Chip7Land is a chaotic, energetically produced monograph that highlights some of Chip’s work over the last 20 years. Executed in his ‘techno- organic’ style he moves freely between wall and canvas, always expressing himself with vivid colours that leap off the pages. Art directed by Chip himself this pocket size book is an artwork to itself and will transport instantly to Bangkok, Thailand.

Investigations by Sara Penco stem from the insightful finding of the absence of a key figure in the Sistine Chapel’s Last Judgement fresco. Prior to this illuminating research, Mary Magdalene was not unequivocally identified within Michelangelo’s masterpiece. Father Pfeiffer, with whom Penco establishes an inescapable dialectic, had already hypothesised the presence of Mary Magdalene in the fresco, but it is the scholar, for the first time in these pages, who convincingly justifies her identification. Mary Magdalene is closely connected to the salient episodes in the life of Jesus. The author rightly wonders, therefore, how it is possible that a figure so central to the biblical narrative and the Christian imagination could have been excluded from the depiction of the Parousia. This observation gives rise to an accurate reflection on the iconography of the saint and the Judgement, in relation to the sacred texts and in relation to Michelangelo’s poetics and production. Sara Penco traces Mary Magdalene in the tangle of figures on the wall behind the altar of the Sistine Chapel, contributing to characterise the fresco – one of the best known and most appreciated works in the world – with an unprecedented theological message.

Text in English and Italian.

Life Beat Soft Melt presents a new series of works by Erwin Wurm, introducing here, alongside his iconic One Minute Sculptures, a wall painting installation, which extends his sculptural concept.

A cheerful colourism, language, emotions, time and space, sculpture and happenings merge here into an elemental experience. Known for transforming the traditional medium of sculpture into something more fluid, participatory, and playfully subversive, Wurm expands his sculptural language beyond objects to include space, painting, and drawing. His art concept invites viewers not only to observe the works but also to become part of them.

Text in English and German. 

David Czupryn takes an opposite approach. He does not aim to trick us into believing that his surreal visual worlds are real. His images recall theatre stages where human hybrids appear next to carefully arranged still lifes whose different textures are meticulously depicted. In the spirit of classical trompe-l’œil painting, Czupryn is a master of aesthetic deception who translates the pictorial language and techniques of past ages into the present and skillfully integrates numerous references to the history of art and religion, iconography and allegory, politics and society into his paintings.

Text in English and German.

Colour is at the core of our perception, the very essence of how we see and understand the world, but the question to ask is: how does one interpret it?

Six well-known British artists – David Batchelor, Ian Davenport, Lothar Götz, Jim Lambie, Annie Morris, Fiona Rae – have interpreted in different ways, the relationship of colour within space.

Colour is the main protagonist of their works: it can be found in Batchelor’s sculptures assembled with found objects, in the coloured trails of Davenport’s paintings, in Fiona Rae’s delicate, floating marks on white surfaces, and in Annie Morris’ sculptures that powerfully define the environment. Finally, the colour comes out of the paintings to invade the walls and the floor of the Gallery itself, with two site-specific creations: an entire wall painted by Lothar Götz, and Zobop, the floor made of vinyl by Jim Lambie.

Text in English and Italian. 

Nicole Bottet encapsulates time.

The singular expression of an artistic career that doesn’t fit into any specific school, delicately presents itself and lets us into an intimate space, a sacred place of muted dialogues. Ungrounded and yet firmly rooted, her large paintings are paralleled by a long trail of letters, photos, old adverts.

A bouquet withers on the canvas, its petals fall onto a father’s letter, a declaration of love bursts out of a tablecloth. Conversations become paintings. A red glow slips behind the mountain of letters.

The unique demonstration of the sweetness of life amid everyday torment, this painting brings us face to face with a nude haloed in light, a sun-drenched wall, it discovers the sparkle of a crystal, the spontaneity of a vivid red, a deep green. Suspended like a star, gold shines through the obscurity.

The work of Nicole Bottet can be seen in private collections and museums throughout Europe, Japan, China, the United States and Canada.

Text in English and French.

Giovanni Segantini’s (1858–99) three paintings La Vita—La Natura—La Morte (Becoming—Being—Passing) of 1898/99 do not reveal at first glance anything about their equally complex and interesting background. Originally planned for the 1900 Paris Exposition of 1900 as a gigantic, multimedia “Alpine symphony” panorama 722 ft long and 66 ft high, Segantini was forced to reduce his work to three purely pictorial main paintings, owing to a lack of financial means. When he died in 1899, whilst still working on it, he left behind an incomplete triptych that was intended to embody “the spirit of nature, of life, and of death.”

