The beginnings of Chanel's fashion brand lie in the French seaside resorts. In 1912, Coco?then still Gabrielle?Chanel opened her first boutique in Deauville; shops in Biarritz, Monte Carlo and Cannes soon followed. There, her simple, sporty designs met with a cosmopolitan clientele who carried her fashion back to the capital, Paris. In the 1920s, the Chanel brand thus experienced its first heyday, driven by the artistic and social upheaval of those years, the Roaring Twenties. This lavishly illustrated catalogue documents in drawings and photographs the extraordinary productivity of the designer who maintained friendships with artists such as Jean Cocteau, Pablo Picasso and others. In the 1920s, Serge Diaghilev's Ballets Russes were performing on the Riviera. The book reveals the Slavic influence in Chanel's creations, highlighting a network of correspondences with female artists close to Diaghilev's circle, such as Natalia Goncharova and Sonia Delaunay. The book also features La Pausa, Gabrielle Chanel's dream villa built in 1929 near Monaco.
Celebrating the awe and wonder of the Arctic Circle region through visual art from the 19th and 20th centuries.
Vast, impenetrable coniferous forests, "white" summer nights, the perpetual darkness of snowy winters and the famous aurora borealis-the Arctic Circle is a fascinating, if unforgiving, region. The Fondation Beyeler and the Buffalo AKG Art Museum present an exhibition dedicated to this phenomenon with a stunning selection of 19th- and 20th-century paintings by artists from Scandinavia, Finland
Kubin's eerie, unsettling illustrations reveal his preoccupation with the world's evils
For Austrian artist Alfred Kubin (1877-1959), evil was intrinsic to his life and work. After a traumatic childhood growing up in Zell am See and subsequent mental crises, he began his artistic training in Munich in 1898. He processed his nightmares and obsessions in a large number of fantastical drawings. His subjects, perpetually pessimistic, remain relevant a century later: war, famine, pestilence, death and every horror in between. Kubin had a pronounced fear of the feminine, sexuality, night time and of being at the mercy of fate, all of which visited him in uncanny dreams. For Kubin, the aesthetic of evil proved to be the antithesis of the idyll: the deliberate suppression of a hideous reality.
Drawn from the Albertina Museum's collection of over 1,800 drawings by the artist, The Aesthetic of Evil displays Kubin's grotesque vision as well as his superb draftsmanship. Amid the violent, haunting atmosphere of his graphic works it is easy to see how Kubin became trapped in his dark visions, to the point where the inexhaustible, intangible specter of evil consumed his life. Essays by Elisabeth Dutz, Natalie Lettner and Brigitte Holzinger explore Kubin's cosmos of the sinister: his personal iconography of evil fueled by his nightmares and obsessions.
Fondation Beyeler's invitation to the voyage through the oeuvre of one of the moste famous modernist artists - from his early paintings to his legendary late silhouettes.
Henri Matisse is one of the most celebrated artists of Modernism. His groundbreaking work had a significant influence on his contemporaries and many subsequent artists to this day. The retrospective at the Fondation Beyeler spans all of the artist's creative periods. Beginning with the paintings from around 1900, the show advances through the revolutionary Fauvist paintings, the experimental works of the 1910s, the sensual paintings from the Nice period and the 1930s, and culminates in the legendary cut-outs of his late period. Drawing on Charles Baudelaire's poem Invitation to the Voyage from 1857, the exhibition and catalogue are conceived as a journey through Matisse's work and life.
Son "American Girl in Italy" - une scène de rue en Italie où une jeune femme est sifflée - est devenue culte. Depuis, des négatifs et des diapositives retrouvés dans ses archives révèlent un côté moins connu de Ruth Orkin, photographe et fille d'une actrice de cinéma muet : celui d'une chroniqueuse du monde des femmes des années 1940 et 1950. Ruth Orkin a imaginé des séries à l'humour grinçant comme Who works harder ? comparant la vie d'une femme de carrière et celle d'une femme au foyer. Elle a documenté l'agitation dans les salons de beauté et les cocktails, les dog shows et les plateaux de cinéma hollywoodiens. On y trouve Lauren Bacall, Jane Russell, Joan Taylor ou Doris Day, mais aussi des serveuses, hôtesses et femmes soldats, ainsi que ses amies : des femmes en mouvement, qui commencent à rejeter les conventions qui leur sont imposées.
