Von der antiken sumerischen Töpferkunst zur Glasmalerei Tiffanys, angewandte Kunst bildete über Generationen hinweg einen wichtigen Teil der menschlichen Erfahrungswelt. Während die bildenden Künste in Museen und Galerien bewundert werden, ist die angewandte Kunst die Kunst des Alltäglichen, indem sie in Form von Gebrauchsgegenständen, die von prosaisch bis fantastisch reichen, Schönheit mit Funktionalität verbindet. Albert Jacquemart feiert in diesem Text die Schönheit und das künstlerische Potenzial in den alltäglichsten Gegenständen. Der Leser wird darin seine Wertschätzung der geschickten Kunstfertigkeit des produzierenden Gewerbes neu entdecken.

1000 Meisterwerke der Angewandten Kunst

The influence of works by French artists extends itself across all artistic styles, and many French works have gained world fame as classics. This book gives an overview of the French milestones in still lifes, portraits, and landscapes, and includes artists like Poussin, Clouet, Moreau, Millet, Courbet, Signac, and Rouault. The convenient format makes the Mega Square edition an ideal gift for any art lover.

French Painting 120 illustrations

Alle lebendigen Wesen sind Buddhas und verfügen über Weisheit und Tugend." (Buddha) Buddha zählt zu den am häufigsten dargestellten Heiligenfiguren der gesamten Welt, vielleicht ist er sogar häufiger als der in der westlichen Kunst so wichtige Christus abgebildet worden. Buddha wird in ganz Asien und weit darüber hinaus verehrt. Sein Bild nahm an der Seidenstraße, dem Geburtsort vieler Varianten des Buddhismus, Gestalt an. Die buddhistische Religion erkennt viele verschiedene Buddhas an, die wiederum unterschiedliche Traditionen verkörpern: so z. B. den Buddhismus der Lehre der Ordens-Älteren (Theravada), des Großen Fahrzeugs (Mahayana) und den Tantrischen Buddhismus (Vajrayana). Der in allen Traditionen verehrte Buddha ist in jeder Kunstform dargestellt worden: in der Bildhauerei, häufig in monumentalen Skulpturen wie etwa den heute zerstörten Buddhas von Bamyan, in der Malerei und vor allem in unzähligen Höhlenmalereien wie etwa jenen im indischen Ajanta oder in den Dunhuang-Höhlen in China. Das vorliegende Werk ist sowohl für den leidenschaftlichen Liebhaber asiatischer Kunst als auch für Neulinge auf diesem Feld ideal geeignet. Es lädt ein, Buddha, seine Geschichte, seine Lehren, aber auch seine unzähligen Gesichter durch insgesamt tausend Abbildungen, großartige Kunstwerke aus den größten Museen der Welt, zu entdecken oder wiederzuentdecken.

1000 Buddhas

A bridge is a link between two worlds, a point of tension between two separate and often disparate locations. Free, belonging neither to one region or another, the bridge imposes upon the landscape and defies nature. Its existence embodies the will of mankind to construct these necessary bonds between people and places. A symbol of progress and innovation, the bridge, anonymous demonstration of the mastery and the durability of new techniques, is gradually becoming more and more light and fluid, constantly defying stateoftheart technology. As veritable aesthetic creations, bridges appear today not only as examples of masterful engineering, but also as incredible works of art. With its magnificent photographs, this book invites the reader to rediscover these modernday sculptures.

Bridges

Goya is perhaps the most approachable of painters. His art, like his life, is an open book. He concealed nothing from his contemporaries, and offered his art to them with the same frankness. The entrance to his world is not barricaded with technical difficulties. He proved that if a man has the capacity to live and multiply his experiences, to fight and work, he can produce great art without classical decorum and traditional respectability. He was born in 1746, in Fuendetodos, a small mountain village of a hundred inhabitants. As a child he worked in the fields with his two brothers and his sister until his talent for drawing put an end to his misery. At fourteen, supported by a wealthy patron, he went to Saragossa to study with a court painter and later, when he was nineteen, on to Madrid. Up to his thirty-seventh year, if we leave out of account the tapestry cartoons of unheralded decorative quality and five small pictures, Goya painted nothing of any significance, but once in control of his refractory powers, he produced masterpieces with the speed of Rubens. His court appointment was followed by a decade of incessant activity - years of painting and scandal, with intervals of bad health. Goya's etchings demonstrate a draughtsmanship of the first rank. In paint, like Velázquez, he is more or less dependent on the model, but not in the detached fashion of the expert in still-life. If a woman was ugly, he made her a despicable horror; if she was alluring, he dramatised her charm. He preferred to finish his portraits at one sitting and was a tyrant with his models. Like Velázquez, he concentrated on faces, but he drew his heads cunningly, and constructed them out of tones of transparent greys. Monstrous forms inhabit his black-and-white world: these are his most profoundly deliberated productions. His fantastic figures, as he called them, fill us with a sense of ignoble joy, aggravate our devilish instincts and delight us with the uncharitable ecstasies of destruction. His genius attained its highest point in his etchings on the horrors of war. When placed beside the work of Goya, other pictures of war pale into sentimental studies of cruelty. He avoided the scattered action of the battlefield, and confined himself to isolated scenes of butchery. Nowhere else did he display such mastery of form and movement, such dramatic gestures and appalling effects of light and darkness. In all directions Goya renewed and innovated.

