The Galleria Borghese not only houses an extraordinary collection of ancient and modern sculpture, but also one of the most extraordinary collections of paintings in the world, with masterpieces by the most important European painters, including Giovanni Bellini, Correggio, Dosso Dossi, Parmigianino, Raphael, Titian, Caravaggio and Rubens.
In two volumes – the first is presented here divided into two tomes and dedicated to works created between the 15th and 16th centuries – the intention is to continue the work begun with the catalogue raisonné of modern sculpture, also published by Officina Libraria (2022), thanks to updates, discoveries, archive research and analysis of works.
The entries in this volume, preceded by introductory essays illustrating the main nuclei of paintings produced between the Renaissance and Mannerism periods in the museum, have been entrusted to scholars specializing in the productions of individual artists or regional schools, experts in the history of the gallery and a large group of younger experts in 15th and 16th century painting. The individual texts present a significant degree of in-depth study both chronologically and in terms of attribution, with notes on restorations and archival documents.
Text in Italian.
Founded in 1921 and the first of its kind in the country, the National Gallery of Canada’s Department of Prints and Drawings boasts a world-class collection of historical drawings dating from the 15th to the 20th centuries. These works, rendered in a wide range of mediums – graphite, ink, pastel, watercolor – reflect the diversity of techniques used over the ages.
Incorporating the latest research and a displaying wealth of scholarship, this richly illustrated book celebrates the recent centenary of this outstanding collection. It brings together a spectacular array of drawings, including newly acquired additions and little-known but historically significant works. The wide selection of plates showcases preparatory studies for paintings, depictions of historical and mythological themes, portraits, landscapes, forays into abstraction, and poignant explorations of the human condition. Featured artists include Élisabeth Louise Vigée Le Brun, Théodore Géricault, Gustav Klimt, Edvard Munch and Wassily Kandinsky, among many others.
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 dialog 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.
Arriving in Britain just as war was declared Lee Miller, an American with no permit to work, used her camera as her principle means of combat during World War II.
Before Lee Miller left Britain to report in Europe she covered the Blitz, civilians braving the destruction around them and their contributions to the war effort as well as wartime fashion, camouflage and the women in the armed forces on the home front.
This book curated by the Lee Miller Archives is Lee Miller’s photography in Britain during the war with an essay by Ami Bouhassane.
“Grigoryan is superb on what marketers can learn from an artist’s way of seeing.” Elizabeth Chase, Decorative arts and design historian, advisor, and educator at Sotheby’s Art Institute
“As someone fascinated by the intersection of luxury, culture, and value creation, I found Art Thinking both intellectually stimulating and highly relevant. Vadim Grigoryan offers a compelling perspective on how art can become a catalyst for new ways of thinking, deeper meaning, and long-term value creation. An inspiring read for everyone interested in shaping the future through cultural agency.” – Felicitas Morhart, Dr. oec. Full Professor of Marketing, HEC Lausanne, Université de Lausanne
Art Thinking takes readers on a journey into the captivating intersection between art, luxury and fashion brands and businesses. It explores the notion of brands as cultural agents and how art can act as a mediator between meaning and management. The book allows the readers to develop skills in constructing strategic art initiatives and in management of artist collaborations and provides insight into the artistic process of creativity.
Divided into four chapters and supplemented with case studies, the book is supported by Vadim Grigoryan’s many years of experience, popular webinars and courses taught at leading business schools, such as INSEAD and cultural institutions, such as Sorbonne.
From long lost paintings to ephemeral sculptures; from whimsical performances to iconic public murals; and from independent films to landmark design objects, the surprising and provocative contents of Moving Focus, India have been provided by a varied group of experts. A first of its kind, this book invited 54 artists, curators, historians and writers to each create a list of five works of art, made at any time since 1900, by artists living in India or identifying as part of its diaspora.
