Matisse in 400 Images offers a vibrant introduction to one of the most influential artists of modern art. Bringing together 400 carefully selected works, this compact volume traces Henri Matisse’s artistic journey from his early experiments at the turn of the twentieth century to the bold cut-outs of his final years. Alongside celebrated masterpieces, readers will discover lesser-known paintings, drawings, and decorative works that reveal the richness and evolution of his vision.
Organized chronologically, the book follows Matisse’s development through key periods — from the discovery of modern art and the explosive Fauvist years, through phases of decoration, abstraction, and experimentation, to the luminous works created in Nice and the radical innovations of his late career. A remarkable selection of historical photographs further illuminates the artist’s life and creative environment. Accessible and visually engaging, this beautifully illustrated volume is an ideal introduction for a broad audience and an essential companion for all admirers of Matisse and modern art.
This publication offers a rare and fascinating insight into the teaching world of renowned architect Peter Zumthor. Based on previously unpublished material – including letters, sketches and photographs – as well as recent interviews with former students, assistants, colleagues and Zumthor himself, it examines the origins, historical context and far-reaching influence of his pioneering course “Primo Anno” (1996–1999) at the Accademia di Architettura di Mendrisio. The “Primo Anno” exercises form the structural basis of the book, while thematically organized interviews open up diverse perspectives on Zumthor’s thinking and his unique didactic approach. Narrative chapters connect these elements into a common thread, reflecting on the findings and placing them in a broader theoretical context. Based on his dissertation, written between 2018 and 2021, as well as previously unpublished materials and interviews, the Swiss-Brazilian architect Rafael Lorentz documents a rediscovery that not only sheds light on Zumthor’s thinking, but also reveals his formative influence on the identity of the Accademia.
China, nearly half a century after economic transformation and development, is changing not just itself, but the world around it. The BRI (Belt and Road Initiative, a global infrastructure and economic development program initiated by the Chinese government) promises investments in countries along the ancient overland trading routes between China and the West, with maritime arcs around Southeast Asia, the Indian subcontinent and the Arabian peninsula, down the eastern coast of Africa and through the Mediterranean. In this book are selected many distinctive, wonderful shots taken in about 21 countries participating in the BRI, covering 50 regions and a distance of over 267,000 kilometers the author visited from early 2023 to late 2025 as photographer. Through words and pictures, he takes the reader on a tour along the new Belt and Road, showing it as it is actually unfolding in the real world across Asia, Central Asia, Latin America and the Middle East and Africa. This book serves as a good observation and thinking of the reality of China today.
Nature in Close Up reveals flora and fauna like you’ve never seen them before. Award-winning nature photographer Yuan Minghui showcases his extraordinary sensibility and original eye for the natural world through his stunning selection of photographs of the wetlands in Wuhan, China. Each image surprises and thrills, rendering every object an artistic creation in its own right. Yuan Minghui’s ability to create beautiful and meaningful images from our surrounding environment is startling; from winding vines that look like treble clefs and floating aquatic plants with diamond droplets, to the unseen glimpses of insects and amphibians playing out their extraordinary lives. Yuan Minghui sets out to give each and every object the beauty and dignity that he sees in ordinary human life, with the aim of emphasizing the importance of our planet and how we need to give it the care and attention that it deserves.
The Letting Go is a long-standing, performative, and participatory practice by artist Natascha Stellmach. It explores themes of vulnerability and empowerment. Following a meditation and in response to the question, “What would you like to let go of?”, the practice involves identifying, naming, embodying, and experiencing healing and impermanence through the body. Its method includes ritual tattooing without ink (a bloodline tattoo) to address a personal obstacle and initiate an intimate enquiry.
Over a period of almost 10 years, Stellmach performed more than 120 sessions with individuals in galleries and privately, including herself. Through evocative photography, academic research, and participant-contributed selfies and reflections, the publication invites readers to embrace “the wonder in our wounds” and offers a deeply human portrait of what it means to let go.
The book includes a foreword by acclaimed actor Sandra Hüller, as well as essays by curator and arts writer Kelly Gellatly and psychiatrist and psychoanalyst Dr. Matthew McArdle.
This richly illustrated volume, produced by Uzbek publisher Dinara & Co. in partnership with Kulturalis, explores the enduring legacy and contemporary revival of miniature painting in Uzbekistan. Highlighting the work of acclaimed Bukharan master Davlat Toshev, the book guides readers through the intricate brushwork, symbolism and narrative depth of his recent creations. By situating Toshev’s oeuvre within the broader context of Islamic art and the cultural memory of the region, the book demonstrates how these seemingly fantastical images resonate with contemporary audiences. For art lovers, collectors and cultural historians alike, this publication is both a celebration of Uzbekistan’s artistic heritage and a key to unlocking the relevance of miniature painting in modern times.
