Until the early seventeenth century, the distribution of paintings and other art works was in the hands of the artists, but after that to an increasing extent it was taken on by specialists.The most important art dealers were active in Amsterdam, the art centre par excellence. Hendrick Uylenburgh and his son Gerrit Uylenburgh were leading figures among these dealers. The Uylenburghs, father and son, ran an art business and at the same time headed a painters’ workshop where renowned artists worked. Rembrandt worked for this business from 1631 to 1635. He painted countless commissioned portraits and as well as historical paintings and ‘tronies’ also did grisailles and etchings. While working for this business he met Saskia Uylenburgh, a cousin of the art dealer, whom he married in 1634. Uylenburgh & Son provides insight into the nature and significance of the Uylenburghs’ enterprise and also discusses their investors and customers. A great deal of new material has been found about the Uylenburgh family and is presented here for the first time.

Have you ever watched Douglas Gordon cook? Do you know Harun Farocki’s favourite dal? Would you like to nibble straight from the pot with Keren Cytter or recreate Agnieszka Polska’s pirogi with trumpets of death? Cookbooks are a dime a dozen. And there’s even a certain tradition of artists’ cookbooks. But there is only the one Videoart at Midnight Artists’ Cookbook: 80 of the most renown video artists of our time reveal their favourite recipes. Some simple, others elaborate, yet all to be recreated. And the best thing about this book is that each and every single recipe tells its own personal story.

Artists
Monira Al Qadiri, Ulf Aminde, Julieta Aranda, Marc Aschenbrenner, Ed Atkins, Yael Bartana, Lucy Beech, Bigert & Bergström, John Bock, Pauline Boudry & Renate Lorenz, Erik Bünger, Martin Brand, Ulu Braun, Klaus vom Bruch, Filipa César, Creischer & Siekmann, Keren Cytter, Chto Delat, Christoph Draeger, Antje Engelmann, Shahram Entekhabi, Köken Ergun, Theo Eshetu, Simon Faithfull, Christian Falsnaes, Harun Farocki, Omer Fast, Fischer & el Sani, Dani Gal, Delia Gonzalez, Douglas Gordon, Andy Graydon, Assaf Gruber, Mathilde ter Heijne, Isabell Heimerdinger, Benjamin Heisenberg, Kerstin Honeit, Christian Jankowski, Anja Kirschner, Knut Klaßen, Korpys/Löffler, Zhenhua Li, Joep van Liefland, Melissa Logan, Dafna Maimon, Antje Majewski, Melanie Manchot, Lynne Marsh, Bjørn Melhus, Almagul Menlibayeva, Ari Benjamin Meyers, Eléonore de Montesquiou, Matthias Müller, Bettina Nürnberg & Dirk Peuker, Marcel Odenbach, Stefan Panhans, Mario Pfeifer, Agnieszka Polska, Ulrich Polster, Mario Rizzi, Julian Rosefeldt, Willem de Rooij, Safy Sniper, Anri Sala, Erik Schmidt, Sandra Schäfer, Amie Siegel, Pola Sieverding, Martin Skauen, Jan-Peter E.R. Sonntag, Vibeke Tandberg, Rebecca Ann Tess, Guido van der Werve, Gernot Wieland, Ming Wong, Ina Wudtke, Shingo Yoshida, Katarina Zdjelar, Stefan Zeyen, Tobias Zielony

This book takes a critical look at the influence of German educators. It is a publication that explores the history of pedagogical concepts of German-born professors of architecture at schools in the United States. The research and book publication are structured in three parts; it aims to make a significant contribution to the understanding of architectural education in the United States and its historical cross-fertilisation with German educational concepts at large, with research outcomes responding directly to current and future educational and societal challenges.

The ideals of the Bauhaus school shaped more than just design and architecture around the world; these guiding principles and pedagogy also transformed teaching. The project examines the post-Bauhaus influence on these German-born educators today and how the Bauhaus model has evolved over the last 50 years. There are currently over 30 German-born educators, active in shaping architectural and design education in the US, influencing thousands of students as the next generation of future architects in this country. Compared to other professions, succeeding in studies of architecture is known as a long endeavor that requires a strong commitment and dedication from the student. The task for the educators is to shape the next generation of architects as well as possible and, at the same time, turn it into a positive experience and fun to be part of this demanding profession. The book features interviews (conversations) with selected professors and explores how the Bauhaus legacy of Gropius and Mies van der Rohe is still relevant for their educational strategies and design teaching today.

The Bauhaus aimed to unite all creative arts through direct field and workshop experience in the crafts with a concentration on modern materials, industrial techniques and mass production. It was initially a school of design which included architecture, and not a school of architecture per se. Gropius resigned in 1928, and it was largely under the directorship of Ludwig Mies van der Rohe from 1930 to 1933 that the Bauhaus developed into a school of architecture with subsidiary art and workshop departments.

