Vincent van Gogh's story is one of the most ironic in art history. Today, he is celebrated the world over as one of the most important painters of all time, recognized with sell-out shows, feted museums, and record prices of tens of millions of dollars at auction. Yet as he was painting the canvases that would subsequently become these sell-out modern masterpieces, van Gogh was battling not only the disinterest of his contemporary audiences but also devastating bouts of mental illness, with episodes of depression and paralyzing anxiety which would eventually claim his life in 1890, when he committed suicide shortly after his 37th birthday. This comprehensive study of Vincent van Gogh (1853-1890) pairs a detailed monograph on his life and art with a complete catalogue of his 871 paintings.

Swiss artist HR Giger (1940-2014) is most famous for his creation of the space monster in Ridley Scott's 1979 horror sci-fi film Alien, which earned him an Oscar. In retrospect, this was just one of the most popular expressions of Giger's biomechanical arsenal of creatures, which consistently merged hybrids of human and machine into images of haunting power and dark psychedelia. The visions drew on demons of the past, harking back as far as Giger's earliest childhood fears as well as evoking mythologies for the future. Above all, they gave expression to the collective fears and fantasies of his age: fear of the atom, of pollution and wasted resources, and of a future in which our bodies depend on machines for survival. From surrealist dream landscapes created with a spray gun and stencils to album cover designs, from guillotine-like sculptures to self-designed bars, Giger personally guides us through his multi-faceted universe in this definitive introduction to a master of horror. Detailed reproductions and designs and a foreword by Timothy Leary complement Giger's intimate autobiographical texts.

Volume II: another 121 days to fill in
In a world where products are out as soon as they're in, where communicating without wires doesn't come without strings, and even our accessories need accessories, we need simple tools. A book that helps us look inside because we are overloaded outside.
Keel's Simple Diary(TM) offers structure for those who don't have time to wonder, making it easy to record life's moments. It gives the pleasure of a quick response and the sense that no matter what's wrong, more is right.
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There are three reasons why most people, although they have tried, won't keep a diary:
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Simple Diary(TM) is Keel's response to having too much information and not enough meaning, and needing to remember what made him smile. Three volumes and many pastrami sandwiches later, Keel finally had the answers to his own questions. Simple Diary(TM) is the culmination of his quest to gain insight into who we are, and why we do what we do.
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On a winter's night in 1948 in New York City, young marketing student and budding photographer Walter Chandoha spotted a stray kitten in the snow, bundled it into his coat, and brought it home. Little did he know he had just met the muse that would determine the course of his life. Chandoha turned his lens on his new feline friend-which he named Loco-and was so inspired by the results that he started photographing kittens from a local shelter. These images marked the start of an extraordinary career that would span seven decades. Long before the Internet and #catsofinstagram, Chandoha was enrapturing the public with his fuzzy subjects. From advertisements to greetings cards, jigsaw puzzles to pet-food packaging, his images combined a genuine affection for the creatures, a strong work ethic, and flawless technique. Chandoha's trademark glamorous lighting, which made each cat's fur stand out in sharp relief, would define the visual vocabulary of animal portraiture for generations and inspire such masters as Andy Warhol, who took cues from Chandoha's charming portraits in his illustrated cat book.Cats leaps into this genre-defining artist's archives, featuring color studio and environmental portraits, black-and-white street photography, images from vintage cat shows, tender pictures that combine his children with cats and more. This is a fitting tribute not just to these beguiling creatures but also to a remarkable photographer who passed away this year at the age of 98; and whose compassion can be felt in each and every frame.