"I don't understand how you can walk past a tree without being happy," says Fyodor Dostoyevsky in his novel The Idiot. Perhaps this thought may explain the motif of women in trees, which was popular between the 1920s and 1950s but has not yet been addressed in any book. The enthusiastic collector of anonymous photography Jochen Raiß (1969-2022) discovered these motifs on flea markets. From boxes containing numerous snapshots of other people's lives, wildly jumbled together, he pulled out black-and-white photographs of women gazing into the camera's eye from dizzying heights and in surprising poses.
This new edition of the two previous titles brings together gorgeous photos that Jochen Raiß collected over twenty-five years.
Inspiré par Rembrandt, Chardin et Courbet, Chaïm Soutine a forgé un nouveau langage expressionniste qui fait le pont entre l'histoire de l'art et la modernité en liant la vulnérabilité humaine et les vies en marge de la société. Ses portraits exécutés à larges touches, ses paysages agités et ses célèbres carcasses d'animaux expriment, dans des couleurs vives, un intense appétit de vivre et une profonde aliénation dans un monde incertain. Ce catalogue d'une exposition au Louisiana Museum à Copenhague puis au Kunstmuseum de Berne se concentre sur ses premiers chefs-d'oeuvre et séries créés entre 1919 et 1925. Abordant le thème général de l'émigration et de la dislocation, des essais révèlent les traces des origines juives de Soutine dans son travail, éclairent la signification de ses motifs récurrents et montrent les influences de l'art de Soutine jusqu'à nos jours.
The city Fred Herzog documented over more than half a century has vanished-an early kind of urban flaneur, Herzog wandered the streets of Vancouver, creating an archive that encapsulates the essence of a bygone era. Considered today as one of the most important street photographers of the 20th century, he changed the international conversation about early color photography. However, it was only in the late 1950s that he decided to primarily shoot with Kodachrome color slides. Fred Herzog: Black and White is the first acknowledgement of a lesser-known facet of the photographers' work. Complementing the seminal Modern Color, it encompasses almost graphical urban scenes of shadow and light, alongside travel photographs and depictions of rural life. Evoking notions of melancholy, this book reveals that Herzog's appeal lies in his ability to seize a condensation of a psychological state.
Ce catalogue d'une exposition à la Hayward Gallery à Londres constitue une rétrospective complète sur cinq décennies de carrière de Hiroshi Sugimoto. Time Machine comprend donc des extraits de toutes ses séries majeures, ainsi que des travaux moins connus qui viennent éclairer son approche expérimentale, conceptuelle et innovante avec laquelle il crée ses images dont la lumière est à la fois l'objet et le sujet.
Depuis la fin des années 1970, l'artiste canadien Jeff Wall a grandement contribué à faire de la photographie un médium autonome et est considéré comme l'un des principaux précurseurs de la «photographie mise en scène ». Synthétisant la photographie avec des éléments d'autres formes d'art comme la peinture, le cinéma et la littérature, dans un mode complexe qu'il appelle «cinématographie », son travail met en scène des réalités fictionnelles, des souvenirs et des expériences passées dans un processus élaboré. Avec plus d'une cinquantaine d'oeuvres, ce catalogue accompagnant l'exposition à grande échelle de la Fondation Beyeler juxtapose les transparences couleur rétro-éclairées de Jeff Wall à ses photographies plus récentes en noir et blanc et en couleur C-imprime, révélant une grande diversité de contenu et de forme.