The pedagogical experiments of the Bauhaus, imported by Gropius, Mies, Hilberseimer, Albers and others to the US system, challenged traditional Beaux-Arts thinking and played a crucial role in shaping modern architectural education. Historically, the German architectural training has always been different from the French tradition. These new interdisciplinary and technology-focused modes of teaching architecture and design had long-lasting impact, however, are now again transformed by the educators currently active in reshaping curricula. The conversations reveal the critical and independent thinking of this group and how they make a meaningful contribution to the discourse of architectural education appropriate to the 21st century.

Authored by an internationally recognised scholar with personal insight into the topic, the six selected educators profiled in this volume render visible a broad array of discursive pedagogical strategies that partially build on the seminal educational model of the Bauhaus; they have transformed it to a new contemporary pedagogical model. The study provides insight into the ways in which these German-trained educators influence architectural and design education in the United States to this day.

Almost, Not: The Architecture of Atelier Nishikata is the story of a remarkable architecture practice in Tokyo. Partners Reiko Nishio and Hirohito Ono have built just four residential works, until now remaining little-known outside of Japan. But the extraordinary, almost-ordinary quality of their work warrants the spotlight. It has much to teach students of architecture and experienced architects alike.

This book is a hybrid between an architectural monograph and a magic instruction book. Author Leslie Van Duzer, a former magician’s assistant and author of four monographs on 20th-century architecture, draws parallels between the effects and methods of architects and magicians.

The introductory essay, “Almost, Not,” presents an overview of Atelier Nishikata’s approach, describing the effects engendered by their architecture and the methods behind the them. The essay is followed by four detailed project descriptions that elaborate on the strategies behind the work. These texts are richly illustrated with process work, diagrams, detailed drawings, and photographs, including before and after views of the renovated spaces, and views post-inhabitation. The volume closes with a lengthy interview with the architects to help flesh out the methods behind their madness.

Myriam Holme (*1971) walks a fine line between painting and sculpture. Her concept of painting is based on the experimental and processual, with both being observed from the material perspective. Her painting can be thought of as expansive and incomplete; it does not settle into what already exists but remains in constant motion. Holme has already received numerous awards for her work, and her pieces are on display in national and international museums and exhibition spaces. The monograph Myriam Holme, 2010–2020 features works from the past decade along with essays by Christiane Schürkmann and Jörg van den Berg.

Text in English and German.

In recent years, there has been a real revival and appraisal of the works of the mid-century modern movement among architects and interior designers: the furniture, lighting and objects designed by Alvar Aalto, Charles & Ray Eames, Eileen Gray, Poul Henningsen, Arne Jacobsen, Pierre Jeanneret, Finn Juhl, Vladimir Kagan, Poul Kjaerholm, Florence Knoll, Le Corbusier, Ludwig Mies van der Rohe, Børge Mogensen, Serge Mouille, George Nakashima, George Nelson, Verner Panton, Ico Parisi, Charlotte Perriand, Gio Ponti, Jean Prouvé, Sergio Rodrigues, Jean Royère, Eero Saarinen, Arne Vodder, Jules Wabbes, Ole Wanscher, Hans J. Wegner, Jorge Zalszupin and many others is integrated in their most exclusive projects and their best pieces are sold at record prices at Christies, Philipps, Sotheby’s…

In the U.S., the mid-century modern movement in interiors, product and graphic design and architecture was a reflection of the International and Bauhaus movements including the works of Gropius, Florence Knoll, Le Corbusier and Ludwig Mies van der Rohe. Brazilian and Scandinavian architects were very influential, with a style characterised by clean simplicity and integration with nature.

In Europe, the influence of Le Corbusier and the CIAM resulted in an architectural orthodoxy manifest across most parts of post-war Europe that was ultimately challenged by the radical agendas of the architectural wings of the avant-garde. A critical but sympathetic reappraisal of the internationalist oeuvre, inspired by the Scandinavian Moderns and the late work of Le Corbusier himself, was reinterpreted by groups such as Team X, including structuralist architects and the movement known as New Brutalism. 

This chic, over-sized coffee table book is an essential object for all mid-century design aficionados, interior designers with a passion for the modernist 1950s and for refined readers seeking inspiration for their own interiors.

In 20 reports, interior designers and passionate collectors of mid-century furniture, lighting, objects and artworks show how carefully selected touches of high-end mid-century modernism can contribute to a unique living environment.

Everyone Can Lead addresses the essential question of leadership: how do you bring out the best in yourself and in others? Starting from the premise that a better understanding of how to lead begins with a better understanding of ourselves, the author encourages reflection and helps frame the choices and actions that will lead to better working relationships, better results, and more happiness at work. This no-nonsense, practical book is filled with examples and exercises that everyone from individual employees to CEOs can use immediately. HR managers and general management can work with these concepts and strategies to optimise the potential in their organisation by focusing on personal leadership.