When Flemish engraver and publisher Theodore de Bry issued the first volume of his America series in 1590, the New World was, for most Europeans, truly novel. Gleaned from the travel accounts of adventurers like Thomas Harriot and Sir Walter Raleigh, De Bry's magnificent engravings brought the new continent and its inhabitants to an enraptured audience across the Atlantic. From "Virginia" (today's North Carolina) and Florida through Central America and down into Patagonia, the first nine volumes of America depict scenery and encounters between native Americans and Europeans, revealing the latter's perceptions of the former. Portrayals of European discovery and native American customs were based on the explorers' reports as well as De Bry's own imagination, he himself never having traveled to the New World. Although based in Frankfurt, De Bry laid the foundations of the series while in London, collaborating with artists John White and Jacques Le Moyne, whose original watercolors he adapted for the opening two volumes. With his sons, De Bry formed a family enterprise known for exquisite copper engravings and high-quality illustrations unrivaled in their mastery. The legacy of America is profound, coloring Europe's earliest visions of the Atlantic world. Countless European illustrations would, throughout the following centuries, draw inspiration from the spectacular collection. TASCHEN's edition pays homage to De Bry's finesse, reprinting all 218 plates from the first nine volumes alongside their respective frontispieces and continental maps. Volumes I to VI are based on the original hand-colored editions held at the John Hay and John Carter Brown Libraries at Brown University in Providence; volumes VII to IX are from the Staats- und Stadtbibliothek in Augsburg, Germany.Exceptionally rare even at the time of their completion, De Bry's hand-colored America can finally be admired by all, in XXL resolution.

Over the years, talented architects have occasionally indulged themselves with the challenge of designing small but perfectly formed buildings. Today, with reduced budgets, many architects have turned in a more focused way to creating works that may be diminutive in their dimensions, but are definitely big when it comes to trendsetting ideas. Whether in Japanese cities, where large sites are hard to come by, or at the frontier between art and architecture, small buildings present many advantages, and push their designers to do more with less. A dollhouse for Calvin Klein in New York, a playhouse for children in Trondheim, vacation cabins, and housing for victims of natural disasters are all part of the new rush to develop the great small architecture of the moment. The 2013 Pritzker Prize winner Toyo Ito is here, but so are emergent architects from Portugal, Chile, England, and New Zealand. From world-famous names to the freshest new talent, come discover architectural invention on a whole new, small scale.

Brutalist Beauties

Architectural remnants of the USSR

Elected the architectural book of the year by the International Artbook and Film Festival in Perpignan, France, Frederic Chaubin's Cosmic Communist Constructions Photographed explores 90 buildings in 14 former Soviet Republics. Each of these structures expresses what Chaubin considers the fourth age of Soviet architecture, an unknown burgeoning that took place from 1970 until 1990.

Contrary to the 1920s and 1950s, no "school" or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Taking advantage of the collapsing monolithic structure, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad).

In their puzzle of styles, their outlandish strategies, these buildings are extraordinary remnants of a collapsing system.In their diversity and local exoticism, they testify both to the vast geography of the USSR and its encroaching end of the Soviet Union, the holes in a widening net. At the same time, they immortalize many of the ideological dreams of the country and its time, from an obsession with the cosmos to the rebirth of identity.

Text in English, French, and German

Along with Turner, no artist has sought more than Claude Monet (1840-1926) to capture light itself on canvas. Of all the Impressionists, it was the man Cezanne called "only an eye, but my God what an eye!" who stayed completely true to the principle of absolute fidelity to the visual sensation, painting directly from the object. It could be said that Monet reinvented the possibilities of color, and whether it was through his early interest in Japanese prints, his time in the dazzling light of Algeria as a conscript, or his personal acquaintance with the major painters of the late 1800s, what Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations were the late series of water lilies, painted in his own garden at Giverny, that, in their moves towards almost total formlessness, are really the origin of abstract art. This biography does full justice to this most remarkable and profoundly influential of artists, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.

