The fairy tales of the Brothers Grimm according to David Hockney are like no other version you will have read before. Although inspired by earlier illustrators of the tales, from Arthur Rackham to Edmund Dulac, Hockney's extraordinary etchings re-imagine these strange and supernatural stories for a modern audience, capturing their distinctive atmosphere in a style that is recognisably the artist's own. Reprinted for the first time since its original publication in 1969, Hockney's book brings together some well-known tales - Rapunzel, Rumpelstiltskin - with others that are less familiar. Informed by great art of the past, attuned to idiosyncrasies of character and incident, and fresh in execution and content, his illustrations invite us to read each one as if for the first time.

A Kenyan upbringing is the ticket to this voyage into a remarkably real created world entered via carved, integrating frames. Twice TVs pick of the show at the Royal Academies and with crowds and fan mail at a third RA Summer Exhibition, James remains a virtual unknown in his own country. A production rate averaging just one painting a year may account for this, but in an Art World where price is all, his output is sufficient to net him a viable living selling internationally. Also introducing the remarkable paintings of his artist son Alexander James. Together their art is akin to a vigorous breath of fresh air in a stuffy room.

Norman Ackroyd CBE RA has been a familiar face to the boatmen of the British Isles for the past 50 years, often requiring their services to take him out on the water, where he paints the coastal landscape in vivid watercolours. An Irish Notebook is a collection of 40 such sketches created by Ackroyd on the west coast of Ireland. From Malin to Mizen, via the rocky outcrops of Puffin Island and the emerald depths of Roaringwater Bay, Ackroyd records the Irish coast in all its rugged beauty.

Internationally acclaimed artist Dale Chihuly’s site-specific installations in the form of architectural commissions and exhibitions

Forty years of Dale Chihuly’s spectacular site-specific glass installations are captured in this large-format publication examining architectural commissions, temporary art installations, and museum exhibitions around the world. Chihuly’s installations on walls, windows, ceilings, stairways, courtyards, and fountains are closely examined. Chihuly and Architecture explores entire rooms and galleries, glasshouses and castles, and travels from the canals of Venice to the Citadel in the Old City of Jerusalem, providing rare insight into Chihuly’s inspiration and global footprint.

The importance of Evelyn Dunbar (1906-1960) in the history of British 20th century art is continually being reassessed and belatedly recognised. A gifted draughtswoman: youthful prodigy; brilliant student at the Royal College of Art under Sir William Rothenstein and a galaxy of teaching staff including Allan Gwynne-Jones, Alan Sorrell and Charles Mahoney; principal muralist at Brockley School; book illustrator; devout Christian Scientist; official World War 2 artist, the only woman artist to be salaried throughout the war; post-war allegorist and much-loved teacher; subtly insistent feminist; devoted plantswoman, gardener and inspired advocate of 'green' values; warm and witty but self-effacing personality with many accomplishments including, unexpectedly, rock-climbing and playing the banjo; but above all a very individual artist of spirited imagination and consummate technique, whose work, which hangs in all major UK galleries and several overseas, defies ready classification. Dunbar's nephew Christopher Campbell-Howes gives a sparkling, scholarly and measured account of her life and work in a richly illustrated book that combines biography, memoir and catalogue raisonne.

Gustav Klimt (1862-1918) is the one artist whose name we associate in particular with Viennese Jugendstil and the "Golden Age". As a sought-after painter of frescoes and the founding president of the Vienna Secession, as the portraitist of fashionable ladies and as an illustrator of unashamed eroticism, Klimt was both the enfant terrible and the darling of Viennese society, who created icons of art history with works like The Kiss and his portraits of Adele Bloch-Bauer.

As featured in the New York Times, ARTnews, Colossal, Metropolis and New York Magazine's The Strategist A groundbreaking A-Z survey of the work of over 300 modern and contemporary artists born or based in Africa Modern and Contemporary African art is at the forefront of the current curatorial and collector movement in today's art scene. This groundbreaking new book, created in collaboration with a prestigious global advisory board, represents the most substantial appraisal of contemporary artists born or based in Africa available. Features the work of more than 300 artists, including El Anatsui, Marlene Dumas, David Goldblatt, Lubaina Himid, William Kentridge, Julie Mehretu, Wangechi Mutu, and Robin Rhode, as well as lesser-known names from across Africa, with stunning and surprising examples of their art paired with insightful texts that demonstrate their contribution to the painting, sculpture, installation, photography, moving image, and performance art. Advisory Panel: Alayo Akinkugbe, Kavita Chellaram, Raphael Chikukwa, Julie Crooks, Tandazani Dhlakama, Oumy Diaw, Janine Gaelle Dieudji, Ekow Eshun, Ndubuisi C. Ezeluomba, Joseph Gergel, Danda Jaroljmek, Omar Kholeif, Rose Jepkorir Kiptum, Alicia Knock, Nkule Mabaso, Lucy MacGarry, Owen Martin, Aude Christel Mgba, Bongani Mkhonza, Riason Naidoo, Paula Nascimento, Simon Njami, Robert Njathika, Ugochukwu-Smooth C. Nzewi, Chika Okeke-Agulu, Hannah O'Leary, Sean O'Toole, John Owoo, Brenda Schmahmann, Mark Sealy, Yasmeen Siddiqui, and Joseph L. Underwood