Copenhagen. One of northern Europe’s chicest cities. A marvel of Scandinavian style, blending the traditional with the modern and the minimalist. Denmark’s capital is a burgeoning design hub, an increasingly popular destination for fans of modern architecture and an unexpected fashion hotspot with a proud ethos of sustainability and its own major biannual fashion week.
Copenhagen. In Fashion is an unmissable opportunity to discover the city’s historic harbor, squares, islands and islets, experience the warmth of the hygge lifestyle and find inspiration in the composed and impossibly urbane Scandi outfits without leaving your own home.
From Paris and New York to more surprising hotbeds of style, the In Fashion series invites you to discover the most fashionable locations in the world. Covering high fashion, classic street style and trendsetting people, as well as interiors, streets, shops and more, each beautifully presented volume offers a unique glimpse into the clothes and fashion culture of a distinct and remarkable destination.
Perfect for fans of fashion and travel.
London is the most diverse of all the great fashion megacities, drawing from a vast palette of cultures, artistic disciplines and historical references to produce some of the world’s best loved and most influential trends. From the flappers of the 1920s to the swinging ’60s, from punks and new romantics to the 21st-century modes of sustainability and representation, the storied British capital has made a habit of crystalizing youthful rebellion by wearing its identity on the outside. Home to Vivienne Westwood, Burberry and Palace, iconic stores like Harrods, Harvey Nichols and Selfridges, as well as some of the most famous fashion streets on Earth, including Carnaby Street, King’s Road, Savile Row and many more.
London. In Fashion is an unmissable opportunity to walk among London’s trendsetters without leaving your own home.
From Paris and New York to more surprising hotbeds of style, the In Fashion series invites you to discover the most fashionable locations in the world. Covering high fashion, classic street style and trendsetting people, as well as interiors, streets, shops and more, each beautifully presented volume offers a unique glimpse into the clothes and fashion culture of a distinct and remarkable destination.
Perfect for fans of fashion and travel.
Flowers and plants are a staple of British life. Nearly 40% of our population considers themselves to be gardeners, making this and associated activities a national pursuit. And yet, while we hold endless discussions over how to seed, grow, and disseminate our cherished plants, we still known relatively little about how they were collected, exchanged, circulated, identified, and modified, and how much art has shaped our understanding and appreciation of them. This publication, designed to accompany the homonymous exhibition at the Ashmolean Museum, explores some of these plant stories through highlights from Oxford’s collections. Bringing together historical and scientific expertise, art and material culture, traditional and contemporary artworks, this book ultimately reflects on the long-lasting impact of flora on our society – and of us on it.
Changes of materials and concepts used in modern furniture design are closely related to ancient Chinese furniture design. This book expounds the content that has to do with “Chinoiserie” in the history of furniture. “Chinoiserie” here refers to the form, function and design principle of traditional Chinese furniture. By sorting out the part of modern furniture design related to Chinoiserie, it is concluded that the Chinese furniture system is one of the two major systems in the development of the global furniture system, and the emergence and maturity of the Chinese furniture system was almost independent, and completely dominated by social functionalism.
This book systematically discusses the decorative feature, beauty in form and development of traditional Chinese furniture, and elaborates on the modern design theory contained in traditional Chinese furniture, its influence on Western design and the development of furniture in the world.
The close relationship between Edvard Munch and the National Gallery of Oslo, today part of the National Museum, is a subject well worthy of a detailed publication.
The first Munch painting acquired by the museum was Night in Nice, purchased in 1891. Today the collection encompasses 57 paintings and 186 works on paper. The paintings include masterpieces such as The Sick Child, The Scream, Madonna, The Girls on the Bridge, and Man in the Cabbage Field. How did the museum come by all these works? And what is the story behind the famous ‘Munch Room’? Answers to these and many other questions can be found in this book, which contains reproductions of all the works in the collection.
The book contains texts by Karin Hindsbo, Nils Messel, Sidsel Helliesen, Gerd Woll, Thierry Ford, Mai Britt Guleng, Øystein Ustvedt, Wenche Volle and Vibeke Waallann Hansen.
Text in English and Norwegian.