In this book, Swiss art historian and Segantini-expert Juerg Albrecht traces this monumental landmark piece in the artist’s oeuvre as one of the last programmatic works of fin de siècle art. Apart from its genesis, the book explains, as well the cycle of life and death that the three paintings visualise, whose origins Segantini sought both privately and creatively in the mountains of the upper Engadine valley during his lifetime.

Text in English and German.

The first monograph on American artist Morton Kaish, whose light-filled paintings bridge the traditional and the experimental.

Morton Kaish (1927–2025) was known as a “painter’s painter.” His work has been collected by the Metropolitan Museum of Art, the Smithsonian American Art Museum, the Museum of Fine Arts, Boston, and numerous other leading institutions, and he served as a teacher and mentor to generations of American artists. His work, which bridges the abstract and the representational, the traditional and the experimental, is marked by a ceaseless exploration of light and color that has led one critic to liken him to “a latter-day Bonnard.” Throughout his eight-decade career, Kaish has worked in series, returning to the same theme again and again and always finding something new; his series range from The Irish Chair, depicting wildflowers heaped on a wooden chair, to America, showing weathered doorways bearing a palimpsest of patriotic imagery.This oversize monograph presents exceptional reproductions of a generous selection of Kaish’s works, arranged by series and including his formally innovative prints and drawings as well as his paintings. A text by the noted critic David Ebony, an interview with the artist, and an illustrated chronology lend new insight into Kaish’s life and work. A foreword by Annette Blaugrund, former director of the National Academy of Design, explores how the artist’s studios—including the one he shared for some fifty years with his wife, the celebrated sculptor Luise Kaish—have influenced his work.

This book accompanies a major exhibition in the Ashmolean Museum on the early work of internationally acclaimed German artist Anselm Kiefer. It focuses on his paintings, drawings, photographs and artist books created between 1969 and 1982, in the private collections of the Hall Art Foundation. Anselm Kiefer: Early Works is the first institutional show and publication in the UK dedicated to Kiefer’s early practice. The book introduces themes, subjects and styles that have become signature to Kiefer’s work, while providing a more intimate and complementary context for his large-scale installations that he is best known for today. The early works are accompanied by three recent paintings from the artist’s own collections and White Cube, chosen by the artist himself.

Art historians, artists, curators and experts of Kiefer’s art from Germany, Austria, Belgium, Britain and the US have contributed 46 original texts on individual works, organised in a chronological structure. An illustrated chronology at the end of the book compiled by Stephanie Biron from the Hall Art Foundation provides an overview of the artist’s early practice and life, to contextualise the works.

The book begins with Kiefer’s iconic Occupations and Heroische Sinnbilder series, created in 1969 and 1970, which Kiefer views as his first serious works. Kiefer was among the first generation of German post-war artists to directly confront the country’s troubled past and identity. Full of complex references to German socio-political history but also to culture, literature and his personal life, Kiefer’s early works carry a unique iconography, linking classic ideas of great art with a distinctive understanding of concrete artistic materiality. The landscapes in his watercolours are historically charged; hand-written words on paintings are closely linked with poetry well known to most German viewers; motifs and symbols point at Nazi ideologies and a collective feeling of guilt.

Vincent van Gogh’s short, passionate life was driven by an almost unimaginable creative energy that eventually overwhelmed him. The outlines of his story – the early strivings in Holland and Paris, the revelatory impact of the move to Provence, the attacks of madness that led ineluctably to his suicide – are almost as familiar as the paintings. Yet it is more than possible that neither the paintings nor Van Gogh’s story would have survived at all if it had not been for his remarkable sister-in-law, Jo van Gogh-Bonger. After Vincent’s death and that of her husband, his brother Theo, Jo devoted her life to preserving and exhibiting the paintings, and editing the letters. It is in her short and unaccountably neglected biography that we can come closest to Vincent the man.

Manhattan Masters shows the most beautiful Dutch Masters from the Golden Age in The Frick Collection, New York. The book elaborates the creation of The Frick Collection, brought together during America’s Gilded Age in the last quarter of the 19th century. This book, published to accompany the exhibition, focuses exclusively on Dutch paintings of the 17th century and features outstanding works by renowned artist of that period, including Rembrandt, Vermeer, Hals, and Ruisdael.