Richard Demarco co-founded the Traverse Theatre in Edinburgh in 1963 and ran the vibrant Richard Demarco Gallery in Edinburgh for almost 30 years. He promotes crosscultural dialogues and was the first person to introduce Joseph Beuys in the UK. Joseph Beuys was a German sculptor and creator of action performances, political activist and teacher. This book explores the works, lectures and 'Actions' which resulted from the mutual hopes, inspirations and shared values of Richard Demarco and Joseph Beuys, the innovative and inspirational German postwar artist, from 1970 until Beuys' death in 1986. Demarco, an avant-garde gallerist in Edinburgh, was an early proponent of Scotland taking its place within the European art world; Demarco recognised the visionary quality of Beuys' work and visited him in Oberkassel in January 1970. In the hope of focusing Beuys' attention on Scotland, he presented him with a set of postcards depicting typical Scottish scenes. Beuys responded with, 'I see the land of Macbeth, so when shall we two meet again, in thunder, lightning or in rain?' They reunited in thundery Edinburgh later that year and Demarco led him northwards along the ancient track he calls 'The Road to Meikle Seggie'. This initial experience of the Scottish landscape inspired Beuys, who felt a strong connection with Celtic culture, and laid the foundation for a remarkable artistic friendship which enriched the work of both men. With photos from Demarco's personal collection and essays spanning from 1970 to the present, this is an intimate and intellectually rigorous look at a friendship seminal to the development of art in Scotland over the last 40 years.

Dickson Yewn is the quintessential modern-day literatus. His contemporary jewellery is a crystallisation of thousands of years of Chinese material history. Square rings rub shoulders with antique porcelain forms, shapes taken from Ming furniture and the geometric latticework found in Chinese architecture. Yewn focuses on these traditional Chinese motifs, but also understands the significance of different materials. Wood, one of the five elements in Chinese philosophy, is present in most of his collections. To wear a contemporary jewel by Dickson Yewn is to delve back into China's works of art and its history, blended with a contemporary twist. This new monograph of his work details the inspiration Yewn has drawn from the Imperial court, exploring its influence on the art of jewellery, from silks, embroidery, painting, architecture and cloisonne enamel to courtesan culture. Beautiful, detailed illustrations and photographs highlight Yewn's fealty to the artisanal techniques employed by the Imperial courts. Esteemed jewellery writer Juliet Weir-de La Rochefoucauld invites the reader to explore the deeper symbolism behind Yewn's jewels.

Piet Mondrian had a decisive influence on the development of painting from figuration to abstraction. On the occasion of his 150th birthday, Mondrian Evolution is dedicated to his multifaceted work and artistic development. Initially working in the tradition of Dutch landscape painting of the late 19th century, Symbolism and Cubism subsequently took on great significance for him. It was not until the early 1920s that the artist focused on a wholly non-representational pictorial vocabulary, limited to the rectangular arrangement of black lines with surfaces in white and the primary colors blue, red and yellow. In separate chapters, this path is traced through motifs such as windmills, dunes, and the sea, farms reflected in the water, and plants in various forms of abstraction.

Hailed the "Prince of the Impressionists", Claude Monet (1840-1926) transformed expectations for the purpose of paint on canvas. Defying the precedent of centuries, Monet did not seek to render only reality, but the act of perception itself. Working "en plein air" with rapid, impetuous brush strokes, he interrogated the play of light on the hues, patterns, and contours and the way in which these visual impressions fall upon the eye. Monet's interest in this space "between the motif and the artist" encompassed too the ephemeral nature of each image we see. In his beloved water lily series, as well as in paintings of poplars, grain stacks, and the Rouen cathedral, he returned to the same motif in different seasons, different weather conditions, and at different times of the day, to explore the constant mutability of our visual environment. This book offers the essential introduction to an artist whose works simultaneously reflected upon the purpose of a picture and the passage of time, and in so doing transformed irrevocably the story of art. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. 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

Towards the end of his life and much inspired by Japanese water gardens, Monet spent a great deal of time in his beloved Giverny. Adorned with poppies, blue sage, dahlias and irises, the waters were disturbed only by bamboos and water lilies. His water garden was originally created to satisfy a need to be near water, and to provide a visual feast that could be enjoyed from his house. The pond was fed by the river Ru, and weeping willow and silver birch hung over its edges, caressing the fronds of the greenery and blossoms below. Its famous green wooden footbridge was built across the water and it became the central focus of many of his works. He said, 'It took me some time to understand my water lilies. I planted them for pleasure.' and so he began to work on what is probably the most famous series of paintings the world has ever seen.