Erling Viksjø’s buildings challenge our notions about what constitutes good architecture. His extensive use of concrete, modules and repetitive shapes has caused many to describe him as Norway’s foremost Brutalist architect. Viksjø also went furthest in collaborating with visual artists. Concrete in Transition examines the encounter between art and architecture in Viksjø’s projects. How could one attain a unified design where art was no longer an addition to, or in competition with, the architecture?
This publication discusses Viksjø’s collaborations with well-established artists such as Hannah Ryggen and Kai Fjell, and young Modernists including Odd Tandberg, Carl Nesjar and Inger Sitter. In addition, it discusses the projects in which he collaborated with Pablo Picasso.
Text in English and Norwegian.
In October 2024 The Calouste Gulbenkian Museum, in collaboration with the Museo Thyssen-Bornemisza, in Madrid, presented the exhibition Splendour in Venice. From Canaletto to Guardi, devoted to 18th century Venetian painting.
Painters such as Canaletto, Francesco Guardi, Bernardo Bellotto, and Giambattista Tiepolo, authors of some of the most brilliant compositions of their time and undeniable highlights in the collections of both Iberian museums, are among the artists selected for this exhibition.
This publication, released on the occasion of the exhibition, is divided into two parts: the first dedicated to three essays, and the second comprising catalogue entries related to the works of art on display.
Mar Borobia, Chief Curator of Old Master Painting at the Museo Thyssen-Bornemisza, opens the first part with an essay on the history of the collection of 18th century Venetian painting belonging to the Madrid museum. Next, Vera Mariz, curator at the Calouste Gulbenkian Museum, reflects on Gulbenkian’s admiration for the work of Francesco Guardi, which led him to purchase 19 paintings by the Italian master for his collection. Finally, Alberto Craievich, director of Ca’ Rezzonico, Museo del Settecento Veneziano, explores the artistic context of the city of Venice during the 18th century.
The second part consists of 34 catalogue entries written by Luísa Sampaio, the curator of the exhibition.
Alongside the written content, the publication is illustrated by a large number of images of the artworks on display, allowing readers to observe the exquisite details for which they are notable.
The collection of 18th- and early-19th-century French silverware brought together by Calouste Sarkis Gulbenkian is the most important of its time and one of the most significant sections of the Gulbenkian Museum’s collection. Amassed between 1900 and 1950, these pieces constitute a unique group due to their diversity and quality. The collection comprises over 150 works, including several world-class masterpieces that represent the collector’s taste.
The catalogue is dedicated to a selection of silver works of different typologies, such as centerpieces, tureens, salt cellars, candelabras and candlesticks, made by renowned silversmiths such as François-Thomas Germain, Antoine-Sébastien Durant, Robert-Joseph Auguste and Martin-Guillaume Biennais. Despite this diversity, these works all share the characteristics that make this collection unique: quality and authenticity combined with original designs, technical expertise and distinguished provenances, with former owners including members of European aristocracy and the Russian imperial family. These works were mostly purchased in Paris, but there is also an important group of works from the Hermitage collection, acquired through negotiations made between Calouste Gulbenkian and the Soviet government between 1928 and 1930.
After an initial text about Calouste Gulbenkian’s passion for 18th-century French silverware, the most prominent pieces of the collection are presented in chronological order of acquisition and are accompanied by comprehensive descriptions and analyses, as well as detailed information on hallmarks, inscriptions, provenances and historical and bibliographical sources. An excellent photographic survey, carried out specifically for the purpose, illustrates the 43 catalogue entries.
At the end of the publication, the reader can find a list of secondary silverware, an index of names and the group of archive documents and bibliography consulted.
Images Credits: Panorama
The Gulbenkian Museum published its long-awaited catalogue of Calouste Gulbenkian’s collection of illuminated manuscripts, marking the culmination of several years of research and collaboration by a group of international scholars.
This group of works, which was particularly prized by the collector, was acquired for his own personal enjoyment and kept at his home in Paris before being transferred to Portugal. In the 1960s, when they were housed at the Marques de Pombal Palace in Oeiras, the codices were damaged by flooding. The restoration work that allowed these specimens to be studied and exhibited at long last was only completed in 2014.
The first article, by Manuela Fidalgo, the emeritus curator of this group of works from the collection, explores the milestone moments in the creation of the collection, homing in on Gulbenkian’s choices and the way in which he sought to preserve his books. She has also written a brief account of the flooding of 1967 and the restoration of the damaged specimens.
The second essay, by François Avril, former curator of the Manuscripts Department at the Bibliothèque nationale de France, an expert in medieval manuscript volumes and the scientific coordinator of this catalogue, takes an in-depth look at the specimens that make up the collection, plotting the timeline of the acquisitions and uncovering their provenance. The catalogue, which covers 27 books and 10 fragments, was coordinated by Angela Dillon Bussi, a specialist in medieval history and former assistant director of the Biblioteca nazionale Marciana, Venice and the Biblioteca Medicea-Laurenziana in Florence.
