Collage is one of the most popular and pervasive of all art-forms, yet this is the first historical survey book ever published on the subject. Featuring over 200 works, ranging from the 1500s to the present day, it offers an entirely new approach. Hitherto, collage has been presented as a twentieth-century phenomenon, linked in particular to Pablo Picasso and Cubism in the years just before the First World War. In Cut and Paste: 400 Years of Collage, we trace its origins back to books and prints of the 1500s, through to the boom in popularity of scrapbooks and do-it-yourself collage during the Victorian period, and then through Cubism, Futurism, Dada and Surrealism. Collage became the technique of choice in the 1960s and 1970s for anti-establishment protest, and in the present day is used by millions of us through digital devices. The definition of collage employed here is a broad one, encompassing cut-and-pasted paper, photography, patchwork, film and digital technology and ranging from work by professionals to unknown makers, amateurs and children.
Contents:
Collage Over the Centuries, an introductory essay by Patrick Elliott; Collage Before Modernism by Freya Gowrley; On Edge: Exploring Collage Tactics and Terminology by Yuval Etgar; catalogue of exhibition works; a Chronology of Collage.
A vivid portrait of much-loved artist, Joan Eardley, and her relationship with the Scottish coastal fishing village, Catterline.
Joan Eardley, one of Scotland’s most loved artists, first visited the coastal fishing village of Catterline in north-east Scotland in 1951. It sparked a fascination that would last the rest of her life.
She made the village her home and found inspiration in the dramatic light and rapidly changing weather. The gentle landscapes and wild rolling seascapes she painted there in wind, snow, rain and sunshine are among her best-loved works.
Focussing on Eardley’s relationship with Catterline, this book includes previously unpublished archival material as well as specially conducted interviews with many of those in the village who knew her, shedding new light on Eardley’s life and artistic practice. A vivid portrait is painted both of Eardley and of the village, showing the vital part Catterline played in her development as an artist.
The Ashcan School and The Eight are now recognized as America’s first modern art movement: rejecting their academic training and the practices of the National Academy of Design, they forged a new art that represented America’s shifting values. By focusing on urban streets scenes, the lives of immigrants, popular entertainments, and the working poor, this loosely affiliated group of artists became synonymous with ordinary, everyday subjects — in the words of one critic, “pictures of ashcans.” Yet this is only part of their story: they also experimented with complex color theory and embraced scientific studies about movement and perception, while also creating scenes of bourgeois leisure and society portraits in attempts to reconcile their high-art practices with their populist reputations.
This catalog features nearly 130 works across media, including paintings, drawings, pastels, and prints — rarely seen objects and popular favorites. Collectively these works emphasize the Ashcan School’s and The Eight’s valuable contributions to the formation of American modernism at the beginning of the 20th century.
The ARCASIA Awards for Architecture is an annual award established by the Architects Regional Council Asia to recognize the outstanding architectural works of Asian architects. It hopes to encourage the inheritance of the Asian spirit and promote the improvement of the Asian architectural environment as well as the role of architects and architecture in the social, economic and cultural development of Asian countries. This special issue of Architecture Asia gives a comprehensive review of the 26 winning projects of ARCASIA Awards for Architecture 2021, which includes Single Family Residential Projects, Multi-family Residential Complexes, Commercial Buildings, Resort Buildings, Institutional Buildings, Social and Cultural Buildings, Specialized Buildings, Industrial Buildings, Conservation Projects, Integrated Projects, Socially Responsible Architecture, and Sustainable Buildings.
Through brief jury comments, project descriptions and rich images, this book provides a wonderful opportunity for readers all over the world to give a quick glance at what happened in Asian architecture in 2021.
Architecture Asia, as the official journal of the Architects Regional Council Asia, aims to provide a forum, not only for presenting Asian phenomena and their characteristics to the world, but also for understanding diversity and multiculturalism within Asia from a global perspective.
This issue discusses the topic of globalization and locality through four essays and eleven projects. The essays attempt to observe the tension between the different forces of globalization, which is being widely debated as a distinguishing trend, and also highlight globalization’s impact on local architecture, as well as the various efforts being taken to ensure local identity and distinctive locality in architecture design. The projects, accompanied with full-color photos and text descriptions, demonstrate the many successful attempts in developing design concepts and methods to cope with the globalization trend while maintaining locality. These essays and projects are carefully selected to represent diversity in project locations, and includes locations such as Thailand, India, Japan, and China.
