Mr. Rossi | Papik Rossi, the renowned skateboarder, contributes to Drago’s 36 Chambers series, exhibiting the cutting-edge of contemporary Roman counterculture. His images, shrouded in monochrome with luminous yellow highlights, stunningly capture the spontaneity of the streets and the magic of Trastevere, the Roman neighborhood that Rossi calls home. This neighborhood is also home to the ‘funkhouse’, Rossi’s nest and creative factory that inspires the vibrant imagery showcased in this book. The so-called King of the Roman streets is known for his skateboarding, music, street photography and the clothing brand, Trustever. He has worked on some of Rome’s most notable exhibitions such as Mania at Termini station and 30% Acrilico at the Museum of Rome in Trastevere. He has also held the position of director at the ‘Cuattro’ gallery in Rome where he worked on a series of extraordinary initiatives such as the production of the book Just Push the Button, with clothing brands Slam Jam, Stussy and Carhartt.

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.

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.

This book addresses a phenomenon that pervades the field of art history: the fact that English has become a widely adopted language. Art history employs language in a very particular way, one of its most basic aims being the verbal reconstruction of the visual past. The book seeks to shed light on the particular issues that English’s rise to prominence poses for art history by investigating the history of the discipline itself: specifically, the extent to which the European tradition of art historical writing has always been shaped by the presence of dominant languages on the continent.

What artistic, intellectual, and historical dynamics drove the pattern of linguistic ascendance and diffusion in the art historical writing of past centuries? How have the immediate, practical ends of writing in a common language had unintended, long-term consequences for the discipline? Were art historical concepts transformed or left behind with the onset of a new lingua franca, or did they often remain intact beneath a shifting veneer of new words?

Includes 10 essays in English, four in Italian, and one in German. 

Text in English, German and Italian.

“…sumptuous large illustrations of the selected Works, with a beautifully printed tonality”
“lt is exciting to think about how this important collection can continue to grow while this publication is already a beautiful tribute to Scottish art.” — Journal of the Scottish Society for Art History, Volume 29, 2024-2025, p.128
The National Galleries of Scotland is home to the most important collection of Scottish art in the world. This beautifully illustrated book introduces the collection through 100 works, specially chosen by the curatorial team who care for them.
The selection ranges chronologically from a 16th-century portrait of a Scottish king to 21st-century instalations and prints. Some of the most famous painters in Scotland’s history feature alongside some of the finest artists working in Scotland today. Many of the most distinctive movements in Scotland’s artistic heritage are represented, including the Celtic Revival, Arts and Crafts, the Glasgow Boys and the Scottish Colourists.
Each of the 100 works is reproduced alongside a text by one of 23 three expert contributors. The introduction gives an overview of the collection and Scottish art history more broadly. It is perfect for those who already love Scottish art, and those who are yet to discover its riches.  

The common thread running right through this work is man’s link with the land, the legacy of the ancestors that still echoes in the present. It is no accident that Before Time Began is one of the expressions used by Aboriginal artists in central Australia to refer to the creation of the world, in an oneiric sense. Understanding and following this underlying bond enables the reader to explore the art’s narrative content in its association with dreams and the passage of time, elements that inevitably distinguish the temporal dimension in the different societies. But it is also a way of exploring the first stirrings of contemporary art in an Aboriginal context through works made at the beginning of the 1970s in Arnhem Land and in the territory of the Papunya, as well as more recent paintings by artists living in the APY (Anangu Pitjantjatjara Yankunytjatjara). These last examples in particular highlight the fusion between contemporary art and traditional customs, in which ancestral knowledge is fused with elements drawn from the inevitable march of progress.

Desperately Young introduces the masterpieces left behind by some of the greatest rising stars in fine art – all of whom died before their thirtieth birthday.

Precocious talent seeps from each artist’s work, along with a sense of unfulfilled potential. Informative biographies detail their legacies, while their tragic deaths lead us to wonder what heights they might’ve reached, had their lives not been cut short. Richly illustrated, Desperately Young presents prime examples of each artist’s work, demonstrating how our cultural heritage is just a little narrower for their loss.

From Europe to America to Japan and the Indian Subcontinent, the mid-14-hundreds to the late 20th century, this book hails the acknowledged greats and introduces those who died before they could leave an indelible mark on history. A compendium of 109 artists who fell prey to sickness, warfare, heartbreak or bad luck, Desperately Young is the only book to provide an in-depth study of artists who died young.