With over 250 individual nominations, including artists whose works have been exhibited at venues as various as Houghton Hall (Anish Kapoor, 2020), the Asia Society Museum, New York (MF Husain, 2019) and the Piramal Museum of Art, Mumbai (SH Raza, 2018), the exercise produced thrilling and unexpected choices across many mediums. Drawing from a wide range of private and public collections, the selections reveal the diversity and inclusiveness of today’s art scene: an art scene that has embraced the progressive changes evident in society at large. In addition to these lists, the book includes reflections on collecting, curating and canon-formation from a range of important voices, by way of a roundtable discussion and a series of essays.
Spread over two volumes and marked by an innovative and fresh design sensibility, whether you are familiar with modern and contemporary art from the subcontinent or looking for an introduction, Moving Focus, India contains a wealth of information. Lavishly illustrated with over 1,000 archival and freshly commissioned photographs, this book is an important and timely addition to the global art discourse and a key source of reference.
Nominated artists include Ramkinkar Baij, Chittaprosad, VS Gaitonde, Amrita Sher Gil, Rummana Hussain, Bhupen Khakhar, Nasreen Mohamedi, Benode Behari Mukherjee, Meera Mukherjee, Mrinalini Mukherjee, Gieve Patel, Sudhir Patwardhan, Nilima Sheikh, Jangarh Singh Shyam, KG Subramanyan, Vivan Sundaram, Zarina and many more.
100 Masterpieces of Chinese Painting presents a curated journey through two millennia of China’s artistic legacy, featuring iconic works from ancient lacquer paintings to modern ink masterpieces. Each of the 100 selections is paired with expert commentary from Chinese Modern Contemporary Art Document (CCAD) scholars, offering fresh insights into technical brilliance and cultural context. Designed for portability with gallery-quality reproductions, this compact volume invites art lovers and curious minds alike to explore the evolution of Chinese aesthetics—one timeless brushstroke at a time.
Published to coincide with the exhibition at Kettle’s Yard, Christopher Wood: In Love offers an intimate and revelatory encounter with one of Britain’s most compelling modern artists. Drawing on new research and previously unpublished works from private collections, the book traces Wood’s brief yet incandescent career through the relationships, places and creative exchanges that shaped his art. Structured in a series of thematic ‘acts’, it moves from London and Paris to the Mediterranean and Brittany, weaving together painting, drawing, stage design and archival material to illuminate Wood’s passionate devotion to both art and life. Six newly commissioned essays explore questions of love, performance and sexuality in the early twentieth century, situating Wood within an international avant‑garde network that included Jean Cocteau, Serge Diaghilev and the Ballets Russes. Beautifully designed and richly illustrated, this publication is an essential contribution to Christopher Wood scholarship and a vital companion to a vibrant moment in British modernism.
Swiss Art Brut 1945–2026 is being published to coincide with an exhibition celebrating the 50th anniversary of the Collection de l’Art Brut (Swiss). It brings together a wide range of works from the Lausanne museum’s collection that were created by Swiss artists or artists who worked in Switzerland. With Switzerland as the common thread, this publication and the accompanying exhibition highlight the close and lasting ties between the originator of the concept of art brut Jean Dubuffet and this country. Indeed, it was this close bond that led him to donate his collection of outsider art to the City of Lausanne in order to ensure its preservation and the public’s access to it.
The book includes a foreword by writer Metin Arditi and a presentation by Sarah Lombardi, director of the museum and curator of the exhibition, followed by Jean Dubuffet’s own handwritten notes recounting his trip to Switzerland in search of extra-cultural works in the summer of 1945. This previously unpublished document is reproduced here in facsimile. Other authors provide further analyses of the works: Michel Thévoz, the museum’s first director; Lucienne Peiry, who succeeded him until 2011; Andreas Steck, president of the Aloïse Corbaz Association; and Astrid Berglund and Eleanor Philippoz, respectively curator and outreach coordinator at the Collection de l’Art Brut.