Architecture Asia, as the official journal of the Architects Regional Council Asia, aims to provide a forum, not only for presenting Asian phenomena and their characteristics to the world, but also for understanding diversity and multiculturalism within Asia from a global perspective.
This issue reveals how old buildings can be updated to realize innovation through renovation, and features three essays and eleven projects that elaborate this perspective. The three essays discuss regenerative architecture in Pakistan that create contemporary examples of traditional architecture, the revitalization of old buildings in Hong Kong, China for heritage conservation—along the concept of updating the “hardware” and “software” of the building—and the sharing and regeneration of historical heritage spaces in old towns in Xiamen, China. The 11 projects, accompanied with full-color photos and text descriptions, highlight architectural works that showcase the theme of renovation and innovation across projects that include a house, library, chapel, and clinic, to reveal how these buildings embody sustainability and innovation, and re-energize cities.
The German silversmith Paula Straus (1894–1943) was a pivotal figure in shaping the “Golden Twenties” and the creative decades of the Bauhaus. Even early on, her jewelry objects and handmade items of silverware were reviewed with praise in the specialist press, and national and international exhibitions followed. In joining the design studio of the silverware factory Peter Bruckmann & Söhne, Heilbronn, in 1925, an unparalleled career began as Germany’s first woman industrial designer. The silverware she designed — coffee and tea services — for handcrafted as well as machine production stands as an example of her own original style, which is defined by a purist idiom.
Her professional success and her renown as a craftswoman and designer have been completely forgotten due to the national-socialist persecution of the Jews from 1933 and her murder in Auschwitz. The time has now come to rediscover her work.
With contributions by Edith Neumann, Monika and Reinhard Sänger, Joachim W. Storck, Michal S. Friedlander, Christoph Engel, and a foreword by Winfried Kretschmann.
Text in German.
“an excellent short book, which focusses in detail on a single work, a newly restored screen by William Bell Scott” — Journal of the Scottish Society for Art History, Volume 29, 2024-2025, p.128
William Bell Scott’s screen, The King’s Quair, was commissioned by James Leathart, an important collector of Pre-Raphaelite art. The beautifully decorated folding screen took as its inspiration The Kingis Quair, a 15th-century Scots poem attributed to James I of Scotland. Depicting key scenes from the king’s 18-year imprisonment in Windsor Castle, it is adorned by exquisite botanical details and gold leaf.
Split into three parts, this book reveals the history of the screen’s commission, details the remarkable imagery of the screen itself, and finally situates the screen in its historical context by explaining the fascinating personal relationships that were the backdrop to its creation, including Scott’s relationship with the artist and heiress Alice Boyd.
Drawing together the chivalric medieval tale of an imprisoned, love-struck king with the vibrancy of the Pre-Raphaelite social circles in which Scott moved, the reader is given a vivid picture of how this captivating artwork was created. Illustrated with new photography of the screen, this book is a vital new part of the story of British, as well as Scottish art.
To celebrate the 60th anniversary of the establishment of diplomatic relations between Switzerland and South Korea, this volume offers a unique point of view on the work of Ji-Young Demol Park and Lee Lee Nam. The evocation of nature unfolds through connections interwoven over the centuries between culture and objects, materials, colors, and motifs. Jade- and pine-colored decorated ceramics, cobalt oxide for the horizon, porcelain white as snow or the moon, all feature in the work of both artists, their gazes meeting and reflecting in the landscapes of a great painter of old, Jeong Seon (1676-1759). Despite all their differences, the mountains rendered in ink by Ji-Young Demol Park and Lee Lee Nam’s virtual landscapes are truly united by the uniqueness of their relationship with this cultural heritage as well as the strength of their individual universes, oriented towards the re-enchantment of nature.
Text in English and French.
A unique opportunity to see rare and beautiful drawings by some of the biggest names in European art.
Chatsworth House in Derbyshire holds one of the finest and most significant private collections of drawings in the world, but they are rarely seen and very little has been published on them.
This book showcases 47 drawings from this exceptional collection, including superb watercolors and drawings by famous German Renaissance artists Albrecht Dürer and Hans Holbein alongside the baroque splendor of Peter Paul Rubens and Anthony van Dyck. It will reveal intimate insights into the artists’ practice and their ways of recording the world.
The captivating selection of drawings will be introduced and contextualized by Charles Noble, Curator of Fine Art at Chatsworth House. Each image will be explained and examined based on rigorous new research, offering new insights into the work of some of art’s biggest names.