“Nicholson’s Scottish paintings encapsulate her concerns with light, radiance and harmony which she expressed through flowers and the lyricism of the natural landscape.” – The Independent
Throughout her long and varied career, Winifred Nicholson (1893-1981) was concerned with light, colour and radiance. Best known for her sensitive and joyful flower paintings, she married Ben Nicholson in 1920 and their mutually influential artistic relationship lasted, despite separation, until Winifred’s death. In the late 1940s and early 1950s, she made regular working trips to Scotland, often accompanied by the poet, Kathleen Raine. Frequently staying on the islands of Eigg and Canna and in Sandaig on the mainland, Winifred felt a deep affinity with the Scottish landscape and marvelled at the quality of light and the effects created by the ever-changing weather conditions. Her last painting expedition was to Eigg in 1980. Winifred Nicholson in Scotland is based on personal correspondence and the recollections of relatives, friends and painting companions. The book examines Winifred Nicholson’s love for Scotland and illustrates her Scottish paintings.

The art book Lita Cabellut is the first monograph to be published on the impressive work of the highly talented artist. Among experts, Cabellut is now considered the third most valuable artist in Spain. Her importance to the art world becomes clear when one realises that she is the only living artist to have managed to be exhibited at the REAL ACADEMIA DE BELLAS ARTES DE SAN FERNANDO (RABASF) in Madrid. Here her paintings are installed next to works by the old masters Francisco de Goya and Pablo Picasso, and anyone who looks at her large-format paintings will realise that she has earned this place.

But Cabellut does not only paint; she is also a multidisciplinary artist who feels at home in many fields. She also stages operas and creates sculptures. Her fans love her fresco technique, which gives her paintings that very special authenticity and vulnerability.

Now, at last, fans of Lita can bring her paintings home to them in the high-quality coffee table book Lita Cabellut. The beautifully crafted coffee table book shows the most important works of the Spanish artist, who now lives and works in the Netherlands. There, she was voted Artist of the Year in 2021.

Text in English and German.

Artemisia Gentileschi has been the subject of much attention in recent decades. Research dedicated to her has, however, often returned a stereotyped and reductive image of the artistic universe and personality of the painter. The professional figure of Gentileschi, who was able to move with great success in what we now call the art system, finally finds new dignity. Unpublished attributions from private collections are flanked by the painter’s masterpieces, reconstructing the framework of the international commissions that consecrated her as a protagonist of the European Baroque, in the most complete and up-to-date volume dedicated to the artist. The innovative charge of language and the exceptional nature of Artemisia’s iconographic choices reveal the documented interests and literary, scientific and musical frequentations that the painter skilfully cultivated in every city that recorded her passage.

Text in English and Italian.

Jean Fautrier (1989-1964) was a major 20th century artist. Trained at the Royal Academy of Arts and influenced by J.M.W. Turner, he was quickly noticed by the collector Jeanne Castel in 1923. At first, his style was figurative and played on contrasts of light. He expertly harnessed the essence of reality in order to transfigure it, redefining the genres of landscape painting, still lifes and nudes (especially in his series of dark works) during the inter-war period. A few years later, his approach underwent a radical shift and became much more abstract. He launched the “Informalist” art movement, playing with pictorial materials and combining different substances to create visions of an extraordinary material quality. Close to the great intellectual figures of his time, including Jean Paulhan, Paul Éluard, Francis Ponge, René Char and André Malraux, Fautrier never ceased producing remarkably powerful and politically resonant works, as is attested by his major series Otages (1943-1945), Objets (1947-1948) and Partisans (1956). In 1960, he was awarded the first prize for painting at the Venice Biennale. Boasting an exceptionally exhaustive iconography, this first ever comprehensive annotated catalogue of Jean Fautrier’s paintings includes the technique, origin, exhibitions and bibliography for each work. It is supplemented with a detailed biography, technical analyses and authoritative scientific texts, as well as transcriptions of interviews and radio broadcasts from Fautrier’s time.

Text in English and French.

“This year, the Fondation Vuitton strikes again with an exhibition of the Morozov Collection, about 200 French and Russian works bought by two other textile magnates, the brothers Mikhail and Ivan Morozov, who also made multiple Paris shopping trips” – New York Times

The Morozov brothers, wealthy Moscow textile merchants Mikhail (1870-1903) and Ivan (1871-1921), played a key role in bringing Impressionist and Post-Impressionist art to Russia in the first decades of the 20th century. Along with Sergei Shchukin, a fellow industrialist and art collector, they created an international audience for French art and had a transformative effect on Russian cultural life.