One sole truth about Edvard Munch’s art does not exist. The answers depend on the questions we pose. Twenty-two Munch experts have written 150 texts about well-known and lesser-known works from Munchmuseet’s collection. Through these multiple ways of seeing, Munch’s lifework emerges as infinite. And this book, as an exercise in the art of seeing. The book invites the reader to explore the world of Edvard Munch — his ideas, processes, and the profoundly human topics that occupied him and that still affect us today. Through a wide selection from the museum’s collection, you can experience the richness of Munch’s artistic career and his unrelenting drive to experiment and innovate.
This luxuriously presented monograph documents the life, work, architecture and design achievements, plus the art, jewelry and fashion collections of leading Australian cultural advocate Gene Sherman. Here she shares intimate accounts of her journey in her own words and is joined by many internationally renowned and influential art world commentators, curators, fashion designers, and educators who have contributed incisive essays — ich with personal anecdotes — on the impressive cultural trajectory of this world-renowned art advocate and academic, collector and philanthropist. Beautifully photographed throughout, The Spoken Object features many previously unseen pictures of Gene Sherman, along with photographs of her personal collections, iconic fashion items and jewelry, significant art and sculpture, designer furniture, significant architecture, including the beautifully designed interiors of the stunning home she lives in and shared with her late husband, Brian Sherman.
In New York, Jason Nazmiyal has a rug collection like no other. For the past three decades, interior designers and collectors have flocked to his Manhattan gallery to source art for the floor, be it a treasured antique classical carpet, an elegant Art Deco rug, or a Scandinavian minimalist piece. This book delves into the history of the handmade carpet across the world, before looking at the many ways rugs can be used to bring together interiors in a variety of styles. From a Mid-Century Modern residence to a contemporary urban sanctuary and a classic Upper East Side apartment, there is a rug for every space. With stunning interior photography and full of practical advice for the professional decorator as well as the amateur enthusiast, this publication is a useful and beautiful addition to the library of anyone with an interest in interior decoration.
The relationship Ernst Gamperl, an artist of international renown, has developed with wood as a living material and the acknowledgment of inescapable serendipity are a source of creative inspiration as well as the driving forces behind his work – a work revolving around the artist’s deep connection with nature and respect for his raw material. The wood worked by Gamperl sometimes comes from majestic trees tens or even hundreds of years old – grown in nature, it is nature that has often sent these unmistakable creatures crashing down.
Trees are an integral part of creation, symbols of life and strength that Gamperl has studied and “perceived” for many years in symbiosis with their essence and nature. His ability to combine an unconventional approach to the material with a revolutionary technique and an original interpretation honed over many years results in works that stand out for their elegance and charisma. Gamperl stretches technique to its limits in creating powerful sculptures that unfailingly stir the viewer, who discovers something never before encountered.
Text in English, Italian and German.
With vivid memories of his first visit to the Scottish National Gallery in the 1970s and his initial encounter with Hugo van der Goes’ The Trinity Altarpiece, Rembrandt’s A Woman in Bed, Velázquez’s An Old Woman Cooking Eggs and Degas’ Diego Martelli, Robert Storr discusses the shifting balance of museum collections from historically ‘certified’ classics to art whose status and significance remains in active contention and from singular ‘treasures’ to ensembles that speak to the larger scope of an artist’s endeavor.
Also available: Unfinished Paintings: Narratives of the Non-Finito Watson Gordon Lecture 2014 ISBN 9781906270919 ‘The Hardest Kind of Archetype’: Reflections on Roy Lichtenstein The Watson Gordon Lecture 2010 ISBN 9781906270384 Picasso’s ‘Toys for Adults’ Cubism as Surrealism: The Watson Gordon Lecture 2008 ISBN 9781906270261 Sound, Silence, and Modernity in Dutch Pictures of Manners The Watson Gordon Lecture 2007 ISBN 9781906270254 Roger Fry’s Journey From the Primitives to the Post-Impressionists: Watson Gordon Lecture 2006 ISBN 9781906270117
According to Count Galeazzo Arconati, who gave other Leonardo manuscripts to the Ambrosiana Library in Milan, the drawings concerning nature, anatomy, and color, have been “in the hands of the King of England before 1640.” The collection has been recorded as being in the possession of Queen Mary II, in 1690, a year after she and her husband, William III, ascended the throne as joint monarchs. The collection comprises all the known anatomical drawings by Leonardo. Three hundred images of the human body by the great artist, made between about 1485 and 1510–15, are showcased in this magnificent volume. Based on the artist’s own anatomical dissections, they show his evolving understanding of physiology. The drawings demonstrate, as well, Leonardo’s progress from technical mastery of his subject to consummate draftsmanship.
