The Addison Gallery of American Art, located at Phillips Academy in Andover, Massachusetts, is internationally recognised for its outstanding collection of paintings, sculpture, prints, drawings, and photography. When its founder, Thomas Cochran, opened the Addison to the public in 1931, it was one of the few museums in this country devoted solely to American art. Cochran initially donated four hundred significant works of art, commissioned a building, and provided generous endowments. Today the holdings total over 12,000 objects that span the history of American art from the seventeenth century to the present.
Among the some 240 notable examples from the collection included in this tiny tour are paintings from the eighteenth century by Gilbert Stuart and John Singleton Copley; from the nineteenth century by Thomas Eakins, Winslow Homer, James McNeill Whistler, John Singer Sargent, and F. Childe Hassam; and from the early twentieth century by John Sloan, Georgia O’Keeffe, Jackson Pollock, and Andrew Wyeth; and contemporary works by Frank Stella, Sol Lewitt, and Brice Marden. Also featured here are images from such masters of photography as Walker Evans, Eadward Muybridge, Berenice Abbott, and Robert Frank. In addition, there are outstanding works of sculpture from Paul Manship and Elie Nadelman to Alexander Calder and Martin Puryear.
This beautifully illustrated book, with over 300 colour reproductions, showcases many of the greatest masterpieces of 19th century Orientalist art. During this period, colonization, and a revolution in means of transportation allowed artists to visit countries from North Africa to the Middle East that had previously been relatively inaccessible. The patterns, colours, and light of this region influenced artists such as Delacroix, Decamps, Berchère, Bridgman, Ziem, Gérôme, Corrodi, Dinet, Matisse, Majorelle and many others. Upon returning to Europe, these artists captured the atmosphere of these distant and exotic lands in painted scenes of daily life and wrote memoirs of their travels. Some returned to settle there, including painters like Dinet, who spent a large part of his life in Algeria, and Majorelle, known as the “painter of Marrakech.” This book offers insight into the Orientalist aesthetic that inspired the movement, and lays the groundwork for a deeper understanding of these vibrant works of art.
Text in English and French.
“Although the street art is generally conveyed in a very natural matter, even his dead animal paintings seem at peace.” – Streetartbio.com “Detached from the artist’s identity, his detailed, illustrative animal paintings have brought him back to the world. With local species of animals as his main focus, ROA inevitably starts a dialogue about human interaction with nature and the environment, whether it is painting on the walls of a museum or in an abandoned rural factory.” – Hi Fructose – The New Contemporary Magazine “One of the most influential acts of street art around the world.” – The Huffington Post Fascinated by nature, the anonymous muralist and street artist ROA is inspired by the beauty of its non-human inhabitants. With great attention to detail, ROA draws over-sized black and white creatures of endemic or endangered species on buildings around the world, from Moscow to Mexico City, and from Los Angeles to London. His subjects are frequently survivors; scavengers, rodents, and unusual animals that thrive in their particular milieu.
Thorvald Hellesen (1888-1937) was a Norwegian avant-garde artist who lived and worked in Paris in the 1910s and 1920s. He and his wife, the French artist Hélène Perdriat, were part of a circle of artists that included Pablo Picasso, Fernand Léger, Constantin Brâncuși, Piet Mondrian, Theo van Doesburg, and many others. In his short yet intense life, Thorvald Hellesen created an impressive unique oeuvre, oriented on Modernism, consisting of oil paintings, watercolours, gouaches, drawings, design projects, and textiles. Nevertheless, even in Norway he is only known to a few. With this publication the authors Dag Blakkisrud, Matthew Drutt, and Hilde Mørch have created a written portrait of Hellesen. In addition to classifying him within the history of art, they try to find explanations as to why his artistic practice is only now being considered important and interesting for Norwegian and international art history.
Text in Norwegian.
Davide Balliano (Turin, IT 1983) is an artist whose research operates on the thin line of demarcation between painting and sculpture. Utilising an austere, minimal language of abstract geometries in strong dialogue with architecture, his work investigates existential themes such as the identity of man in the age of technology and his relationship with the sublime.