Between the years 1903 and 1914, Ivan Morozov spent more money than any other collector of his time, amassing a stunning collection of works by Matisse, Monet, Picasso, Bonnard, Sisley, Renoir, Signac, Vuillard, Gauguin, Van Gogh, Degas, Pissarro, and, most especially, Cezanne (17 paintings, all of which will be on display). On his bi-annual trips to Paris, he bought from the most discerning dealers, including Paul Durand-Ruel, Ambroise Vollard, and Daniel-Henri Kahnweiler, as well as directly from the artists themselves. His collection comprises 278 paintings, not including 300 paintings by Russian artists (Chagall, Malevich, Serov, Vrubel, Levitan, Larionov, Goncharova) and 28 sculptures. The Morozov collection was nationalised after the October 1917 Revolution, and after World War II it was divided among the Hermitage Museum, the Pushkin State Museum of Fine Arts, and the Tretyakov State Museum.

This stunning catalogue has been published for a show of 100 highlights from the Morozov Collection that will run from 22 September 2021 – 22 February 2022 at the Louis Vuitton Foundation in Paris. It is the first time that works from the collection will travel abroad since they were acquired. This landmark exhibition will be the only stop for the show outside of Russia.

Ferdinand Hodler (1853-1918) is arguably the foremost Swiss artist of the late 19th and early 20th centuries. Ignoring artistic conventions of his time he created a vast oeuvre comprising landscapes and portraits, monumental historic scenes and symbolic and allegorical figures, and also drawings and sketches. A number of recent international publications and exhibitions as well as rising prices for his works at auction indicate that Hodler today has secured his place as an important figure in art history. Although Hodler’s work has been widely published in recent years, a catalogue raisonné of his work has been lacking. This gap is being closed now by the Swiss Institute for Art Reasearch (SIK-ISEA) in Zürich. The result of years of scholarly work is going to be published in four parts until 2016. The new volume 2 documents Hodler’s oeuvre in portraiture and includes all known works. It presents also all works where attribution to Hodler is questioned by recent research, works where attribution has been proven wrong or that are proven forgeries. Text in German. The Swiss Institute for Art Research SIK-ISEA was founded in 1951 as a centre for art historical and art technological research and documentation. Based in Zürich and Lausanne and funded largely by the federal government of Switzerland, as well as by the governments of the canton (state) and the city of Zürich and those of other Swiss cantons and by private donors, it focuses on Swiss art and artists.

Text in German.

Paintings from the Indian subcontinent bedazzle the viewer with their minute details, colours and aesthetic qualities. Relatively modest in size, they often illustrate historical events, religious texts and poetry, or document life at court. Painted with water-solved pigments on paper, they invite closer observation and allow insight into the artistic traditions of India. “A Secret Garden” is the name of an outstanding private collection of Indian paintings. It comprises works spanning seven centuries from the time of the Sultans (1206-1526) through to the nineteenth century. This new book features a selection of 105 artworks from Danielle Porret’s collection. Each entry provides a stylistic analysis of the painting as well as a discussion of the subject matter by leading experts in the field of Indian painting.

Real Life is introduced and curated by Wells Fray-Smith. It is published in collaboration with Gallery Sofie Van de Velde on the occasion of the group exhibition Real Life. The publication gathers works by Ilse D’Hollander, Lois Dodd, Christopher Colm Morrin, Jesse Murry, Heidrun Rathgeb, Peter Shear, Trevor Shimizu, and Frank Walter, presenting a dialogue across generations and geographies around painting’s enduring engagement with lived experience. The book explores how these artists, much like Ilse D’Hollander herself, use paint to address reality in its most porous, poetic, and capacious sense. Whether working through figuration or abstraction, their practices blur the boundaries between pigment and picture, illusion and observation, the tangible and the transcendental. At its heart Ilse D’Hollander’s quiet yet profound vision. Through sketchbooks and paintings from 1988 onward, she offered intimate glimpses of her daily surroundings — a window frame, a stairway, a cat — each rendered with the same precision and restraint that define her painting. These drawings were not preparatory studies but complete reflections on perception itself, acts of seeing that transformed the ordinary into the contemplative.

Internationally renowned artist Heiner Meyer (b.1953) utilises Pop Art strategies, combining visual material from a vast variety of contexts. His paintings combine comic figures, compositions by Picasso or Hockney, and advertising for modern luxury brands, condensing them into a new pictorial creation that allows for a diverse range of reflections that update the critical potential of Pop Art in the face of contemporary consumerism.

The publication Pop Art Now shows various views of the installation and paintings from the exhibition at the Kunstforum Wien, as well as recent works from the last two years. In her text, art historian Dr Renée Gadsden provides insights into the exhibition and Heiner Meyer’s oeuvre since the beginning of his artistic career.

Text in English and German.