Max Ernst's early-twentieth-century collage-novel calls upon the reader to interpret captions and surrealistic illustrations—created from old picture books and journals—to create a story.

    then the victors imposed democracy on the vanquished. For a group of apprentice architects, artists, and designers, led by a visionary, the dire situation of their country was not an obstacle but an inspiration to plan and think… although they were very different characters, the architects worked closely together to realize their dreams, staunchly supported by a super-creative bureaucracy and an activist state... after 15 years of incubation, they surprised the world with a new architecture—Metabolism—that proposed a radical makeover of the entire land... Then newspapers, magazines, and TV turned the architects into heroes: thinkers and doers, thoroughly modern men… Through sheer hard work, discipline, and the integration of all forms of creativity, their country, Japan, became a shining example... when the oil crisis initiated the end of the West, the architects of Japan spread out over the world to define the contours of a post-Western aesthetic....” —Rem Koolhaas / Hans Ulrich Obrist Between 2005 and 2011, architect Rem Koolhaas and curator Hans Ulrich Obrist interviewed the surviving members of Metabolism—the first non-western avant-garde, launched in Tokyo in 1960, in the midst of Japan’s postwar miracle. Project Japan features hundreds of never-before-seen images—master plans from Manchuria to Tokyo, intimate snapshots of the Metabolists at work and play, architectural models, magazine excerpts, and astonishing sci-fi urban visions—telling the 20th century history of Japan through its architecture, from the tabula rasa of a colonized Manchuria in the 1930s to a devastated Japan after the war, the establishment of Metabolism at the 1960 World Design Conference in Tokoy, to the rise of Kisho Kurokawa as the first celebrity architect, to the apotheosis of Metabolism at Expo ’70 in Osaka and its expansion into the Middle East and Africa in the 1970s. The result is a vivid documentary of the last moment when architecture was a public rather than a private affair.

    Collected together in one place, for the first time, are texts by explorers, journalists, physicians, psychiatrists, anthropologists, scholars, novelists, criminologists, and tattoo artists. A brief essay by Gilbert sets each chapter in an historical context. Topics covered include the first written records of tattooing by Greek and Roman authors; the dispersal of tattoo designs and techniques throughout Polynesia; the discovery of Polynesian tattooing by European explorers; Japanese tattooing; the first 19th-century European and American tattoo artists; tattooed British royalty; the invention of the tattooing machine; and tattooing in the circus. The anthology concludes with essays by four prominent contemporary tattoo artists: Tricia Allen, Chuck Eldridge, Lyle Tuttle, and Don Ed Hardy. The references at the end of each section will provide an introduction to the extensive literature that has been inspired by the ancient-but-neglected art of tattooing. Because of its broad historical context, The Tattoo History Source Book will be of interest to the general reader as well as art historians, tattoo fans, neurasthenics, hebephrenics, and cyclothemics.

    Though best known for their furniture, the husband and wife team were also forerunners in architecture, textile design, photography, and film.The Eames work defined anew, multifunctional modernity, exemplary for its integration of craft and design, as well as for the use of modern materials, notablyplywood and plastics.The Eames Lounge Chair Wood, designed with molded plywood technology, became a defining furniture piece of the twentieth century, while the couple s contribution to theCase Study Housesproject not only made inventive use of industrial materials but also developed anadaptable floor plan of multipurpose spaceswhich would become ahallmark of postwar modern architecture.From the couple s earliest furniture experiments to their seminal short filmPowers of Ten, this book covers all the aspects of the illustrious Eames repertoire and itsrevolutionary impact on middle-class American living. About the Series: Each book in TASCHEN s Basic Architecture Series features: an introduction to the life and work of the architect the major works in chronological order information about the clients, architectural preconditions as well as construction problems and resolutions a list of all the selected works and a map indicating the locations of the best and most famous buildings approximately 120 illustrations (photographs, sketches, drafts and plans) "

    Millions followed Tintin from the wilds of the Congo to the streets of Prague, Moscow, New York, and more. Lavishly illustrated with photographs, original plates, and ephemera, Tintin: The Art of Hergé offers fresh insight into the story behind this iconic character, with unprecedented access to original sources from the Hergé Museum in Belgium. Offering a new and nuanced look into the world of Tintin, journalist Michel Daubert explains how the artist Georges Remi became the world-famous Hergé. The book also includes profiles on the beloved characters, selections from Hergé’s earliest work, and chapters that trace the development of a rough sketch into a masterpiece. With its dynamic narrative and visual treasures, Tintin underscores the artist’s varied inspirations, revealing how Hergé’s creations have become modern classics. Praise for Tintin: The Art of Hergé: Working with the Hergé Museum in Belgium, journalist Michel Daubert has produced Tintin: The Art of Hergé, a rich collection of photographs, early works, character profiles, and more that trace the life and artistic development of Tintin creator Georges Remi, aka Hergé.” —Publishers Weekly

    Wada was ahead of his time in developing traditional and Western influenced colour combinations, helping to lay the foundations for contemporary colour research. Based on his original 6-volume work from the 1930s, this book offers 348 color combinations, as attractive and sensuous as the books own design.

    The most comprehensive retrospective of the artist's work ever produced.

    Where Camille lived, the sunflowers grew so high they looked like real suns. One day a man arrived in Camille's town. Camille meets the man, and they become friends. This man is the painter named Vincent van Gogh.Parents, teachers, and gift givers will find: gorgeous illustrations and reproductions of works by the artistsa fun and educational story for home or the classrooma great series to be used for home school materialsa whole series of books for children to learn about important artists!Author and illustrator Laurence Anholt recalls memorable and sometimes amusing moments when the lives of the artists were touched by children. Anholt's fine illustrations appear on every page and include reproductions of works by the artists.