The commentary on this astonishing body of work is by Professor Martin Kemp of Oxford University, a leading international authority of Leonardo da Vinci, who explains the uniqueness of the painter’s stroke and the refined figurative transposition. One of the most renowned Italian Anatomists, Professor Mario Rende of the University of Perugia, analyses the significance of these works from a medical-scientific angle, revealing the insights, the research methodology, and the experimental and analytical approach of the Genius of da Vinci. Moving between art and anatomy, between unsurpassed illustrative display and avant-garde Renaissance scientific research, the work thus provides an in-depth and comprehensive look at an indispensable aspect of the Great Master’s story.
Text in English and Italian.
Lotte Reimers’ joining forces with Jakob Wilhelm Hinder and the extensive ceramics exhibition with which he was touring West German cities in 1951 marks the onset of her passion for this craft. Committed to making the public aware of ceramics as art, Hinder and Reimers ended their tour at Deidesheim in 1961. Lotte Reimers’ creative approach to managing the Deidesheim ceramics museum and gallery has received critical and popular acclaim both at home and abroad. Acquired by the state in 1993, the Deidesheim museum collection is now known as the Hinder/Reimers Collection of the State of Rhineland-Palatinate. Lotte Reimers embarked on a career of her own as an art ceramist in 1965. While running the museum and gallery, she has been adding to her impressive oeuvre for nearly forty years.
The release of street artists Sten & Lex’s monograph coincided with their first official solo show at the CO2 Gallery in Rome. The Roman duo took their first step into a traditional gallery setting with this exhibition, which focused attention on their new and innovative approach to the use of the stencil poster technique. The duo started working together in 2000 and have since pioneered several revolutionary stencil techniques that are showcased in this book. Also included are a number of insightful critical texts by Maria Letizia Bixio, Davide Giannella and Gianluca Marziani and an introduction by gallery owner and curator Giorgio Galotti.
Artists of The Spanish Golden Age such as Murillo, Zurbarán and Velázquez were the key to instigating a truly passionate appreciation of Spanish art among the great collectors at the end of the Modern Age, as well as the public institutions or other institutions that sprang from private initiative after the Industrial Revolution.
There are notable sets of works created by Spanish artists in the United Kingdom, from the Osonas to Joan Miró, such as the ones conserved in Apsley House, Pollok House and the Dulwich Picture Gallery. The collections owned by public institutions also include a significant number of masterpieces of Spanish art, including the National Gallery of London and the National Gallery of Scotland in Edinburgh. Other public and private collections, such as the Wallace Collection, the Duke of Stafford Collection, the Fitzwilliam Museum and Bowes Museum, also contain masterpieces.
“Abandoned, forgotten form is reborn in the arms of an all-embracing nature, an envelope within which the origin of the human being, of a society gives us a sensibility, a presence of a fertility.” – Vincent Dubourg
A graduate of the École nationale supérieure des Arts Décoratifs in Paris, Vincent Dubourg is a designer and a plastic artist. In 2004, he caught the eye of Julien Lombrail, founder of the Carpenters Workshop Gallery, where he has been exhibiting since 2006. Present at major salons and shows – the Pavillon des Arts et du Design, Paris; Design Miami Basel – he has received many public commissions from institutions such as Galeries Lafayette, Swarovski, Vienna, the musée de la chasse et de la nature, Paris, and the Sketch restaurant in London, among others.