The catalogue entries, which are all illustrated, divide the codices into two sections. The first puts forward a codicological study by Angela Dillon Bussi, in collaboration with Davide Baldi Bellini. The second explores the history, content and artistic importance of the pieces, with contributions from renowned experts such as Angela Dillon Bussi, Federica Toniolo, François Avril, Giordana Mariani Canova, James Marrow, Jonathan Alexander, Lieve de Kessel and Nigel J. Morgan.
This beautiful book of her wartime fashion work addresses Lee Miller’s contribution to the fashion industry in these years and her significant service to the survival of British Vogue magazine.
Audrey Withers, Lee Miller’s editor at British Vogue, in 1941 wrote ‘she [Lee Miller] has borne the whole weight of our studio production through the most difficult period in Brogue’s [British Vogue’s] history’.
Containing over 130 images, with the majority printed full page this book also contains accompanying text by Ami Bouhassane, Lee Miller’s granddaughter and Co-Director of the Lee Miller Archives, who provides insights into Lee Miller’s work process. In two additional essays, fashion historian Amber Butchart writes on the fashion of the period and Robin Muir, contributing editor to British Vogue, discusses Lee Miller’s work for Vogue.
Neil Kirk in Vogue: The Supermodel Years is a unique retrospective of 1980s and ’90s fashion, as captured by one of the most exceptional photographers of the era.
A prominent and prolific fashion photographer for over four decades, Neil Kirk’s sensational body of work has left a lasting impression on designers, editors and catwalk models across the fashion industry. A frequent contributor to Vogue US, British, Italia and Deutsch throughout the ’80s and ’90s, his photographs helped propel some of the biggest fashion names into the public sphere during an era when supermodels were becoming A-list celebrities and fashion designers were pioneering an innovative take on modern luxury.
With a foreword by Bryan Ferry and contributions from Helena Christensen, Claudia Schiffer, Manolo Blahnik, Sam McKnight, Stephen Jones, Yasmin Le Bon, Christian Lacroix and Jasper Conran among others, this is every fashion lover’s dream in one beautifully illustrated, must-have volume.
Featuring Salma Hayek, Carla Bruni, Cindy Crawford, Yasmeen Ghauri, Valentino Garavani, Vivienne Westwood, Malcom McClaren, Ewan McGregor, Kate Winslet, Jerry Hall, Linda Evangelista, Rachel Williams, Jonathan Rhys Meyers, Robin Wright and many, many more.
As a committed modernist, Lionel Morrison’s approach to architecture and design has been consistent and steadfast from his first project to the present. He adheres to the core principles of modernism while thoughtfully addressing the context and brief for each project.
Arranged in chronological order, the fourteen residences presented in this collection illustrate how Morrison’s architectural point of view, formed early in his career, has led to a consistent and distinguished body of work. Illustrated with stunning color photography and detailed floor plans, the selected homes trace Morrison’s career from Texas to California to New Mexico.
Modernism in Context: Homes by Lionel Morrison is essential inspiration for those interested in architecture, modernism, and residential design. It is also an invaluable resource for architectural students and academics, offering insights into the design process from a contemporary modernist architect who has a distinctive style all his own.
This lavishly illustrated book, the third and final volume in the series Orchha, Datia, Panna: Miniatures from the Royal Courts of Bundelkhand, deals with the third, fourth, and fifth periods of Bundelkhand painting, which spans the years 1635 through 1840. It begins with the Mughalizing painting styles that predominated in Datia after the disintegration of Orchha in 1635 and the rise of Datia as an independent principality and major cultural center. It also addresses the development of Bundelkhand painting after 1675, when Raja Chhatrasal established Panna as the capital of his Bundela kingdom. Bundelkhand painting ceased with the raja’s death in 1731, and it was only after a long interruption that it experienced an Indian summer at the court of Datia during the period of British suzerainty in the 19th century. However, the style of the latter era no longer bore a resemblance to the Datia and Orchha schools of the 17th century, but was rather an offshoot of the prevailing Mighal-Rajput style developed by painters who had left Delhi in the second half of the 18th century.
Through stylistic analyses and interpretations of more than 90 paintings from his collection, many of them published here for the first time, the author provides a rich insight into the many and varied developments of later Bundekhand painting.