It has been called the single most historic event of the 20th century: On July 20, 1969, Neil Armstrong, Buzz Aldrin, and Michael Collins met John F. Kennedy's call for a manned Moon landing by the end of the 1960s. A decade of tests and training, a staff of 400,000 engineers and scientists, a budget of billions, and the most powerful rocket ever launched all combined in an unprecedented event watched by millions the world over. And no one captured the men, the mood, and the machinery like Norman Mailer. One of the greatest writers of the 20th century, Norman Mailer was hired by LIFE magazine in 1969 to cover the Moon shot. He enhanced his reportage in the brilliantly crafted book, Of a Fire on the Moon, which is excerpted here. Equally adept at examining the science of space travel and the psychology of the people involved-from Saturn V rocket engineer Wernher von Braun to the crucial NASA support staff to the three astronauts-Mailer provides provocative and trenchant insights into this epoch-making event. Illustrating this volume are hundreds of photographs and maps from the NASA vaults, magazine archives, and private collections. These images document the development of the agency and the mission, life inside the command module and on the Moon's surface, and the world's jubilant reaction to the landing. This 50-year anniversary edition includes captions by leading Apollo 11 experts that explain the history and science behind the images, citing the mission log, publications of the day, and postflight astronaut interviews; while an evocative introduction by Colum McCann celebrates Mailer's incomparable skill at transforming "the science of space... the weight of history... the breadth of mythology" into prose.

"What is it about a dull yellow metal that drives men to abandon their homes, sell their belongings and cross a continent in order to risk life, limbs and sanity for a dream?" - Sebastiao Salgado When Sebastiao Salgado was finally authorized to visit Serra Pelada in September 1986, having been blocked for six years by Brazil's military authorities, he was ill-prepared to take in the extraordinary spectacle that awaited him on this remote hilltop on the edge of the Amazon rainforest. Before him opened a vast hole, some 200 meters wide and deep, teeming with tens of thousands of barely-clothed men. Half of them carried sacks weighing up to 40 kilograms up wooden ladders, the others leaping down muddy slopes back into the cavernous maw. Their bodies and faces were the color of ochre, stained by the iron ore in the earth they had excavated. After gold was discovered in one of its streams in 1979, Serra Pelada evoked the long-promised El Dorado as the world's largest open-air gold mine, employing some 50,000 diggers in appalling conditions. Today, Brazil's wildest gold rush is merely the stuff of legend, kept alive by a few happy memories, many pained regrets-and Sebastiao Salgado's photographs. Color dominated the glossy pages of magazines when Salgado shot these images. Black and white was a risky path, but the Serra Pelada portfolio would mark a return to the grace of monochrome photography, following a tradition whose masters, from Edward Weston and Brassai to Robert Capa and Henri Cartier-Bresson, had defined the early and mid-20th century. When Salgado's images reached The New York Times Magazine, something extraordinary happened: there was complete silence. "In my entire career at The New York Times," recalled photo editor Peter Howe, "I never saw editors react to any set of pictures as they did to Serra Pelada." Today, with photography absorbed by the art world and digital manipulation, Salgado's portfolio holds a biblical-like quality and projects an immediacy that makes them vividly contemporary. The mine at Serra Pelada has been long closed, yet the intense drama of the gold rush leaps out of these images. This book gathers Salgado's complete Serra Pelada portfolio in museum-quality reproductions, accompanied by a foreword by the photographer and an essay by Alan Riding.Soon available in a signed and limited Collector's Edition and as an Art Edition.

In 1995, the D&AD published a book on the art of writing for advertising. The then best-selling book remains an important reference work today-a bible for creative directors. D&AD and TASCHEN have joined forces to bring you an updated and redesigned edition of the publication. Regarded as the most challenging field in advertising, copywriting is usually left to the most talented professionals-often agency leaders or owners themselves. The book features a work selection and essays by 53 leading professionals in the world, including copywriting superstars such as David Abbott, Lionel Hunt, Steve Hayden, Dan Wieden, Neil French, Mike Lescarbeau, Adrian Holmes, and Barbara Nokes. The lessons to be learned on these pages will help you create clearer and more persuasive arguments, whether you are writing an inspiring speech, an engaging web banner or a persuasive letter. This is not simply a "must-have" book for people in advertising and marketing, it is also a "should-have" for anyone who needs to involve or influence people, by webpage, on paper, or in person.