Piet Mondrian had a decisive influence on the development of painting from figuration to abstraction. On the occasion of his 150th birthday, Mondrian Evolution is dedicated to his multifaceted work and artistic development. Initially working in the tradition of Dutch landscape painting of the late 19th century, Symbolism and Cubism subsequently took on great significance for him. It was not until the early 1920s that the artist focused on a wholly non-representational pictorial vocabulary, limited to the rectangular arrangement of black lines with surfaces in white and the primary colors blue, red and yellow. In separate chapters, this path is traced through motifs such as windmills, dunes, and the sea, farms reflected in the water, and plants in various forms of abstraction.
En première mondiale, la Fondation Beyeler présente pour la première fois des chefs-d'oeuvre surréalistes de la collection Hersaint. L'exposition comprend environ 50 oeuvres clés d'artistes tels que Salvador Dalí, Max Ernst, René Magritte, Joan Miró, Pablo Picasso, Man Ray, Dorothea Tanning et bien d'autres. Les images reprennent des thèmes centraux du surréalisme, tels que le rêve, l'inconscient, la métamorphose ou la forêt comme lieu de l'énigme. La collection a été fondée par le banquier Claude Hersaint, qui a acheté son premier tableau de Max Ernst à l'âge de 17 ans. Une passion pour l'art s'est développée tout au long de sa vie, pour aboutir à l'une des plus importantes collections de peinture surréaliste. Les tableaux de la collection Hersaint sont présentés en dialogue avec des oeuvres de la Fondation Beyeler. L'exposition qui se déroule du 16 février au 4 mai 2025 est réalisée grâce au soutien de la fille de Claude Hersaint, Evangéline Hersaint, et de son épouse Laetitia Hersaint-Lair.
Reuniting eight key Basquiat works that mark the graffiti artist's transition to painterly autonomy.
This catalog focuses on eight paintings by Jean-Michel Basquiat made in the summer of 1982, when he traveled to Modena, Italy, for one of his first solo exhibitions in Europe at the gallery of Emilio Mazzoli. Within the span of just a few days, Basquiat painted a group of large-format paintings that surpassed his previous work in both scale and method. Each measuring around 6.5 by 13 feet, these works mark Basquiat's transition from creating graffiti in the streets of Manhattan to painting on canvas. The conception and occasion of the exhibition ultimately proved fraught, and instead of conceding to pressure and expectations, Basquiat canceled the show. The paintings-including masterpieces that today are considered pivotal and among the most outstanding of his oeuvre-have never been shown together. This catalog revisits this crucial moment of Basquiat's career and reunites them for the first time.
Jean-Michel Basquiat (1960-88) grew up in Brooklyn. Notoriety came early, from his street paintings made under the tag SAMO. Later he stormed the gallery world, and became an icon of New York's vibrant early-'80s downtown scene, a friend to and collaborator with Andy Warhol and Francesco Clemente, and the cover boy for a 1985 New York Times Magazine story on the new art market. He died following a heroin overdose at 27.
Sheila Hicks has made wool, linen, and silk her central media, pushing the boundaries of traditional textile art. Her works combine color, form, and material in novel ways and explore architectural dimensions. As a pioneer of textile conceptual art, Hicks has developed a distinctive visual language over six decades, from finely woven miniatures to monumental installations that open up new perspectives on the possibilities of art. This book contains views of Sheila Hicks's exhibition a little bit of a lot of things at the Kunstmuseum St. Gallen as well as a conversation with the curator Rob Storr and an essay by Gianni Jetzer. It also documents a master class held by the artist in St. Gallen and contains previously unpublished images.