Visions in Silk presents the first comprehensive exploration of exquisite Japanese fine art textiles from the Meiji era (1868-1912), showcasing the unparalleled treasures from the Khalili Collection of Japanese Art.
This beautifully illustrated volume reveals how Japanese artists and craftsmen ingeniously adapted centuries-old textile traditions to create innovative art textiles that captivated international audiences, won exhibition awards, and served as prestigious diplomatic gifts.
Featuring over 300 spectacular examples, the book examines dazzling works of embroidery, yuzen resist-dyed silk and cut velvet, tapestry, and oshi-e raised silk, ranging from elegant panels, hangings and screens to grand exhibition showpieces. Each represents the pinnacle of artistic collaboration and hitherto unsurpassed technical mastery.
Written by leading international experts, this landmark publication provides unprecedented insight into these remarkable yet understudied treasures. Visions in Silk will enchant anyone interested in Japanese art, textile design, Japonisme, and the cultural transformations that occurred during the Meiji era, when Japan opened to the outside world.
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 hypothesized 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 characterize the fresco – one of the best known and most appreciated works in the world – with an unprecedented theological message.
Text in English and Italian.
“It’s a necessary conversation starter about what’s on the horizon for the wine world, and a roadmap for drinkers who want to align their values with their purchasing.” — Forbes
“As their absorbing book reveals, “climatic challenges” were a major contributor to plummeting levels of wine production that last year saw the global total drop to its lowest level since 1961… Masters and Neather outline many ways in which the industry can adapt to, and fight, climate change.” — Financial Times
“Rooted in Change is a courageous, groundbreaking, hope-filled piece of work. It gives every one of us a practical starting point. And it is a gift to all of us in the wine industry and to anyone who loves wine and cares about the planet.” — Jancis Robinson
“A cork tree will be harvested around 17 times over the 200-year span of its life; around one quarter of the glass recycled in the UK is simply crushed for aggregate. These are two of many facts I learnt from this dense yet lucid book which pulls the curtain to show the pragmatic side of wine we rarely think about.” — Telegraph
This is a compelling new book focused on the intersection of wine and sustainability. It will explore the most urgent issues facing the wine industry today, from climate change and resource management to evolving consumer expectations, offering a rich blend of tradition and innovation to inspire a sustainable future for winemaking.
Wine regions around the world, from the vineyards of Bordeaux to the valleys of California, are grappling with the undeniable effects of climate change. Record-breaking temperatures, extreme weather patterns, and resource scarcity are pressing the industry to rethink how it operates. As wineries increasingly embrace sustainable farming methods—from water conservation strategies to regenerative viticulture practices—the book will take readers through a comprehensive exploration of these pioneering approaches. The book will feature a mix of expert commentary, in-depth case studies, and engaging storytelling that illustrates how sustainability is being embraced across the global wine community—from regenerative farming practices at Tablas Creek in California to innovative water management strategies in Australia’s Barossa Valley.
Appealing to a wide range of readers, from those in the sustainability industry to other sectors, both agricultural and broader product manufacturing sectors.
A 1000-piece puzzle featuring the artwork of Umar Rashid.
Did the Battle of Malibu actually happen? Probably not. OK, definitely not. But also maybe it did? LA based artist Umar Rashid has given the question a lot of thought and decided that it would be cool if it had happened so for all intents and purposes it did.
And if the Chumash, Tongva, Gabrielino, and other indigenous LA types had in fact gone on to fight the Spanish, armed with a little red Corvette driven by Black Jesus, then, well, we’d have liked to see that. So here it is. It happened.
Published in conjunction with the exhibition Roma pittrice. Artiste al lavoro tra XVI e XIX secolo (Rome paints. Women Artists at Work Between the 16th and 19th Centuries), at the Museo di Roma in Palazzo Braschi, this guide highlights to an even wider audience the presence of several women artists who where either born in Rome or made the eternal city their place of study and work. Starting from the artists represented in the Capitoline collections, such as Maria Felice Tibaldi (Subleyras), Angelika Kauffmann, Laura Piranesi, Luise Seidler and Emma Gaggiotti (Richards), the book includes other important artists who worked in the city, such as Lavinia Fontana, Artemisia Gentileschi, Giovanna Garzoni and many others, sometimes less known, whose oeuvre has been discovered in recent decades. The initial essay presents the gradual integration of women painters into the cosmopolitan Roman art market, with their laborious achievement of full access to education and to the most prestigious art institutions of the city and then explores the numerous pictorial genres to which they devoted themselves. The second part of the guidebook includes 56 biographies of these artists, revealing a rich and varied production until recently overlooked.