In pursuit of both knowledge and delight, the craft of botanical illustration has always required not only meticulous draftsmanship but also a rigorous scientific understanding. This new edition of a TASCHEN classic celebrates the botanical tradition and talents with a selection of outstanding works from the National Library of Vienna, including many new images. From Byzantine manuscripts right through to 19th-century masterpieces, through peonies, callas, and chrysanthemums, these exquisite reproductions dazzle in their accuracy and their aesthetics. Whether in gently furled leaves, precisely textured fruits, or the sheer beauty and variety of colors, we celebrate an art form as tender as it is precise, and ever more resonant amid our growing awareness of our ecological surroundings and the preciousness of natural flora.

Weekend trips to any city, from Sao Paulo to Seoul to Sydney, can often be daunting, with too much to do and too little time. Enter 36 Hours World, a roundup of 150 cities across six continents, each tailored for a memorable and feasible 36-hour stay. Gathered from the eponymous New York Times column, this updated edition is dedicated entirely to cities: capital, coastal, cosmopolitan, and everything in between, with 26 new stories not published in previous volumes. The Times's contributors are your guides-foreign correspondents, travel writers, food writers, and photojournalists-who bring together insider knowledge and in-depth research, providing fresh insight to even the most frequently visited metropolises. Whether it's a comedy club in downtown Chicago, a long-tail boat tour on Bangkok's Chao Phraya River, or a cable car ride up to Dubrovnik's Mount Srd, the must-know facts and inspiration can all be found in this A-to-Z collection of urban adventures. 150 international cities Practical recommendations for nearly 600 restaurants and 350 hotels A thumb index for quick navigation and ribbon to bookmark your next adventure More than 800 photos Detailed city-by-city maps that pinpoint every stop on your itinerary All stories have been updated and adapted by Barbara Ireland, a veteran Times travel editor

Very few artists can claim such lasting and worldwide fame and importance as Michelangelo Buonarroti (1475-1564). The nickname il divino ("the divine one") has been applied to him since the 1530s right through to today: his achievements as a sculptor, painter, and architect remain unparalleled and his creations are among the best-known artworks in the world. This Bibliotheca Universalis edition is devoted to the artist's graphic work, a testimony to his masterly command of line, form, and detail, from architectural studies to anatomically perfect figures. The book brings together some of the artist's finest drawings from museums and collections around the world as well as some of his own notes and revisions, offering stunning proximity not only to the ambition and scope of Michelangelo's practice but also his working process. A chapter with a compilation of newly attributed and reattributed drawings provides further insights into Michelangelo's varied graphic oeuvre and the ongoing exploration of his genius.

Utagawa Hiroshige (1797-1858) was one of the last great artists in the ukiyo-e tradition. Literally meaning "pictures of the floating world," ukiyo-e was a particular genre of art that flourished between the 17th and 19th centuries and came to characterize the Western world's visual idea of Japan. In many ways images of hedonism, ukiyo-e scenes often represented the bright lights and attractions of Edo (modern-day Tokyo): beautiful women, actors and wrestlers, city life, and spectacular landscapes. Though he captured a variety of subjects, Hiroshige was most famous for landscapes, with a final masterpiece series known as "One Hundred Famous Views of Edo" (1856-1858), which depicted various scenes of the city through the seasons, from bustling shopping streets to splendid cherry orchards. This reprint is made from one of the finest complete original sets of woodblock prints belonging to the Ota Memorial Museum of Art in Tokyo. It pairs each of the 120 illustrations with a description, allowing readers to immerse themselves in these beautiful, vibrant vistas that became paradigms of Japonisme and inspired Impressionist, Post-Impressionist and Art Nouveau artists alike, from Vincent van Gogh to James McNeill Whistler.

