In 1959, Bridget Riley’s copy of Georges Seurat’s Bridge at Courbevoie (1886–87) offered the artist a new understanding of colour and tone, which led her to produce her first major works of pure abstraction during the early 1960s.
In 2015–16, an exhibition at the Courtauld Gallery, London, presented seven of Riley’s paintings and this key Pointillist work by Seurat from the museum’s collection. Brought together for the first time, the exhibition demonstrated the two artists’ shared preoccupation with perception by looking at pivotal points throughout Riley’s career.
Alongside full-colour illustrations, this publication features two essays written by Riley that offer the artist’s insights on Seurat’s importance to her own practice. An interview with the artist by Éric de Chassey, complemented by an introductory text by Karen Serres and Barnaby Wright, make this an important resource for art historians and general readers alike.
This volume examines the relationship between modern sculpture and architecture in the mid-twentieth century, an interplay that has laid the ground for the semisculptural or semiarchitectural works by architects such as Frank Gehry and artists such as Dan Graham.
The first half of the book explores how the addition of sculpture enhanced several architectural projects, including Mies van der Rohe’s Barcelona Pavilion (1929) and Eliel Saarinen’s Cranbrook Campus (1934). The second half of the book uses several additional case studies, including Philip Johnson’s sculpture court for New York’s Museum of Modern Art (1953), to explore what architectural spaces can add to the sculpture they are designed to contain.
The author argues that it was in the middle of the twentieth century – before sculptural and architectural forms began to converge – that the complementary nature of the two practices began clearly to emerge: figurative sculpture highlighting the modernist architectural experience, and the abstract qualities of that architecture imparting to sculpture a heightened role.
Rediscover the inspiring work of the Belgian architect, Léon Stynen (1899‐1990). Unpublished texts and family photos from the giant of architecture with 990 projects to his name. A reaffirmation of modernism for what it is: a radical shift that continues to influence our times. The two casinos, in Knokke and in Ostend, the pavilions at Expo ’38 in New York and Expo ’58 in Brussels, the BP building in Antwerp, the deSingel arts centre in Antwerp, single‐family homes, and designs for cruise ships, cinemas, and furniture that are still in circulation today are all examples from a body of work that stand as enduring symbols for an avant‐garde that has passed the test of time. This book highlights Stynen’s versatility and profound influence. The man who succeeded Henry Van de Velde as director of La Cambre also worked with Le Corbusier, Camille Huysmans, Henry Van de Velde, Renaat Braem, René Guiette, Victor Bourgeois, Paul Delvaux, the CIAM, and many more besides. The book features extraordinary documents from the family archives.
The jewellery department at the Musée des Arts Décoratifs in Paris comprises some 3,500 pieces and is the only national collection of its kind in France. This book presents bijouterie and joaillerie masterpieces from this high-profile collection which ranges from the Middle Ages to the contemporary period and shines a particular spotlight on the 18th century and the age of Art Nouveau.
Daytime or evening jewellery and art jewellery pieces in the form of tiaras, necklaces, bracelets, earrings, pendants, hair or tie pins, rings and stomacher brooches illustrate the boundless creativity of designers.
The greatest artists are represented: Sandoz, Vever, Falize, Boucheron, Lalique, Fouquet and Gaillard for Art Nouveau, Raymond Templier and Jean Després for Art Deco, Georges Braque, Jean Lurçat, Line Vautrin, Jean Schlumberger, Torun, Dinh Van, Jonemann and Claude Lalanne for the post-war period, and a number of contemporary designers. The collection also features pieces by the great jewellery houses: Cartier, Boucheron, Chanel, Van Cleef & Arpels and, more recently, JAR.
This richly illustrated book accompanies the display in the Galerie des Bijoux at the Musée des Arts Décoratifs, which features the collection’s highlights.