Through a practice that is self-described as monastic, austere and concrete, Balliano’s meticulous paintings appear, upon first glance, clean and precise. However, closer inspection reveals scrapes and scratches that uncover the organic wooden surface underneath the layers of paint, as a decaying façade of abandoned modernistic intentions.
In addition to painting, Davide Balliano is also known for his sculptural work, which translates the visual vocabulary found in his paintings into solid objects, often in stainless steel or ceramic.
The volume, which offers a wide selection of works that offer a complete overview of his production, contains a conversation between Osman Can Yerebakane and the artist, and a critical text by Michele Robecchi.
Text in English and Italian.
In one unique volume, Arison ushers readers from Auvers to Arles, Giverny to Mont Sainte- Victoire, in her quest to rediscover the lives, dwellings, and paintings of the Impressionists.
In 2000, deeply shaken by her husband’s recent death, author and world traveller Lin Arison took a trip through France with her granddaughter Sarah. Though Arison was in mourning, and Sarah was initially sceptical about art, the two surprised themselves by discovering renewed joy in the work of the Impressionists and the settings that inspired them. In the years that followed, Arison’s personal odyssey became an extraordinary collaboration with photographer Neil Folberg, a collaboration culminating in “Travels with Van Gogh and the Impressionists: Discovering the Connections.” In one unique volume, Arison ushers readers from Auvers to Arles, Giverny to Mont Sainte- Victoire, in her quest to rediscover the lives, dwellings, and paintings of the Impressionists. En route, she debunks long-held myths about Van Gogh and Berthe Morisot, befriends twenty-first-century descendants of some of the masters, and finds inspiration in the Impressionists’ mutually supportive relationships. Gracefully blending memoir, travelogue, art history, and biography, Arison’s intimate narrative brings new insight to our understanding of these artists and their legacy. Interspersed with Arison’s text, and with handsome reproductions of the original masterpieces, Neil Folberg’s photographs capture the central spirit of the Impressionists’ work and reapply that spirit to contemporary subjects and settings. Following an intuitive sensibility that never misses its mark, Folberg deploys each artist’s individual vision to new and striking ends, undergoing an artistic transformation of his own in the process. Together, Arison’s words and Folberg’s images explore the enduring impact of France’s great late nineteenth-century painters, and the ways in which their revolutionary visions of their own world still impart great meaning and beauty to ours.
It is Cadell’s zest for life and the diversity of his subjects that makes him unique in the group of artists popularly known as the Scottish Colourists. Influenced by direct contact with the European avant-garde movements taking place at the turn of the century and with early knowledge of the work of Matisse and the Fauves, Cadell’s paintings are confident and rich with colour. Celebrated for his stylish portraits of Edinburgh New Town interiors and his vibrantly coloured, daringly simple still lifes of the 1920s, exceptional in Bristish art of this period, he also captured the beauty of nature, especially in the evocative works portraying his beloved Iona. Contents: Birth of an Artist A Colourist Emerges Private Cadell Ainslie Place The Later Years and Cadell’s Legacy Cadell and Iona
The first institutional presentation with works by Sven Drühl took place in 2002 under the title Die Aufregung at the Museum Morsbroich in Leverkusen. The rooms in which the museum presented the then young positions have been used by the Kunstverein Leverkusen Schloss Morsbroich e. V. for many years. Sven Drühl, who is known for his artistic adaptations and remixes, has now returned to this location with his new landscape paintings, which are based purely on virtual models. In the place where his artistic career began, the artist is now showing paintings and bronzes from the past six years.
Text in English and German.
Another Chance Encounter celebrates Lubaina Himid’s first UK museum exhibition since 2018. Beautifully designed in collaboration with the artist, this fully illustrated book documents three new bodies of paintings and installations created for the exhibition at Kettle’s Yard, one made in collaboration with artist and master printmaker Magda Stawarska. Inspired by the unique Kettle’s Yard house and collection, Himid’s new work illuminates figures and histories often considered marginal. Himid will populate the Kettle’s Yard house with paintings in cupboards and drawers, and display a new collection of found and made objects and in the galleries. The publication follows Himid as she brilliantly crafts alternative histories with her distinctive bold colours and characters. The book will include new texts by Amy Tobin, Amelia Groom and Aneta Krzemien in conversation with Magda Stawarska, as well as Himid’s own writing.