Vincent says that he feeds himself on the capitals like Paris and New York, which he regularly visits, and digests them in his isolated studio in the Creuse department in France. There, he questions contemporary furniture through the prism of nature and the five elements, like a perfect control of metal. With him, buffet, table and chairs become hallucinatory objects shifting between sculpture and functional furniture.
A major exhibit will be devoted to him at the Carpenters Workshop Gallery in New York in late 2017.
Solo Show, Carpenters Workshop Gallery, New York, November 2017.
Benjamin West’s The Death of a Stag, a tour de force of pictorial theater and his own unique Scottish masterpiece, has been the focus of high drama for over two centuries. Painted for the Clan Mackenzie in 1786, the gigantic canvas, measuring twelve by seventeen feet, is still the largest in the collection of the National Galleries of Scotland. The painting almost moved to America, but after a successful campaign, it was purchased in 1987. In 2004, the work was conserved in situ in the National Gallery of Scotland and this book tells the story of the picture, both in terms of its history and the conservation process.
This scholarly catalogue provides a rich survey of the outstanding English drawings and watercolors in the National Gallery of Scotland’s collection. It ranges from the art of the Stuart court to the late Victorian period – from Isaac Oliver to Lord Leighton. Highlights include important works by artists such as William Blake, John Sell Cotman, John Robert Cozens, John Flaxman, Thomas Gainsborough, Thomas Girtin, Edward Lear, John Frederick Lewis, Paul Sandby and J.M.W. Turner. Key works are illustrated in colour and the text provides an authoritative commentary on issues such as their function, history, date and technique. The catalogue will be a valuable resource for students, art historians, collectors, dealers, picture researchers and all serious enthusiasts for British art.
The Scottish National Portrait Gallery, part of the National Galleries of Scotland, provides a unique visual history of Scotland, told through portraits of the figures who shaped it: royals and rebels, poets and philosophers, heroes and villains. The Gallery is home to Scotland’s collection of portrait miniatures which date from the mid-sixteenth century to the present day.
This book illustrates a selection of works by key miniaturists and features portraits of many important Scottish historical figures such as James Hepburn 4th Earl of Bothwell, the third husband of Mary, Queen of Scots, James VI and I and Robert Burns who was depicted in the last year of his life. A complete list of all the works in the collection is also included.
Robin Grierson’s photography book, Steam Rally is published by Lost Press and has an introduction by the esteemed journalist and author, Ian Jack. It consists of 72 high quality color photographs that explore steam rallies in England over the past 30 years. The images record the engine men, their restored traction engines, and the lively steam heritage scene, which draws thousands to its events around the country every summer.
Having grown up around his father’s bus garage in County Durham and spent much of his formative years tinkering with engines, Grierson found himself instinctively drawn to the steam people and their beloved vintage machines. This collection of thoughtfully composed images, include respectful portraits, close up details of people and their machines, and wider views of the steam rally within the rural landscape. Grierson pays particular attention to the work-worn textures, stained surfaces, and subtle colors of the working steam environment.
“The genuine tone of this work derives undoubtedly from the photographer’s long acquaintance with tough working men and the tools and sounds of busy engineering yard’s” – Ag magazine
This catalog documents an exhibition at the Baur Foundation that brings together work by the French painter Pierre Soulages (b.1919) and the Japanese master bamboo artist Tanabe Chikuunsai IV (b. 1973). Soulages, still working at 102 years old, has painted almost exclusively in black since 1979 and is known as the “master of luminous blacks”. Tanabe Chikuunsai IV is a renowned bamboo artist, known for his twisting organic sculptures and room-sized installations made from tiger or black bamboo. The aim of this exhibition is to explore how their work resonates, despite different approaches, in the dark and light effects of their materials.
Text in French and English.
Published to accompany an exhibition at the Baur Foundation in Switzerland, a museum of Far Eastern Art, from November 2021–March 2022.