Book picks similar to
Roy Lichtenstein, 1923-1997 by Janis Hendrickson
art
non-fiction
arte
biography
Francis Bacon: 1909-1992
Luigi Ficacci - 1999
Mixing realism and abstraction, Bacon delves deep beneath the surfaces of things, opening up the human body to reveal the chaos that lies within and struggling with all that is inexplicable. Erotic and grotesquely beautiful is the work of this legendary painter whose haunting, distorted figures have inspired entire generations of painters who seek to emulate his highly original style.
Matisse
Volkmar Essers - 1990
As seen here, his color harmonies can be analogous to musical compositions, complex and expressive. Full-color reproductions and thorough text provide a quick yet solid introduction to this master.
Keith Haring, 1958-1990: Life for Art
Alexandra Kolossa - 2004
Haring's original and instantly recognizable style, full of thick black lines, bold colors, and graffiti-inspired cartoon-like figures, won him the appreciation of both the art world and the general public; his work appeared simultaneously on T-shirts, gallery walls, and public murals. In 1986, Haring founded Pop Shop, a boutique in New York's SoHo selling Haring-designed memorabilia, to benefit charities and help bring his work closer to the public and especially street kids, with whom he never lost contact.
Marcel Duchamp: 1887-1968; Art as Anti-Art
Janis Mink - 1978
A bottle dryer may be a bottle dryer, but signed by Duchamp it is also one of the major works of 20th century art. Duchamp has been an enigma to art historians and a great source of inspiration to other artists. This study addresses the myth and reveals the compelling charisma of Marcel Duchamp. About the Series: Each book in TASCHEN's Basic Art series features:a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions
Cézanne
Ulrike Becks-Malorny - 1995
In Paris, but above all in Provence, Cezanne quested tirelessly for "a harmony parallel to Nature"--discovering it in still lifes of apples, in bathers, or in the renowned landscapes of his beloved Montagne Sainte-Victoire. This book discusses this extraordinary artist's major works and his theories of painting and color. About the Series: Each book in TASCHEN's Basic Art series features:a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions
Sandro Botticelli 1444/45 - 1510
Barbara Deimling - 1981
This book explores his work.
Leonardo Da Vinci, 1452-1519
Frank Zöllner - 2000
Full-color reproductions and thorough text provide a quick yet solid introduction to this master.
Paul Klee, 1879-1940
Paul Klee - 1991
His works stand out for the variety in their forms of artistic expression. His Tunisian water-colours depicting landscape, architecture and, above all, the North African light of this Mediterranean land constitute the true beginning of Klee's painting career. Although these paintings still fall under the heading of "objective", they already exhibit indications of his tendency toward abstraction and a language of forms. Geometrical figures and hieroglyphic elements characterize the majority of these works, which for this reason seem reminiscent of "naive" and playful children's painting. In reality, however, his paintings have their roots in theoretical considerations, their recurrent symbols conveying personal and at times political content.
Diego Velazquez
Norbert Wolf - 1999
His empathetic studies of the great and the grotesque remain seminal works, all surveyed in this study that also shows his enormous influence on later artists including Picasso and Francis Bacon.
Pierre-Auguste Renoir, 1841-1919: A Dream of Harmony
Peter H. Feist - 1990
His work shows art at its most light-hearted, sensual and luminous. Renoir never wanted anything ugly in his paintings, nor any dramatic action. "I like pictures which make me want to wander through them when it's a landscape," he said, "or pass my hand over breast or back if it's a woman." Renoir's entire oeuvre is dominated by the depiction of women. Again and again he painted "these faunesses with their pouting lips" (Mallarme) and invented a new image of feminity.
Pop Art
Klaus Honnef - 2004
Pop Art's profound influence on contemporary art and culture remains prominent today. Nowhere else can you find so much Pop Art in such a compact, stylish book!
Rene Magritte, 1898-1967: Thought Rendered Visible
Marcel Paquet - 1992
Taking the form of the body in painting or of the relations between image and word, this book presents the poetic enigmas of the Belgian surrealist.
Degas
Bernd Growe - 1992
Inspiration, spontaneity, temperament are unknown to me. One has to do the same subject ten times, even a hundred times over. In art, nothing should look like chance, not even movement." Edgar Degas In terms of both theme and technique, the key to understanding the early work of Edgar Degas (1834-1917) is classical painting. Although he was eventually associated with the Impressionists and even participated in their joint exhibitions, Degas never adopted a purely Impressionist approach. Degas's work, reflecting an extremely personal and psychological perspective, emphasizes the scenic or concentrates on the detail. Thus, Degas's painting is often discussed with reference to the rise of short-exposure photography. Thematically, nature proved less interesting to the artist than the life and inhabitants of the modern metropolis. Degas primarily sought his motifs in ballet salons, at the race track or circus, or in bedrooms - but dancers always remained his favorite theme. About the Series: Each book in TASCHEN's Basic Art Series features:a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 colour illustrations with explanatory captions
Michelangelo
Gilles Néret - 1998
From his earliest youth, Michelangelo never ceased to suffer, and thereby to create. He attempted to reconcile the apparently conflicting forces that inhibited him: earthly passions and fear of God. Hence the edifice devoted to beauty, celestial and infernal alike, that Michelangelo raised to the glory of God. It has no equivalent nor descendants. His predecessors aspired to Heaven through faith alone; Miichelangelo sought to rise through the contemplative exaltation of beauty.