Hatje Cantz Verlag

The Magic of Things: Still Life Painting 1500-1800

Jochen Sander, 2008

There seems to be an endless number of deceptively real objects depicted in still lifes: dewdrops on fragile flower petals, reflections of light on glass goblets and precious silver dishes, candied sweets in Chinese porcelain, the fine hairs on a peach, the soft feathers of a songbird, the sallow tinge to a skull. However, the details of this genre are not exhausted in the delicate rendering of varying surfaces, because each pictorial element can also symbolize religious or moral content or be a reference to the irretrievability of time gone by—»tempus fugit»! This volume presents, on large-format plates, a splendid selection of works by some of the principal masters of the still-life genre, such as Jan Brueghel the Elder, Georg Flegel, Sebastian Stoskopff, Jan Davidsz de Heem, Abraham Mignon, and Jean Siméon Chardin. These choice treasures of German, Netherlandish, Flemish, and French still-life painting exemplify nearly all of the different ways of playing with this genre. Подробнее

Natalia Goncharova: Between Russian Tradition and European Modernism

Beate Kemfert, 2010

Russian avant-garde artist Natalia Goncharova (1881–1962) left behind an extensive and complex body of work. Inspired by the folklore and art of her country, in her early years she produced colorful, strongly ornamental paintings. Her religious paintings, which were influenced by icons, were highly controversial. She began working with Cubism during herMoscow period, providing the Russian avant-garde with an important impetus for linking tradition with modernity. Reading her letters and notes, one becomes aware of this non-conformist’s often biting, ironic tone. In 1917, Goncharova settled permanently in Paris, where she designed costumes and sets for Sergei Diaghilev’s Ballets Russes. In exile, however, the artist fell on hard times. This publication illuminates the details of Goncharova’s life and work and assigns the oeuvre of this unconventional artist—who to this day has not yet been properly recognized in her own country—the status it deserves. Подробнее

Paul Gauguin: The Breakthrough into Modernity

Agnieszka Juszczak, 2009

In 1889, Paul Gauguin (1848–1903) organized the independent «L’Exposition de Peintures du Groupe Impressionniste et Synthésiste» at Café Volpini with his followers on the occasion of the Paris World’s Fair. The French artist presented an extraordinary portfolio of prints in this framework for the first time: the so-called «Suite Volpini», an ensemble of eleven lithographs printed on radiant yellow paper. The publication examines the year 1889 as a defining moment in Gauguin’s development in which his autonomous, revolutionary new painting style and the central motifs of his work were unmistakably formed. It reconstructs the Volpini exhibition in the process, demonstrating the radicality of the works produced by Gauguin’s artistic circle. The «Suite Volpini» – for Gauguin a visual résumé that was intended to advertize his role as the founder of a new style – will be comprehensively described and seen in the context of the artist’s related paintings, woodcuts, ceramics, prints, and drawings. Подробнее

Venice: From Canaletto and Turner To Monet

Gottfried Boehm, 2008

Discover Venice in a splendid volume of masterpieces by artists such as Canaletto, William Turner, Paul Signac, and Claude Monet. Thanks to its unique qualities—the beguiling interplay of light, water, and atmosphere—Venice was elevated to a magical “laboratory of perception” in the nineteenth century. Like many other artists, Claude Monet also sojourned in the city with its lagoons and islands, where he was inspired to create his famous Venice cycle in the autumn of 1908. His Venetian paintings mark a turning point in his work as he adopted an increasingly abstract pictorial vocabulary, demonstrating that Venice made a considerable, albeit little noted, contribution to the emancipation of painting, just as it was poised on the threshold of modernity. This splendid volume, filled with large-format color illustrations, is the first to provide a comprehensive examination of Venice’s image in European and American painting of the nineteenth and early twentieth centuries. At the center of this well-informed exploration is Monet’s Venice cycle, supplemented by masterpieces by his predecessors and contemporaries, ranging from Canaletto to Turner to Paul Signac. Подробнее

Vincent van Gogh: Between Earth and Heaven. The Landscapes

Carel Blotkamp, 2009

The landscapes in which Vincent van Gogh (1853–1890) lived had a profound influence on him and his art. In his encounters with nature, the restless artist attained a harmony and balance that was otherwise denied him. At the same time, he discovered his own completely unique artistic vocabulary and hence a radically new type of freedom in art. This elegant, full-color volume is the first to provide a comprehensive survey of van Gogh’s work as a landscape painter. Essays by renowned art historians and van Gogh specialists explore this important aspect of his oeuvre. The reader becomes directly aware of how the earthy tones of his early Dutch phase were gradually replaced by a lighter style of painting in Paris. In the south of France, the artist then discovered the intense, brilliant colors and vital expression that have made his paintings so fascinating to this day. He was under the spell of creation throughout all the periods of his brief life and career; employing motifs such as the sower, fruit trees in blossom, the wheat harvest, or the reaper, he described the ever-renewing cycle of nature’s forces. Подробнее

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