This volume collects the papers presented at the international study conference Sculpting in the Renaissance: an art to (com)move / Sculpter à la Renaissance. Un art pour (é)mouvoir organized by the Musée du Louvre in Paris and the Castello Sforzesco in Milan to accompany the exhibition Le corps et l’âme. De Donatello à Michel-Ange. Scultures italiennes de la Renaissance (Officina Libraria, 2020), held between 2020 and 2021. With the involvement of some of the most important specialists in Renaissance sculpture, the aim was to investigate the interactions, influences and exchanges between the plastic arts and other Renaissance art forms capable of revealing feelings through expressions of the body, trough the works of Agostino di Duccio, Donatello, Michelangelo and other local sculptors. The aim is also to place within their social, devotional and intellectual context the different manifestations of feeling of which sculpture is one of the privileged media. Sacred art themes in particular were addressed, in an attempt to explain their formal evolution in relation to the socio-cultural transformations of the time, but also to local traditions and their dramatization.
Text in English, French and Italian.
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.
“… essential reading for anyone interested in conservation, African history, and the human spirit. It is a moving portrait of a park that continues to inspire global efforts in environmental stewardship, even under the most difficult circumstances.” — Ninu Ninu
“This book is a reminder of the park’s value both in local terms and on a global scale, and why the fight to protect it must continue.” —Outdoor Photography
Virunga National Park, the green lung in the eastern DR Congo, is Africa’s oldest nature reserve. The park is breathtakingly beautiful and offers an unparalleled diversity of ecosystems—from active volcanoes to tropical rain forests, from the glaciers of the Rwenzori peaks to the savannas of Rwindi. It is home to an exceptional array of wildlife, including the world’s last mountain gorillas. Thanks to these unique features, Virunga is listed as a UNESCO World Heritage site. This publication, written by around 40 experts, explores the complex history of this Congolese gem. It sheds light on those who have dedicated themselves to its preservation since 1925, as well as the current teams fighting to address the countless environmental and social challenges in a region plagued by conflict, poverty, and humanitarian crises. Through their efforts, the park has become a catalyst for development and stabilisation of the entire region. The book invites us on a fascinating journey where resilience and innovation serve the park and surrounding communities, continuing to shape the legend of Virunga.
Vanessa Baird is confrontational, morbidly funny, even infamous, with her sharp, oblique observations of herself and her times. Go Down with Me, the book accompanying MUNCH’s exhibition of the same name, is richly illustrated with works from her whole career. This includes the installation You Must Never Go Down to the End of Town if You Don’t Go Down with Me, created especially for MUNCH, which reflects on the ongoing wars in Ukraine and the Gaza Strip.
Also included are thought-provoking essays by Kari Brandtzæg, Jon Refsdal Moe, Trude Schjelderup Iversen and Vegard Vinge, demonstrating Baird’s ceaseless productivity and unique ability to hit where it hurts the most.
Hardly another name is better known in Norwegian art history than that of Hans Gude. He is usually referred to together with Adolph Tidemand, as the two artists are inextricably linked through their famous collaborative project Bridal Procession on the Hardangerfjord, painted in Düsseldorf in 1848, which has become a national icon.
This book presents Hans Gude’s maritime pictures and coastal landscapes, while also highlighting his important role as an inspiring teacher of Norwegian artists such as Eilif Peterssen, Kitty Kielland, Frits Thaulow, Christian Krohg and many others as a professor at the art academy in Karlsruhe.
Text in English and Norwegian.
In March of 2008, The National Museum – Architecture opened at Bankplassen 3 in Oslo with an exhibition on Sverre Fehn. He is the architect behind the renovation of Grosch’s bank building from the 1800s and the new museum pavilion. Fehn was also active in selecting which projects should be included in the exhibition and this catalogue. In addition to articles, pictures and drawings, this catalogue also includes quotes and project descriptions by Fehn himself.
Carroll Dunham. Grafikk / prints 1985–2022 is published on the occasion of a generous donation to The National Museum from the American artist Carroll Dunham (b. 1949). The entire gift, consisting of 161 prints, is presented in this publication. The book shows the artist’s fondness for series and contains some of his most known and iconic motifs. Dunham’s prints show considerable range in their expressiveness, motifs, and themes. Inspired by art history, pop culture, and his personal experience, he directs his gaze at everything from the infinity of the universe to the physical body and the representation of leaves on a tree.
Text and interview by Wenche Volle and Geir Haraldseth.
Text in English and Norwegian.