Contents: With works from Tommaso Masaccio, Frédéric Bazille, Thomas Girtin, Egon Schiele, Henri Regnault, Ernst Klimt, Jeanne Hébuterne, Kaita Murayama, Hermann Stenner, Maurycy Gottlieb, Fyodor Vasilyev, Marie Bashkirtseff, Richard Parkes Bonington, Luisa Anguissola, Walter Deverell, August Macke, Pauline Boty and Jean-Michel Basquiat – among many others.

The Bradley Collection comprises the core of the Milwaukee Art Museum’s holdings of modern art. With nearly 400 paintings, sculptures, and works on paper, it features works by groundbreaking artists across the 20th century, including Pierre Bonnard, Georges Braque, Helen Frankenthaler, Barbara Hepworth, Donald Judd, Ellsworth Kelly, Gabriele Münter, Georgia O’Keeffe, Pablo Picasso, and Mark Rothko.

This book tells the story of how Peg Bradley built the collection—and then how she gave it away, transforming her hometown museum and community. The first comprehensive catalog of the collection, it brings together new research and insights by international scholars to shed light on works that have been long admired but little studied. The book is lavishly illustrated throughout with highlighted works and an illustrated checklist, allowing readers to visualize every work in the collection. In addition to focusing on this extraordinary gift, the essays will appeal to anyone interested in the larger arc of modern art. 

Inferno & Paradiso is a powerful photographic and editorial project that confronts the fragile tension between horror and joy, pain and hope. Conceived by artist Alfredo Jaar and featuring works by 20 leading photojournalists, each contributor presents two images: one depicting the darkest aspects of human suffering, the other capturing a moment of pure, often unexpected joy. Originally created in response to Jaar’s experience of the Rwandan genocide, the project resists apathy and indifference, challenging the spectator to engage with the complex emotional spectrum of our contemporary condition. With an immersive slide installation and a richly layered book, the work explores how images bear witness to reality while also asking fundamental questions about the possibility of happiness in a fractured world. Drawing inspiration from Dante and humanist theology, Inferno & Paradiso becomes a secular pilgrimage through human experience, paying homage to the moral courage of those who testify through images.

Looted Art & Restitution relates the history of the trade, looting and restitution of works of art from the Netherlands before, during and after World War II. Countless artworks ended up in German hands during the occupation. The allies recovered a large number of works of art to the Netherlands after the war. It was the Dutch government’s task to return looted or forcibly sold works to their original owners. The mostly Jewish claimants, however, often encountered bureaucratic and unwilling authorities. Meanwhile, most of the artworks were distributed over museums and depots or auctioned off.

It was not until the late 1990s that, in accordance with international developments, the restitution policy became much more humane and a search for the rightful owners was implemented.

The Mediterranean coast of France witnessed the rise and development of modern art over a century, from Cézanne in the 1860s to Matisse, Picasso and Klein in the 1950s and 1960s. These artists and the many more featured here discovered an inexhaustible source of inspiration in this storied region, whose glittering, languid sea stretches out towards the far horizon beneath brilliant azure skies. Indelibly associated with the classical past, this magical land of eternal spring and spiritual renewal came to signify a state of mind, and avant-garde artists sought to convey the vitality and élan it inspired in them through new paradigms of modernist invention.

The Art of Endurance is a coffee table book about the 2024 season of the FIA World Endurance Championship (WEC), which is one of the most exciting competitions in motorsport. This book is based on the very rich production of images that will be developed and embellished over the eight races that are held around the globe on internationally renowned circuits, including the legendary 24 Hours of Le Mans. The main goal is to capture the “spirit” that characterizes these endurance races. This beautiful publication will be a perfect promotional tool for the championship, whose considerable drawing power is due to the number of competitors and manufacturers who are taking part.

Tracing the erotic from its earliest origins to the present day, this provocative and opinionated guide reveals the many shades of erotic art. Covering phallic Babylonian carvings from 1800 BCE, forbidden Victorian watercolors, 18th-century Shunga woodcuts and the extraordinary queer art of Ron Athey, Valie Export and Tom of Finland, this witty guide celebrates the beauty, chaos and absurdity of erotic art – and questions how desire shapes the way we see the world. With simple design, beautiful reproductions and concise, colorful opinion, this is part of the series of Opinionated Guides on art movements, mediums and ideas.

Yaozhou ware is one of the finest Chinese celadons, made in north China over a period of 700 years, from the 7th to the 14th centuries. Their style developed and changed over time. In the Tang dynasty (618-906) black, brown, lead glazed and black-on-white painted ceramics were made. During the Five Dynasties period (907-960) a technical peak was achieved, and white-bodied wares with beautiful blue-green glazes appeared. During the Northern Song and Jin dynasties (906-1279) more olive-toned celadon glazes became the norm, their intricate decoration and lustrous surfaces supplying a unique aesthetic. At the end of the Jin dynasty the kilns declined and started to manufacture folk ware.