The art of Peter Paul Rubens (1577-1640) is synonymous with the female nude, with the term ‘Rubenesque’ first coined in the 19th century to describe a voluptuous female body. Yet remarkably, there has never been a focused study of Rubens’ depictions of women, making this book, and the exhibition that it will accompany, a first.
Bringing together a diverse range of paintings and drawings from throughout the artist’s career and from a range of international lenders, the exhibition at Dulwich Picture Gallery (October 2023 – January 2024) will challenge the popular assumption that Rubens only painted one type of woman. Instead, it will present a more nuanced view of the varied and essential role that women played in the artist’s life and work, uniting and contributing to recent scholarly developments in subjects such as the identities of Rubens’ sitters, 17th century artistic theory and practice, and Rubens’ treatment of the human body.
Rubens evidently enjoyed painting the female figure, especially in its sensual and unclothed form. But his women are never mere bodies trapped by the male gaze, on the contrary; they are proud and complex heroines, full of character and gravitas. No other male artist has created such potent images of female power, assurance, determination, commitment, and beauty. Providing a catalogue for the works in the exhibition and featuring three introductory essays that contextualise Rubens’ work, this publication will both contribute to the existing corpus of scholarly literature on Rubens and introduce his masterpieces to new audiences, discussing them in the context of current debates around sexuality, power and feminism.
Will Ukraine ever be an EU member? Why don’t we have a European army yet? Does crisis make the EU stronger? The European Union has great influence on the lives of its citizens. That situation can prove to be controversial. Decisions made by the EU often lead to misunderstanding and resentment. Aside from these controversies, it is clear that the Union today, is the result of a myriad of choices by policy makers throughout the years. A better understanding of these choices and of the recent history of the EU allows us to better grasp its impact, and offers insight into why certain subjects are harder to place. Why Europe? offers a historical as well as thematical insight into the development of the European Union. Drawing from six questions that put main events, key figures as well as the defining moments of the past 70 years in the foreground, this book lays out the essence of European integration.
“Monet, van Gogh and Cezanne feature in a pleasurable Royal Academy show that demonstrates why the Impressionists remain the world’s favourite set of artists.” — Independent
Best known for their superlative oils on canvas, Degas, Cézanne, Renoir, Toulouse-Lautrec, Van Gogh and numerous other Impressionists and Post-Impressionists also regularly used paper as a support for works in watercolour, gouache, pencil, tempera and that most elusive of media, pastel. Their practice transformed the status of these works from preparatory studies, to be left in the studio and not shown in public, to works of art in their own right.
With insightful texts by acknowledged experts in the field, this sumptuous book brings together some 70 masterworks on paper by leading Impressionist and Post-Impressionist artists. Their bold innovations challenged traditional attitudes, radically transformed the future direction of art and ultimately paved the way for later movements such as Abstract Expressionism.
Architecture writer Agata Toromanoff introduces Belgium’s 40 most influential contemporary architects and a selection of their most celebrated buildings in full colour photography. Belgian architects have been doing well for years and have international allure. This volume showcases works from the most famous Belgian architect-designers such as Vincent Van Duysen and EPRICUM to emerging architects such as Oyo Architects. Several pages are dedicated to each architect, outlining their influences and ideas and revealing the designs that have brought them fame. With this great reference work, you can discover the true extent of the creative achievements that lie within the careers of these architectural giants. Captivating biographies alongside breathtaking photos. A book that is both informative and beautiful.
Text in English, Dutch and French.
This book, illustrated with rare and original documents, tells the story of FARM PROD, a Brussels collective of cosmopolitan street artists. About 20 years ago, a few graphic communication students decided to share a working and living space by settling in an isolated farmhouse that would soon become a buzzing hive of creativity. This was the birth of one of the most original formations in urban art in recent years. From squats to artists’ studios, we follow the progress of a close-knit team capable of regularly reinventing itself to meet the challenges of an artistic career that moves from spontaneous art to official commissions, without ever losing its singular aesthetic, its sense of friendship or its taste for celebration.
Text in English and French.