John Bellany, born 1942, helped change the course of painting in Scotland. His intensely felt paintings of fisherfolk and their precarious life at sea were a direct challenge to the much diluted Scottish colourist tradition and its landscapes and still lifes. The sheer size and raw emotion of Bellany’s canvases, their depictions of a way of life that the artist knew from growing up in a Port Seton fishing family – and their elevation of that life onto a symbolic level – were at odds with the decorative, drawing-room pictures of much contemporary Scottish painting in the 1960s.
This book will mark John Bellany’s seventieth birthday and will accompany the largest and most comprehensive exhibition of John Bellany’s work since the National Galleries of Scotland organised the retrospective in 1986. The fully illustrated catalogue will illustrate paintings, watercolours, drawings and prints from all the key periods of the artist’s career.
This is the exceptionally rich story of Rembrandt’s fame and influence in Britain. No other nation has witnessed such a passionate – and sometimes eccentric – enthusiasm for Rembrandt’s works. His imagery has become ubiquitous, making him one of the most recognised artists in history. In this book, some of the world’s leading experts reveal how the taste for Rembrandt’s paintings, drawings and prints evolved, growing into a mania that gripped collectors and art lovers across the country. This reached a fever pitch in the late 1700s, before the dawn of a new century ushered in a re-evaluation of Rembrandt’s reputation and opportunities for the wider public to see his masterpieces for themselves.
The story of Rembrandt’s profound and inspirational impact on the British imagination is illustrated by over 130 sumptuous works by the master himself, as well as by some of Britain’s best-loved artists, including William Hogarth, James Abbott McNeill Whistler, Eduardo Paolozzi and John Bellany.
Foreword; Introduction; 1 Rembrandt’s Fame in Britain, 1630 1900: An Overview- Christian Tico Seifert; 2 Rembrandt and Britain: The Modern Era – Patrick Elliott; 3 ‘The Finest Possible State’: Cataloguing and Collecting Rembrandt’s Prints, c.1700 1840 – Stephanie S. Dickey; 4 From Studio to Academy: Copying Rembrandt in Eighteenth-century Britain – Jonathan Yarker; 5 Regarding Rembrandt: Reynolds and Rembrandt – Donato Esposito; 6 Rembrandt: Paragon of the Etching Revival – Peter Black; 7 Rembrandt and Britain: A ‘Picture Flight’ in Three Stages, 1850 1930 – M.J. Ripps; Catalogue; Bibliography.
Ever since winning a travel grant as a 17-year-old to travel from the Netherlands through Belgium and Paris to Arles in Van Gogh’s footsteps, the contemporary master painter and sculptor Anselm Kiefer has been inspired by the Dutchman’s art. Van Gogh has been a profound influence upon the subjects and techniques of Kiefer’s monumental paintings and sculptures, which draw on history, mythology, literature, philosophy and science. Published to coincide with Kiefer’s 80th birthday in 2025, this book celebrates the power and luminous intensity of both artists’ work.
His mostly precisely composed, large-format paintings, with deserted spaces as their main motif, made Ben Willikens (*1939) famous in the second half of the 1970s. The exhibition and accompanying catalogue present nearly 50 works created between 1971 and 2021 and thus span the artist’s entire oeuvre. Three groups of works form the central pillars: the Anstaltsbilder of the 1970, in whose motifs Willikens processes a dark chapter in his life, and the series ORTE (PLACES) And ORTE 2 (PLACES 2), which deal with Willikens’s examination of the architecture of the National Socialist period. There are also various works from the series Räume der Moderne (Spaces of Modernity).
Text in English and German.
In an age of fast-changing technologies, offering numerous ways of generating images, Elias Wessel challenges the conventional definition of a painting: he creates his “paintings” without resorting to traditional painting techniques and eschews classical genres. The artist’s abstract paintings – which in many ways show connections to painterly practices – are in fact made up of photographs and digital material.
Wessel, for example, takes photos of smartphone displays to produce monumental abstract compositions from the fingerprints left behind on them. He also documents his scrolling behaviour on social media platforms by using long-time exposure to superimpose accessed profiles and their contents: the result is visual and decontextualised structures. His other works present painterly-looking details of damaged displays: where else in the digital world can we experience such a close relationship with the canvas?