Yaozhou Wares from Museums and Art Institutes Around the World gathers illustrations and descriptions of some of the finest Yaozhou wares in private and public collections around the globe. The account considers ceramics in sections, according to their form and decoration, and includes the finest-quality ‘official wares’ requisitioned for imperial use. Copious illustrations are augmented by a scholarly essay. Highlighting over 400 pieces of Yaozhou ware, the book contains 711 color and 3 black-and-white illustrations from 56 major museums and art institutes, and will inspire collectors, students and anyone with a love for Chinese ceramics.

In Kari Steihaug’s art, what is overseen plays a major role. The things that have been set aside, unfinished projects, objects that are worn or frayed are all solicitously brought into the light. This is also evident in the materials used by the textile artist: Steihaug’s works feature worn out woollen garments as well as unfinished knitwear. By embracing imperfection, her creations become a counterbalance to the galloping consumer culture of our time, allowing us to see with fresh eyes what surrounds us in everyday life.

This book brings together 25 years of her work. Contributions in poetry and prose introduce Steihaug’s work and trace the lines of a diverse and rich practice.

With contributions by Monica Aasprong, Ingvill Henmo, Anne Karin Jortveit, Aasne Linnestå, Halvor Nordby, Kjetil Røed, Cecilie Skeide, and Kari Steihaug.

From the end of the 19th century onwards, jewelry became an important vehicle for the formal experimentation and plastic innovation of its time, thanks to the development of knowledge about stone, the techniques used to produce it and the development of the art of jewelry. Books and exhibitions showcase this leading decorative art, which accompanied Romanticism in all its forms. It accompanied Romanticism in its final stages before adopting the emerging Art Nouveau repertoire.

Text in English and French.

Italian and American Art focuses on the period between 1930 and 1980 in particular. By comparing artworks and examining exhibition and gallery policies, political meddling, and figures linking Italy to the United States, a common thread emerges which held two worlds that were literally an ocean apart but in constant touch as they explored each other’s movements contributing to art, from Futurism, Concrete art, and Abstract Expressionism, to Nuclear art, Pop art and Spatialism.

The best art isn’t just created in art schools. Scratched into cave walls, molded in clay, embroidered onto clothing, sketched in the margins, painted on scrap cardboard in time snatched after work, perhaps in secret. Art is not only made inside academies and institutions by people with money and training, though sometimes the canon suggests otherwise. From Ukrainian pansky eggs to politically charged quilts, these 65 artworks challenge our preconceptions about what constitutes art, how it should be made and who should make it. 

Hotspot Leipzig and the subsequent Neue Leipziger Schule represent a highly influential movement within contemporary figurative art. Originating at the Hochschule für Grafik und Buchkunst in Leipzig, this artistic tradition places strong emphasis on craftsmanship and realism. Artists such as Werner Tübke, Bernhard Heisig, and Wolfgang Mattheuer laid the foundation with their technically refined and socially engaged works. Following the fall of the Berlin Wall, the Neue Leipziger Schule emerged, with artists like Neo Rauch, Rosa Loy, and Matthias Weischer blending realism with dreamlike and surreal elements.

Since 2009, the Drents Museum has devoted considerable attention to these movements. Exhibitions such as Realism from Leipzig and solo presentations by Rosa Loy, Kristina Schuldt, Mirjam Völker and Tilo Baumgärtel reflect the museum’s long-standing commitment to these artists. The museum has also built an extensive collection of works from both the original and the new Leipzig schools, including recent acquisitions like Baboom by Tilo Baumgärtel. The book includes essays by leading authors and a comprehensive selection of works.

Text in English and Dutch.

This edition contains 126 color plates (more than twice as many as the first edition), alongside 140 black-and-white illustrations. It invites the reader to appreciate the works of the greatest botanical illustrators both past and present.

After the first Thai comic strip was published in 1907, comics flourished in Siam and developed in uniquely Thai ways. With diverse and leading artists working in each generation there is a wealth of material to consider. Gory horror tales, anti-communist propaganda and socially-engaged graphic novels bear witness to the country’s darker years. From 1990, Thai comics struggled to compete with the sudden influx of unlicensed Japanese manga and went through a hiatus, making a comeback in the late ’90s with a new and alternative scene that deserves wider recognition. Each page of The Art of Thai Comics opens a unique window onto Thai society – a distilled vision of its hopes, fears, delights and horrors. From 20th century interpretations of Jataka tales, which replay the Buddha’s various reincarnations, to tales of modern-day millennial angst. Thai comics past and present offer an entertaining and enlightening viewpoint onto the country’s history, culture and enduring creativity.