Goya

Marc Chagall was born into a strict Jewish family for whom the ban on representations of the human figure had the weight of dogma. A failure in the entrance examination for the Stieglitz School did not stop Chagall from later joining that famous school founded by the Imperial Society for the Encouragement of the Arts and directed by Nicholas Roerich. Chagall moved to Paris in 1910. The city was his "second Vitebsk". At first, isolated in the little room on the Impasse du Maine at La Ruche, Chagall soon found numerous compatriots also attracted by the prestige of Paris: Lipchitz, Zadkine, Archipenko and Soutine, all of whom were to maintain the "smell" of his native land. From his very arrival Chagall wanted to "discover everything". And to his dazzled eyes painting did indeed reveal itself. Even the most attentive and partial observer is at times unable to distinguish the "Parisian", Chagall from the "Vitebskian". The artist was not full of contradictions, nor was he a split personality, but he always remained different; he looked around and within himself and at the surrounding world, and he used his present thoughts and recollections. He had an utterly poetical mode of thought that enabled him to pursue such a complex course. Chagall was endowed with a sort of stylistic immunity: he enriched himself without destroying anything of his own inner structure. Admiring the works of others he studied them ingenuously, ridding himself of his youthful awkwardness, yet never losing his authenticity for a moment. 

 At times Chagall seemed to look at the world through magic crystal - overloaded with artistic experimentation - of the Ecole de Paris. In such cases he would embark on a subtle and serious play with the various discoveries of the turn of the century and turned his prophetic gaze like that of a biblical youth, to look at himself ironically and thoughtfully in the mirror. Naturally, it totally and uneclectically reflected the painterly discoveries of Cézanne, the delicate inspiration of Modigliani, and the complex surface rhythms recalling the experiments of the early Cubists (See-Portrait at the Easel, 1914). Despite the analyses which nowadays illuminate the painter's Judaeo-Russian sources, inherited or borrowed but always sublime, and his formal relationships, there is always some share of mystery in Chagall's art. The mystery perhaps lies in the very nature of his art, in which he uses his experiences and memories. Painting truly is life, and perhaps life is painting.

Chagall

Au cours de l'histoire, nombreuses sont les guerres qui changèrent le paysage politique et culturel du monde. Source de bouleversements, de destructions et de violences, elles contribuèrent néanmoins à l'évolution de la création artistique. En effet, malgré les événements traumatisants qu'elles engendrent, les guerres inspirent les artistes depuis toujours. Ces derniers immortalisent ces moments dramatiques en des oeuvres qui sont autant de précieux témoignages pour toutes les générations.

Ce livre offre au lecteur les illustrations des batailles les plus connues et autres scènes de guerre. Composé de textes d'écrivains célèbres, cet ouvrage s'accompagne, en outre, du texte de référence de Sun Tzu, stratège militaire légendaire de Chine. De l'antique Gaulois agonisant au Guernica de Picasso, ce livre propose un panorama captivant des oeuvres inspirées par les guerres qui façonnèrent l'humanité.

L'art de la guerre

A symbol of massive crowds and solitary desires, the city holds promise for all those that pass through it. Its meandering streets, unexplored neighbourhoods and incessant noise create a landscape that captivates the observer. The lights of the city can conceal or reveal it, transforming its appearance hour by hour, offering countless facets to the passerby. While the light of morning pulls the city from its torpor and renews it for the dawning day, the nocturnal illumination plunges the pedestrian into the strangeness of its mysteries, creating a striking and ephemeral beauty. Between the shadow and the light, these original photographs reveal the fragile glow of the city, and help us rediscover the eternal pulse of these great capitals, simultaneously surprising and sublime.

City Lights

Parler d'art, c'est évoquer entre les lignes la main du créateur qui produit l'ouvre. C'est conférer au geste l'importance de la pensée et explorer leur lieu de rencontre sur la toile ou dans la pierre. Avec ce texte, Henri Focillon livre l'un des plus beaux éloges de la main et du talent des artistes, évoquant Hokusai, Cézanne ou encore Rodin. Que peuvent bien avoir en commun des artistes comme Rembrandt, David, Gauguin ou Hokusai ? La virtuosité de la main, nous répond Henri Focillon. Derrière les ouvres, le spectateur oublie souvent qu'il y a d'abord une main et des doigts qui guident le pinceau, la plume ou la pointe d'argent. Le texte de Focillon rappelle l'importance de ce membre dans lequel le talent de l'artiste est contenu. À travers ses lignes, il octroie à la main la place qu'elle mérite et érige le geste en monument artistique.

1000 Meisterwerke der Angewandten Kunst

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