They were reviled, ridiculed, and ignored. Today, the Zurich Concretists — along with Dada — are considered the most important art movement originating from Switzerland. Circle! Square! Progress! tells the story of the city’s avant-garde movement, which is rooted in the Bauhaus and renewed the formal language of art, shaped design and architecture, and also positioned itself politically. It traces its relations to the heroes of Constructivist–Concrete art, such as Johannes Itten, Piet Mondrian, Sophie Taeuber-Arp, Theo van Doesburg, and Georges Vantongerloo, and looks at the influences that came from graphic art and advertising, jazz music and dance, colour theory, and mathematics.
Max Bill, Camille Graeser, Verena Loewensberg, and Richard Paul Lohse — a group incidentally thrown together rather than true conspirators — formed the centre of gravity of a milieu that wrestled with critics, institutions, and authorities. Lavishly illustrated, the book explores Zurich as the habitat of highly gifted people engaged in lively debates at bohemian cafés, drifting in jazz clubs, celebrating excessively at the legendary annual artists’ fancy dress ball, achieving fame and artistic triumphs with creative power and a sense of mission. It illuminates the Zurich Concretists’ successes of the 1960s, their at times extremely violent quarrels of the 1970s, and their disputes about the beauty of form.
Hannah Höch (1889–1978) moved between differing worlds: as an editorial assistant with a major Berlin-based magazine publisher, and as the only woman who could hold her own in the German capital’s vibrant Dada scene of the 1920s. Höch broke with the traditions of representation and vision. Her works dissected a world marked by the catastrophe of the Great War and an intense consumer culture, and reassembled it in revolutionary, poetic, and often ironic ways. Höch kept to her artistic means and her poetic-radical imagination, shimmering between social observation and dream world, even in the post-WWII period. Scissors and glue were the weapons of her art of montage, of which she was a co-inventor.
Cutting and montage also shaped film, still a new medium in the 1920s, which strongly influenced Höch’s art: she understood her assembled pictures as static films. This richly illustrated and expertly annotated book explores comprehensively for the first time Höch’s fascination with film and the visual culture of the modern industrial age. It demonstrates how montage evolved in a field of tension between artistic experimentation, commercial exploitation, and political appropriation. A text-collage on the history of montage, in which major protagonists of Modernism and Avant-garde such as Sergej Eisenstein, Raoul Hausmann, László Moholy-Nagy, Walter Ruttman, Kurt Schwitters, Theo van Doesburg, and Dsiga Wertow, have their say, rounds out the volume.
Decorating becomes a piece of cake! Besides containing basic recipes for different types of cakes, this manual is filled with useful tips and tricks to start decorating your own cakes with rolled fondant. Step by step, the author explains how to stack and mask cakes, how to paint on the surface of rolled fondant, and how to create the yummiest cake toppings. In other words, this book has everything you need to help you make irresistibly delicious creations!
This catalogue raisonné of printed works by Ilya and Emilia Kabakov comprises some 90 works from 1981–2023. Some of these are series and consist of several prints. This graphic part of the Kabakov oeuvre, recently acquired by the Van Abbemuseum, Eindhoven, offers insight into the varied work of these two artists, comprising drawings, works with garbage, albums, paintings, and installations.
The rose is generally seen as the most romantic flower. No other plant blooms for so long and profusely, and comes in so many different shapes, scents and colours. Roses deserve a place in everyone’s home, outside – in the garden or on the balcony – but certainly also indoors on the table. The Joy of Roses answers every question you may have about roses: from the history of the rose to applications in the home. The different types of roses are discussed in detail with descriptions of the flower, the scent, the thorns, the inflorescence and information about the best place for this specific species. The book also provides information about cultivators, which flowers go well with roses and their care. Anneke Beemer’s beautiful photos complete the book.
The successor to the bestselling Cosmopolitan Living – 15 new city houses and apartments from all over the world, each one with a strong metropolitan feel.