How can we continue to feed a growing world population in a healthy and sustainable manner? Will we be able to make meals from a 3D printer? What will the role of supermarkets be in the years ahead? This timely book by two experienced retail professionals addresses the future of food, with an insightful overview of trends ranging from urban agriculture to sea farms, cultured meat to applied artificial intelligence, and hybrid supermarkets to new digital platform models.

“Boelsums’ interplay of sky and light and land, her overwhelming and yet intimate photos add a magnificent touch to what might initially appear nondescript.”– Manon Uphoff

Quotes from the jury who selected Saskia Boelsums as the Dutch Artist of the Year in 2020:

“Vivid photography worthy of the old Dutch masters!”

“Exceptionally beautiful landscape photos: Saskia introduces a completely new style to this discipline.”

“Her work moves me and repeatedly renders me speechless.”

“Then I see Saskia Boelsums’ landscape photos on display. A shiver of pleasure runs through me.” Joyce Roodnat – NRC Handelsblad

Saskia Boelsums dramatic photographs of Dutch landscapes reflect on the atmospheric paintings of the Golden Age painters such as Jacob van Ruisdael and Jan van Goyen, but her work is clearly seeped in her own experience of nature. Lashing rain over the sea, sun breaking through storm clouds, and fields of flowers bathed in an otherworldly light: these images are the result of hours and days of waiting to capture the perfect moment. In this, her second book of landscape photographs, she presents not only Dutch landscapes and seascapes, but also landscapes photographed on visits to Germany, Switzerland, and New York. 

Cohabitation Strategies: Challenging Neoliberal Urbanization Between Crisis presents 12 years of urban theories, projects, and interventions developed by Cohabitation Strategies, a Rotterdam- and New York City-based non-profit cooperative committed to radical socio-spatial research, design, and development.

Centering on the development of new action-research methodologies, neighbourhood-based initiatives, and the facilitation of community-driven transformative interventions, the book offers critical insights and progressive visions on the dramatic impact that neoliberal spatial-restructuring had in communities of colour and low-income neighbourhoods in the Netherlands, Italy, France, Canada, and the United States.

The book proposes new transdisciplinary methodologies, practices, tools, and strategies to challenge for-profit-driven urban development and the advancement of the right to the city.

From Art Nouveau to today’s creations, via post‐war functionalism, this exhibition explores, among other things, the work of designers and the production of Belgian companies and publishing houses. Among these designers and producers are: Gustave Serrurier‐Bovy, Huib Hoste, Jacques Dupuis, Willy Van Der Meeren, Jules Wabbes, Maarten Van Severen, Meurop, Alain Gilles, Christophe Gevers.

Text in English, French and Dutch.

Artist Ellen Marie harks back to the craft of the old masters. A technical style she perfected at the Barcelona Academy of Art. Lux Æterna, Latin for ‘Eternal Light’, is a series of 57 paintings in which we follow the process of a man on his way to self-realisation.

In the first act, we find him writhing in agony, tormented by a blindfold, which prevents him from seeing the light that surrounds him. In act two the blindfold has come off and gradually a dance unfolds, a dialogue between the light falling on his body and the life forces welling up from within him. In the third act, blobs of paint splash from the canvas. The form falls apart and transmutes into an unrecognisable mass that contains merely the suggestion of a figure. In the last part our man finally finds kinship with like-minded souls bathing in the divine light.

The story visualises the artist’s inner quest for Truth, Light and Freedom. The thematic repetition gave her the opportunity to deepen the technical aspect of oil paint and to experiment. Art critic Koen Van Damme composed five accompanying poems.

Text in English and Dutch.

The VW Bus is not just a car. It is sentimental, a part of the family. A way of life on wheels. That’s why most of them have names. And almost everyone has some sort of connection to the VW Bus. This book offers fascinating stories about one of the most popular automobiles of all time and the most successful camper van in the world – a kaleidoscope from the world of VW Buses. In 111 chapters, you will learn interesting, funny, surprising and emotional things about a vehicle that was originally intended as a simple delivery van and then made history as a multifunctional vehicle concept.

Author Christian Schlueter, himself a passionate fan of the car, tells endearing, detailed and exciting stories about these legendary vans. He presents models with their production history and special features, introduces visionaries and gives an insight into the car industry. He reports on world records and adventure trips, as well as freedom and nostalgia. A wonderful compendium with photos about the world’s fascination with the VW Bus – a must for every fan and lover of this cult car.