Above all, the quality of Elias Wessel’s working method lies in the way he links the fundamental discourses in the history of photography with the latest technology and current social debates. In so doing, he skilfully observes and questions the social consequences and instruments of digitalisation.
Text in English and German.
Helmut Middendorf is one of Germany’s most renowned painters. As a member of the neo-expressionists, the Neue Wilden, he left a lasting impression on the artistic landscape of the 1980s. In 2022, Middendorf showed an exhibition entitled Berlin SO 36 Revisited at the Museum Schloss Derneburg, Hall Art Foundation. SO 36 was the name of an area of Kreuzberg, but also of the famous music venue that inspired many of the artist’s works. Middendorf lived and worked in Berlin Kreuzberg’s SO 36 district throughout the 1970s and 80s. As well as the documentation accompanying the exhibition at the Museum Schloss Derneburg, this publication presents a wide selection of paintings and works on paper dating from that era, most of which are being republished here for the first time in many years. A large number of hitherto unseen photographs from the artist’s private archive also feature.
Text in English and German.
The Virgin and Child with St. Anne is, with the Battle of Anghiari, Leonardo’s most ambitious project of his later years. This masterpiece has been under restoration and it will be exhibited in its newly found splendour at the Louvre. There, for the first time, it will be flanked by cartoons with the same subject (but with St. John the Baptist) held at the National Gallery, London, and by preparatory sketches and drawings, thus allowing the public to gain new insights in Leonardo’s method of work. The exhibition and the catalogue present 131 works by Leonardo and other contemporary artists, such as Raphael and Luini, placing the St. Anne in its proper art historical context. This great work has had an enduring influence on the development of art in the High Renaissance (Michelangelo, Solario, Andrea del Sarto, etc.), but its effects are seen on paintings much more recent, such as those of Odilon Redon and Max Ernst. Contents: The construction of form The cartoon of 1501 First studies for the St. Anne of the Louvre The cartoon for the the St. Anne of the Louvre New studies; the second version of the composition Last studies The drawings on the reverse Emulation in Florence The St. Anne in Milan: copies and variations The St. Anne in France The fascination for the St. Anne
Herb Greene’s Generations showcases six decades of the art and architecture of Herb Greene, informed by his readings in brain science and history. This “picture book” is organised to showcase images of Mr. Greene’s architectural work alongside large-scale images of his collage paintings and armature drawings in a way that reveals the unified philosophy behind all of his work. Its purpose is to tell a story of the important interrelationships between art, science, and philosophy, which is described with a simple narrative juxtaposed alongside these images.
Nadia Kaabi-Linke. Seeing Without Light features a selection of artworks by the Berlin-based artist spanning more than two decades. Through paintings, works on paper, sculptures, photographs, and mixed-media installations Kaabi-Linke confronts historical erasure, and explores the hidden traces of violence that don’t noticeably shape our understanding of the past and the present. For her solo exhibition at Hamburger Bahnhof, the artist created a new video and sound installation that was shot in Ukraine in the spring of 2023. Titled Bud’mo (a popular Ukrainian toast that loosely translates to “let us be”), the work is a poetic yet sobering acknowledgment of tragedies perpetrated by man and of cycles of life and death. Central to the exhibition is Blindstrom for Kazimir (2023), a conceptual installation that refers to a number of paintings, now preserved at the National Art Museum of Ukraine in Kyiv, which were censored and confiscated by Soviet intelligence during the 1930s. Through this work, the artist examines the role of censorship and violence in Central Europe’s art and political history.
This is the third in a series of publications accompanying solo exhibitions of contemporary artists at Hamburger Bahnhof – Nationalgalerie der Gegenwart. It comprises a curatorial text by Sam Bardaouil, an interview with the artist by co-curator Daria Prydybailo, and a contribution by Paul Ardenne that situates Nadia Kaabi-Linke’s work within a larger context.
Text in English and German.