Includes: Maddux Creative, London; Helena Clunies Ross, New York; Sebastiaan Van Maanen/Ramses Caesar, Amsterdam; Brent Buck Architects, New York; Messana O’Rorke, New York; Nadine Fabry, Düsseldorf; Ooaa, Madrid; Steven Van Dooren, Amsterdam; Pupil Office, Singapore; Hauvette & Madani, Cologny (Switzerland); Mathieson Kurraba (Australia); Studio Liu Sydney (Australia); Rodolphe Parente, Paris.
SCDA Beyond Boundaries celebrates the acclaimed firm’s extensive portfolio of work across the globe—from Singapore and China to the United States. Through SCDA’s diverse array of projects, spanning mixed-use high-rises, hospitality venues, commercial and institutional developments, and residential masterpieces, the monograph showcases Soo K. Chan’s mastery of shaping unique spatial experiences that transcend conventional boundaries. At the heart of SCDA’s design ethos lies a meticulous attention to detail and a profound understanding of form, light, and scale. Whether it’s crafting inviting public landscapes or sculpting dynamic high rises, Chan’s architectural visions tell a compelling story of harmony between the built environment and its natural surroundings.
Graphic Design of Scheld’Apen is a colourful and punchy poster archive book; a shining star for anyone who loves typography, graphic design, drawing and creative archive material.
Two artists / musicians from Antwerp worked together for two years, coordinating the poster archive of a former music and art venue in Antwerp called Scheld’Apen, an underground, rough and raw artist centre where many creatives came together in the late 1990s and early 2000s. For each event, a fantastically cool and experimental poster was made and thanks to Benny and Bent, we have a publication that brings this energetic and legendary archive together.
In today’s competitive and inflationary environment, many organisations are focused on containing costs, yet they also realise that they need to do their utmost to attract and retain the best talent. This makes it increasingly important to optimise the return on their investment in reward. In a present and future where talent is a scarce resource, what can organisations do to stand out from the crowd as an employer of choice? Traditionally, this means offering higher salaries and larger benefit packages. This has two major disadvantages: it is not enough to compel employees to stay and it erodes profitability, making it unsustainable in the long run. This realisation is forcing organisations to take a long, hard look at their reward practices and find new ways to tackle the issue. This book looks at how emerging trends like GenAI, increased transparency and the increasing cost of living impact reward. Instead of focusing purely on financial benefits, the five-pillar approach outlined in these pages takes organisations on an investigation of every aspect of their current reward system: from evaluating the value of jobs within the organisation and benchmarking salaries across their industry or region, to carrying out employee preference studies that ask employees which financial and non-financial benefits they value. The resulting reward systems speak for themselves: cost-efficient, customisable, flexible and compelling reward that attracts and retains key talent. How can your organisation benefit?
Liberté! Ary Scheffer and French Romanticism takes you to turbulent Paris in the first half of the nineteenth century, a time of political upheaval and cultural flourishing. Artists deployed their brushes as weapons or climbed the barricades themselves. So did the Dutch Ary Scheffer, who soon became one of Paris’ most famous painters. His work still hangs in the Louvre’s gallery of honour. Together with French artists such as Eugène Delacroix and Théodore Géricault, he fought for freedom and equality; the ideals of the French Revolution of 1789.
In addition to a number of art-historical essays by experts from the Netherlands and France, philosopher Maarten Doorman reflects on the meaning of Romanticism today. The publication also includes a catalogue section with an overview of the exhibition. This makes the publication a standard work on the position of Ary Scheffer within French Romanticism.
Over 200 years ago, the Mauritshuis hosted not one, but two museums. On the upper floor was the Royal Cabinet of Paintings, while on the ground floor, thousands of objects of all kinds were on display in the Royal Cabinet of Rarities. This rarities cabinet closed in 1875 and the objects were distributed to various Dutch institutions. The temporary exhibition The Vanished Museum about this Royal Cabinet of Rarities is accompanied by a publication with essays by 30 experts, including curators of the Rijksmuseum in Amsterdam and the Wereldmuseum in Leiden. In relatively short texts, the reader is taken through the rich and often complex history of the institution. The diverse topics and perspectives suit the motley nature of the collection. From a text about an unusual ivory Chinese puzzle ball, to a reflection on the formation of cultural stereotypes; from a kayak on the ceiling, to a hat that turns out not to belong to Willem van Oranje after all.