    Featuring a stamped pink metallic cover, multiple paper changes, special bound-in booklets, bright green envelopes containing DVDs and even Braille endpapers, it is a deeply poignant investigation of love and loss, published to coincide with the 2007 Venice Biennale--where Calle served as that fair's French representative. All of the interpreters of Calle's breakup letter were women, and each was asked to analyze the document according to her profession--so that a writer comments on its style, a justice issues judgment, a lawyer defends Calle's ex-lover, a psychoanalyst studies his psychology, a mediator tries to find a path towards reconciliation, a proofreader provides a literal edit of the text, etc. In addition, Calle asked a variety of performers, including Nathalie Dessay, Laurie Anderson and Carla Bruni, among others, to act the letter out. She filmed the singers and actresses and photographed the other contributors, so that each printed interpretation stands alongside at least one riveting image of its author, and some are also accompanied by digital documentation. The result is a fascinating study and a deeply moving experience--as well as an artwork in its own right. Already a collector's item, this is a universal document of how it feels to grieve for love.

    This book is for all these people—it's an engaging and intimate glimpse into the personal pages of a wide variety of select artists and journal keepers whose works not only provide visual delight and inspiration but evidence the intensity and devotion that such personal journals invite.

    In none of them would he find the wife to seal the emotional bond that he so perfectly imagined and ardently desired. He described it, too, in his correspondence, not only in the remarkable, justly famous letters exchanged with his brother Theo, but also in heartfelt missives to his aggrieved mother, his loyal sister Wil, and his devoted sister-in-law Johanna. Focusing especially on van Gogh’s letters to these three steadfast women he called his sisters, award-winning author Derek Fell examines Vincent’s interior life and poignantly documents his emotional decline. Indeed, the blows that Vincent’s psyche suffered—like his rejection by Kee and a dramatic showdown with her father in which the devastated Vincent held his hand in a lantern’s flame—continually undermined his self-worth. In a sensitive reading and astute interpretation of van Gogh’s own written words, Fell illuminates the passions that at once commanded Vincent’s genius and tormented his heart. Many illustrations are included in this revealing life of the artist, as seen through the lens of his loves and losses.

    From Holbein to Hockney, from Norman Rockwell to Pablo Picasso, from sixteenth-century Rome to 1980s SoHo, Robert Hughes looks with love, loathing, warmth, wit and authority at a wide range of art and artists, good, bad, past and present.   As art critic for Time magazine, internationally acclaimed for his study of modern art, The Shock of the New, he is perhaps America’s most widely read and admired writer on art.  In this book:  nearly a hundred of his finest essays on the subject.   For the realism of Thomas Eakins to the Soviet satirists Komar and Melamid, from Watteau to Willem de Kooning to Susan Rothenberg, here is Hughes—astute, vivid and uninhibited—on dozens of famous and not-so-famous artists.  He observes that Caravaggio was “one of the hinges of art history; there was art before him and art after him, and they were not the same”; he remarks that Julian Schnabel’s “work is to painting what Stallone’s is to acting”; he calls John Constable’s Wivenhoe Park “almost the last word on Eden-as-Property”; he notes how “distorted traces of [Jackson] Pollock lie like genes in art-world careers that, one might have thought, had nothing to do with his.”  He knows how Norman Rockwell made a chicken stand still long enough to be painted, and what Degas said about success (some kinds are indistinguishable from panic).   Phrasemaker par excellence, Hughes is at the same time an incisive and profound critic, not only of particular artists, but also of the social context in which art exists and is traded.  His fresh perceptions of such figures as Andy Warhol and the French writer Jean Baudrillard are matched in brilliance by his pungent discussions of the art market—its inflated prices and reputations, its damage to the public domain of culture.  There is a superb essay on Bernard Berenson, and another on the strange, tangled case of the Mark Rothko estate.  And as a finale, Hughes gives us “The SoHoiad,” the mock-epic satire that so amused and annoyed the art world in the mid-1980s.   A meteor of a book that enlightens, startles, stimulates and entertains.

    Margot and Rudolf Wittkower explore the history of the familiar idea that artistic inspiration is a form of madness, a madness directly expressed in artists' unhappy and eccentric lives. This idea of the alienated artist, the Wittkowers demonstrate, comes into its own in the Renaissance, as part of the new bid by visual artists to distinguish themselves from craftsmen, with whom they were then lumped together. Where the skilled artisan had worked under the sign of light-fingered Mercury, the ambitious artist identified himself with the mysterious and brooding Saturn. Alienation, in effect, was a rung by which artists sought to climb the social ladder.As to the reputed madness of artists; well, some have been as mad as hatters, some as tough-minded as the shrewdest businessmen, and many others wildly and willfully eccentric but hardly crazy. What is certain is that no book presents such a splendid compendium of information about artists' lives, from the early Renaissance to the beginning of the Romantic era, as Born Under Saturn. The Wittkowers have read everything and have countless anecdotes to relate: about artists famous and infamous; about suicide, celibacy, wantonness, weird hobbies, and whatnot. These make Born Under Saturn a comprehensive, quirky, and endlessly diverting resource for students of history and lovers of the arts."This book is fascinating to read because of the abundant quotations which bring to life so many remarkable individuals."--The New York Review of Books

    Not a book exclusively about artists who identify themselves as gay or lesbian, Art and Queer Culture instead traces the shifting possibilities and constraints of sexual identity that have provided visual artists with a rich creative resource over the last 125 years.

    Dr. Seuss) in a whole new light. Depicting outlandish creatures in otherworldly settings, the paintings use a dazzling rainbow of hues not seen in the primary-color palette of his books for children, and exhibit a sophisticated and often quite unrestrained side of the artist. 65 color illustrations.