At the end of 2020, the concrete factory in Ghent, popularly called ‘the Betoncentrale’, was demolished. With this book, Cultuur Gent, the cultural department of the City of Ghent, aims to keep the memory of this graffiti paradise alive. A team of experts selected the 10 most important street artists who were active onsite: ROA, Klaas van der Linden, and Bue the Warrior, among others. This book showcases the most beautiful work that adorned the walls of the factory. Street art expert Tristan Manco frames the local scene in its international context and Giulia Riva, a street art blogger, spoke to the artists about their memories of that unique place.

Text in English and Dutch.

“If you really want to get under the skin of a city, the 500 Hidden Secrets series, which covers a number of cities from Havana to Ghent, all written by people who know the cities inside out, is ideal. It’s an innovative and refreshing take on the traditional travel guide.”– The Independent

For tourists who want to avoid the well-known tourist spots and discover the locals’ favourite addresses, and for residents who want to get to know their city even better. Written by born and bred Amsterdammers, the book includes lists such as the 5 best secondhand markets, the 5 most inspiring museums and the 5 best places to listen to live music, with a total 500 addresses and facts that few people know. Includes extensive maps and a comprehensive index. 

“…here’s eye candy on every page of the book.” — Natural Diamonds

“From the 1950s to the present day, a wide range of international designers are examined in detail with many examples of their work clearly illustrated. The author focuses on themes associated with jewellery, including colour, light, proportion, nature and legends.” — Lovely Books
This sumptuous book showcases the work of women jewellers in the 20th century. Beginning with Arts & Crafts jewellers in Britain, Europe and North America, the author then examines the key figures and movements of the pre-war period including Coco Chanel’s legendary ‘Bijoux de Diamants’ exhibition of 1932, the designs of Suzanne Belperron and the roles of Jeanne Toussaint at Cartier and Renée Puissant at Van Cleef & Arpels. From the 1950s to the present day, a wide range of international designers are examined in detail with many examples of their work clearly illustrated. The author focuses on themes associated with jewellery, including colour, light, proportion, nature and legends. Among the many names included are Vivianna Torun Bülow-Hübe (designer for Georg Jensen), Margaret De Patta, Wendy Ramshaw, Angela Cummings, Paloma Picasso, Marina B, Lydia Courteille and Michelle Ong.

Jewellery firms include: Boivin, Cartier, Van Cleef & Arpels, Bulgari, Jensen, Tiffany & Co.

Designers featured: Alma Pihl, Coco Chanel, Suzanne Belperron, Juliette Moutard, Olga Tritt, Elisabeth Treskow, Margaret de Patta, Jeanne Toussaint, Line Vautrin, Margret Craver, Vivianna Torun Bülow-Hübe, Nanna Ditzel, Marianne Ostier, Barbara Anton, Gerda Flöckinger, Astrid Fog, Cornelia Roethel, Catherine Noll, Angela Cummings, Elsa Peretti, Wendy Ramshaw, Marina B, Marie-Caroline de Brosses, Marilyn Cooperman, Paloma Picasso, Victoire de Castellane, Alexandra Mor, Ornella Iannuzzi, Neha Dani, Paula Crevoshay, Nathalie Castro, Claire Choisne, Bina Goenka, Carla Amorim, Monique Péan, Michelle Ong – Carnet, Kara Ross, Lydia Courteille, Suzanne Syz, Sylvie Corbelin, Kaoru Kay Akihara – Gimel, Katey Brunini, Luz Camino, Cindy Chao, Aida Bergsen, Anna Hu, Barbara Heinrich, Jacqueline Cullen, Cynthia Bach.

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.

In what ways did the Jesuits deploy the Baroque visual language of the time to persuade the public of their vision on humankind, religion and society? In this beautifully illustrated book, which includes numerous artworks by Peter Paul Rubens and others, diverse authors rise to the challenge of finding answers to this complex question.

The setting is Antwerp in the 17th century. At that time, the city was the Jesuit Order’s headquarters in the Netherlands and a bastion against the Calvinism in the Northern Netherlands Republic. The fine arts were flourishing there like never before. Painters such as Peter Paul Rubens and Anthony van Dyck produced works for the Jesuits and participated in the Catholic community life organised by the order, with large groups of fellow believers. This publication takes a close look at the Baroque Saint Ignatius Church, now the Saint Charles Borromeo Church on Hendrik Conscienceplein, for which Rubens created magnificent ceiling paintings. The authors also show how more modest forms of art, such as religious folk prints, illustrated lives of the saints, schoolbooks, emblemata books and prayer books, were used to kindle the enthusiasm of as many believers as possible, both in their own country and in distant overseas territories.

Baroque Influencers – Jesuits, Rubens and the Arts of Persuasion presents written contributions from researchers affiliated with the Universities of Antwerp, Louvain and Stuttgart and various heritage institutes.

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.