Follow The Coast guides you along the Atlantic coast, on the west side of the Iberian peninsula, from San-Sebastián, the capital of gastronomy, to Gibraltar, on the southern tip of Europe. This visual travel guide explores the Spanish and Portuguese coastlines, with countless charming beaches, rugged cliffs and hidden gems. The book is a photobook gathering high-end nature photography, but also a guide which can be your companion for a road trip or beach holiday. Last but not least, it tells the formidable story of our project where we run the entire European coastline with a collective of brave runners who run 100km a day.
“Duzer’s wonderful book offers an opportunity to spend time in his world, where wit and whimsy become tools to navigate complexity, and a way to approach the world with compassion.” — Canadian Architect
Neither an architect nor a landscape architect, Pechet might best be described as an urban acupuncturist. As a keen observer of interactions between animate beings and inanimate things, Pechet has sensitively mended public spaces in Canada and the United States for decades, designing strategic and delightful interventions in public parks and plazas, waterfronts and streetscapes, LRT stations and cemeteries. As a beloved teacher, he has also educated generations of architecture and design students at the University of British Columbia to approach their work with the same sense of curiosity and adventure he brings to his own.
Despite Pechet’s extensive body of work, nearly all of which is publicly accessible, he remains little known internationally. This project aims to correct that oversight by extending the collaborative nature of Pechet’s own practice to include talent from Europe, South America, the United States and Canada. With each collaborator presenting their unique perspective on the work, this monograph will be unusually complex and multivalent.
A fulsome monograph on the work of Bill Pechet is long overdue. This book will be a rich and joyful celebration of a talented and beloved Canadian artist, designer and teacher who has much to offer us all.
Arpaïs Du Bois’ book, Feue La Joyeuseté, further opens the door to her intense universe. The publication, designed by un’dercast, combines her output on paper from the last four years. Extensively introduced by Damien Sausset and including a letter by Philippe Van Cauteren (director of SMAK, Ghent), this book is the ultimate successor of her previous publications – all of them specific gems, both for their concept as for their design. Feue La Joyeuseté takes you on a road trip inside the artist’s brain and makes you a spectator, a witness instead of a passer-by. With more than 450 works on paper, it is opulently illustrated.
A soft voice, almost a whisper in the noise of the world. A soft voice that tells of time standing still, of wanderings of the soul, of trials of the heart. And about the impending thunder or the breeze that makes the canopy sway. A soft voice in which the suspicion of death roars as fiercely as the vibrant hopes of everyday life. Anyone willing to listen to it will hear all this in the sentences of Arpaïs Du Bois. For this ‘secret’ artist writes words, loose thoughts or snippets of text on sheets of paper that still shiver from the colours they have drawn. No beautiful poems or heroic stories here. The power of these words lies in something quite different. How do you draw with and against language?
Text in English, French and Dutch.
Once described as ‘small explosions of intelligence and sensation, the seeds of wonder’ by poet Thomas A. Clark, the eschenau summer press publications stretch the definition of ‘artist’s book’ as far as it will go. Since 1974, from his home in Eschenau, Germany, renowned artist herman de vries (1931) sends out leaves of gold, the dust of some roads, the forbidden down of thistles. A longtime key figure in the book-as-art himself, most of these publications are the result of an open invitation from de vries to artist friends like James Lee Byars, Marinus Boezem and Melanie Bonajo, but also to poets and musicians – even to a keeper of bumble bees. This book facilitates our reception of all 77 of these shared objects through full illustrations and written clarification. Two essays connect the series to the international context of the artist’s book.