Though little known outside her native country, Helene Schjerfbeck (1862-1946) is one of Finland’s best-loved artists. Her career, which stretched from the late 1870s to the end of the Second World War, encompassed both Impressionism and Modernism. This book records an exhibition that marks the first time her works have been seen in the UK since she exhibited in London herself in 1890. It presents the full range of her exceptional paintings and drawings, with 70 works in all genres, including portrait, landscape and still-life. Schjerfbeck’s technique, her social and cultural context and her legacy are all examined in depth by the authors. The book also explores the role of the masquerade in Schjerfbeck’s work, and the impact of old-master paintings on her practice.
The National Galleries Barberini and Corsini contain paintings and sculptures of exceptional historical and artistic value. Page after page, through the masterpieces of many of the greatest Italian artists from the Middle Ages to the 18th century (Angelico, Raphael, Piero di Cosimo, Bronzino, Lotto, Tintoretto, Cortona, Caravaggio, Bernini, Reni, Guercino, Batoni, Canaletto) the reader can follow the development of art history. The collections also include artwork by Holbein, Murille and Van Dyck, besides a few antique pieces. In addition to the 100 entries, there are descriptions of particularly important elements that are part of the palaces’ architecture, such as Borromini’s spiral staircase, Bernini’s main staircase and the huge ceiling frescoed by Pietro da Cortona.
Wat Si Chum is unique among Sukhothai temples. Inside, lining the ceiling of a dark and narrow staircase leading to the open roof, are 86 inscribed stone reliefs depicting jatakas, the former lives of Gotama Buddha. Their unique character and arrangement have puzzled generations of scholars. In this original volume, a team of experts presents the latest evidence and new solutions.
This book offers the first-ever English translation of the inscriptions, photographs of the reliefs supplemented by 19th century jataka paintings from Wat Khrua Wan, Bangkok, essays on all aspects of the temple, as well as a discussion of the significance of jatakas in international Buddhist literature, art and ideology.
The Chinese artist Liu Xiaodong is one of the most famous contemporary artists in Asia. His oeuvre depicts moments of human life with an extraordinary immediacy and exceptional empathy. A family, a refugee boat, agricultural workers, or the demi-monde – he shows a wealth of subjects, representing the unlimited diversity of people and cultures. His work is characterised throughout by the greatest possible degree of openness and tolerance toward the other.
Kunsthalle and NRW-Forum Düsseldorf are staging a major double exhibition on the artist. It is the first retrospective show dedicated to him in the world. The accompanying monograph attempts to capture the tremendous complexity of Liu Xiaodong’s art. It contains a selection of works from 1983-2018, about 60 paintings, drawings, photographs, and film stills.
Liu has always sympathetically portrayed minorities both in and outside China. For the very first time, this book showcases paintings from his project ‘Transgender/Gay’ – a series of portraits from Berlin’s gay and transgender scene, which Liu created in 2018 while staying in the German capital.
Text in English and German.
In the last quarter of the 19th century, the Netherlands was a popular travel destination for artists. The American artists Gari Melchers and George Hitchcock visited the country in the 1880s. In 1884, they settled in Egmond aan Zee, then little more than a small, isolated fishing village. There they painted the life of the people and the landscape. Melchers soon garnered international success with The Sermon, while Hitchcock caused a furore with A Tulip Field. The presence of Melchers and Hitchcock in Egmond exerted a great attraction on professionals. A large crowd of artists travelled to Egmond, especially after Hitchcock in 1891 started his summer courses, which attracted remarkably many female artists. Among the artists who worked there were James Jesuba Shannon, Henri Moret, Florence Upton and Letta Crapo Smith. Longing for Egmond offers an overview of the developments in the Egmond artist colony and the key role played by Hitchcock and Melchers fulfilled there.
Frida the woman. Frida the artist. Frida the icon. Fragile and indomitable, she made herself a work of art, celebrating the beauty of imperfection. Hers was an existence made of passion, revolution, brightly coloured clothes, and paintings that mirrored her dances with death and love for life. A life like hers requires splendid images and intense text chronicling its many adventures. From her childhood to the accident, from her discovery of painting and the ties with extraordinary characters such as André Breton, Tina Modotti, Lev Trotsky, to her legendary marriage to Diego Rivera and her enchantment with the Casa Azul. This stunning book is a homage to the human being who became a symbol of emancipation and freedom. A hymn to diversity and joie de vivre, dedicated to all women of the world.