Christian Krohg was a key figure in the Norwegian art community of the 1880s and 1890s, and was strongly influenced by the ideology of realism. In his view, art should have meaning for a broad segment of the population, not merely serve as wall decorations for the bourgeoisie. Three types of motifs were recurrent themes for Krohg during this period: the working-class hero, scenes from family life and “the fallen woman”. Many people responded to his literary and visual representations of the poverty-stricken girl Albertine. He depicted members of the working class with great sympathy in paintings such as Errand Boy Drinking Coffee and Woman Cutting Bread. The Gaihede family, fishermen from Skagen in Denmark, are portrayed in many everyday situations, as are members of Krohg’s own family. The catalogue sheds light on the subject matter of the exhibition, Krohg’s period of study in Berlin and its impact on him, his relationship with Georg Brandes, the novel Albertine and Krohg’s own use of photography as a model for his work and a medium.
Text in English and Norwegian.
Emerging from the expanding field of Islamic art history, Deviant Ornaments brings together historical and contemporary works from across the Islamic world to produce a more global understanding of sexuality. This catalog begins with an essay by external curator Noor Bhangu, followed by thematic essays by Dr. Anjali Arondekar, Dr. Andrew Gayed, and Dr. Laura U. Marks. The essays are accompanied by an interview with Oslo-based activist Rana Issa, a section on terminology, and curatorial texts on exhibited artworks.
Text in English and Norwegian.
After studying art for many years under highly respected teachers, Asta Nørregaard (1853–1933) became an established artist. She exhibited at the Paris Salon and carried out numerous portrait commissions for prominent figures from the upper class of Norwegian society, and from the fields of science and culture. She also ran her own painting school and established endowments for female artists and musicians. Even though Nørregaard is primarily known for her portraits, she also painted landscapes, interiors, and religious scenes. For many years, Nørregaard was overshadowed by more famous contemporaries, but recently she has gained recognition as a substantial force in Norwegian art history.
This book brings together the breadth of Nørregaard’s artistic practice. It presents portraits of leading cultural and scientific figures of her time, studies of dress and fashion, and a museum-based detective story in which the question of who is portrayed takes center stage. Taken together, the texts offer an understanding of Nørregaard, not only as a portrait painter, but as an active participant in the art world and as an artist who challenged the boundaries of what women could be in her time
The catalog of the most comprehensive exhibition ever held in Italy, at Palazzo Bonaparte in Rome, dedicated to Katsushika Hokusai (1760–1849), a supreme master of Japanese art and a key figure in global visual culture. The exhibition is part of the official program of celebrations marking the 160th anniversary of diplomatic relations between Italy and Japan, sealing a deep and enduring cultural dialog between two artistic traditions that continue to influence and enrich one another. Through a broad and multifaceted journey, the catalog – curated by Beata Romanowicz – guides the reader in discovering not only the celebrated Thirty-Six Views of Mount Fuji, including the iconic The Great Wave off Kanagawa, but also an extraordinary selection of woodblock prints, illustrated books, and rare objects from the prestigious collection of the National Museum in Kraków, one of Europe’s most important collections, which includes remarkable examples of Japanese art, particularly from the Edo period (1603–1863). The reader is led into the refined universe of Ukiyo-e, the “Floating World,” where nature, the movement of water, landscapes, female figures, and the life of the Japanese people become protagonists of a poetic and surprisingly modern vision. The volume explores the work of an artist who profoundly influenced the Western imagination, inspiring Monet, Van Gogh, and the entire Impressionist movement.
The Darnley jewel, a masterpiece of the goldsmith’s art on display at Edinburgh’s Holyrood Palace, has been deemed a love token, but has also been labelled an emblem of political ambition. Taking the shape of a heart, the jewel was produced at a moment (1565-75) when such objects worn by courtiers were a primary means of asserting status and proclaiming allegiances. With a deep medieval history – originally the fleshly power center of the human body, the seat of the soul, and place of memory and emotion – the heart has many aspects to offer. This book shows how the understanding of the heart changed during the Middle Ages, from spiritual locus of the body, to source of devotion to country, and finally, to the font of love and sentimentality.
This interdisciplinary scholarly catalog examines Motherland, an important series of photo-performances by the acclaimed artist Pushpamala N. on the Indian nation personified as woman, mother, and goddess. The series shows Pushpamala taking on Mother India’s myriad personifications: nubile beauty and saintly renunciant; militant goddess wearing a garland of skulls or receiving the ultimate sacrifice of a warrior’s head; the mother-surgeon activating the birth of model citizens; and destitute widow, bent from years of abject labor. As she does so, she reveals that nations are invented, as are national embodiments. The artist’s burden is to reveal the ingredients of such inventions.