of Rembrandt's work - when, plagued by financial problems, he had withdrawn into seclusion - it is no longer possible to distinguish between event paintings and portraits.