It's All About Freedom presents a comprehensive cross-section through nine decades of Tomi Ungerer's artistic work for the first time-from drawings from the nineteen-thirties to objects from the two thousand-tens. The exhibits selected shed new light on Ungerer's oeuvre by making it possible to comprehend the artistic dimension of the political and stylistic lines and breaks in his oeuvre as a 'freewheeling artist'. His passion for experimenting across genres and the interplay between drawing, collage, and assemblage through which he searched for identity and humanity is thus shown in his work again and again. Developed by the Deichtorhallen Hamburg / Sammlung Falckenberg in cooperation with the Tomi Ungerer Estate and the Musee Tomi Ungerer in Strasbourg, the volume brings together contributions on Tomi Ungerer's life's work by Thomas David, Belinda Grace Gardner, Aria Ungerer, and Therese Willer, with a foreword by Dirk Luckow and Harald Falckenberg.
The absurdity of everyday life
Frank Kunert is one of the most distinguished German photographers. In lengthy processes, he builds precise miniature worlds, which he presents to us as deceptively real everyday worlds. Rooms, houses, bridges, towers: his architectural situations are both reflections of inner emotional and social states. In their apparent banality, the surreal scenes are an expression of a present that is as familiar as it is uncanny.
This «Best of» presents a selection of works from three of his books already published by Hatje Cantz Verlag. It not only pays tribute to an extraordinary artist, but also to many years of successful collaboration.
Frank Kunert (*1963 in Frankfurt/M.) began taking photographs as a teenager. Initially mainly interested in landscapes, he has devoted himself to studio work since his photographic training. His work has received many awards, including the German Photo Book Prize in Silver. Frank Kunert lives in Boppard, Germany.
The exhibition Maison Sonia. Sonia Delaunay and the Atelier Simultane is dedicated to the applied work of Russian-French artist Sonia Delaunay (1885-1979), with a focus on her textile design work. The accompanying catalogue includes the first scholarly essays on Sonia Delaunay's collaborations with silk industrialist Robert Perrier and couturier Jacques Heim, who were among her most important collaborators and previously unexplored. In addition, the publication provides the first overview of the role of Sonia Delaunay's simultaneous fabrics in the design of modern living and media spaces.
Ce catalogue accompagne une exposition présentée à la fondation Beyeler du 17 septembre 2023 au 28 janvier 2024, organisée en partenariat avec le Louisiana Museum à Copenhague et le Musée national géorgien. Comme Vincent van Gogh, Henri Rousseau et Marc Chagall, il a su peindre des tableaux appréciés tant par les gens ordinaires que par les artistes de l'avant-garde. Avec grande sensibilité, le peintre autodidacte, considéré comme une sorte de Douanier Rousseau géorgien, transformait le quotidien en merveilleux, représentant souvent des humains et animaux empreints d'une profonde dignité, évoquant des icônes aux couleurs vives sur fond noir, regardant le spectateur de manière détachée. Réunissant environ 50 oeuvres majeures, il s'agit de la plus importante exposition internationale jamais consacrée à Pirosmani.
Wayne Thiebaud's famous, literally candy-colored still lifes of pies, cakes, gumball machines, and lipsticks reflect the promise and abundance of the American way of life - a society of plenty, where supply exceeds demand.
The tactile impression created by his pasty layers of paint brings the objects to life and creates an atmosphere in which irony and melancholy are carefully balanced. Testing the possibilities of painterly expression, Thiebaud's brilliant painting technique explores the boundaries of the real and imagined world.
This catalog presents all aspects of the legendary American artist's oeuvre, including still lifes and portraits, as well as his deserted, multi-perspective cityscapes and river landscapes, in luminous pastels that exude a peculiar summertime sadness.
Like hardly any other artist, Pierre-Auguste Renoir has shaped our understanding of the atmospheric figure paintings of Impressionism. His painting La fin du dejeuner, which has been in the Stadel Museum in Frankfurt since 1910, is now the starting point for a far-reaching examination of an important source of inspiration that accompanied him throughout his life: the Rococo. Considered frivolous and immoral after the French Revolution, this style of painting experienced a renaissance in the 19th century and was widely celebrated during Renoir's lifetime. Published on the occasion of the Stadel Museum's major exhibition, this comprehensive volume explores Renoir's multifaceted connection to tradition through illuminating juxtapositions of his art with 18th-century works and contemporaries.