Da Vinci in Detail The life and work of the ultimate Renaissance artist One of the most fully achieved human beings who has ever lived, Leonardo da Vinci (1452-1519) is recognized the world over as a figure of infinite curiosity, feverish imagination and sublime artistic ability. This updated edition of our XL title provides the most comprehensive survey of the life and work of this master painter, sculptor, architect, scientist, and inventor. Its catalogue raisonn of Leonardo's paintings covers both his surviving and his lost painted works. With full-bleed details of many paintings, the reader is able to inspect the subtlest facets of brushworks that came to revolutionize Art History. A further catalog of Leonardo's drawings arranges nearly 700 of his drawings by category (architecture, technical, proportion, cartography, etc) and showcases his fabulous observational finesse, from anatomical studies to architectural plans, from complex engineering designs to pudgy infant portraits. It includes a fresh chapter exploring the artist's mesmerizing manuscripts. The accompanying account of Leonardo's life and work includes a special in-depth exploration of his masterworks The Annunciation and The Last Supper.

Hiroshige's Edo: Masterful ukiyo-e woodblock prints of Tokyo in the mid-19th century
"Stunning woodblock prints, beautifully reproduced." Elle Decor, New York
Literally meaning "pictures of the floating world," ukiyo-e refers to the famous Japanese woodblock print genre that originated in the 17th century and is practically synonymous with the Western world's visual characterization of Japan. Because they could be mass produced, ukiyo-e works were often used as designs for fans, New Year's greeting cards, single prints, and book illustrations, and traditionally they depicted city life, entertainment, beautiful women, kabuki actors, and landscapes. The influence of ukiyo-e in Europe and the USA, often referred to as Japonisme, can be seen in everything from impressionist painting to today's manga and anime illustration. This reprint is made from one of the finest complete original sets of woodblock prints belonging to the Ota Memorial Museum of Art in Tokyo.
Hiroshige (1797-1858) was one of the last great artists in the ukiyo-e tradition. Though he captured a variety of subjects, his greatest talent was in creating landscapes of his native Edo (modern-day Tokyo) and his final masterpiece was a series known as "One Hundred Famous Views of Edo" (1856-1858). This resplendent complete reprint pairs each of the 120 large-scale illustrations with a description, allowing readers to plunge themselves into Hiroshige's beautifully vibrant landscapes.

For over five generations, National Geographic magazine has dazzled and educated people with its incredible photographs and gripping stories from all corners of the earth. Inspired by our monumental Around the World in 125 Years, this volume curates around 200 captivating images sourced directly from the National Geographic historical archives, including 40 new photographs, that traverse the landscapes, history, cultures, and wildlife of Africa. Our continental journey through amazing Africa ranges from evocative early black-and-white pictures to autochromes, from the golden age of Kodachromes to digital. Along the way, we fly over the misty volcanoes of Uganda in a 1950s plane; follow archaeologists into the cool, musky tombs of Egypt; gaze up at the gleaming skyscrapers of Zimbabwe; admire the ritual masks of the Chokwe tribesmen of Angola; get lost in a labyrinth of alleys and souks in Algeria's old quarters; wonder at the fragile red-tufted flowers of South Africa's Drakensberg mountains; trudge behind Kenyan farmers as they battle clouds of flying locusts; and gingerly spy mountain gorillas enjoying the Rwandan sunshine. Long before the Travel Channel and Google Images, these images celebrated Africa's spectacular landscapes, incredible wildlife, and diversity-but also reflect edgier stories that speak of rural hardship, environmental threats, and the lasting remnants of forced colonization. Leaving no stone unturned, this definitive voyage is in equal parts a breathtaking homage to an incomparable continent, and a unique tribute to the world's most famous photography magazine.

""In "Genesis," my camera allowed nature to speak to me. And it was my privilege to listen."" --Sebastiao Salgado
On a very fortuitous day in 1970, 26-year-old Sebastiao Salgado held a camera for the first time. When he looked through the viewfinder, he experienced a revelation: suddenly life made sense. From that day onward--though it took years of hard work before he had the experience to earn his living as a photographer--the camera became his tool for interacting with the world. Salgado, who "always preferred the chiaroscuro palette of black-and-white images," shot very little color in his early career before giving it up completely.
Raised on a farm in Brazil, Salgado possessed a deep love and respect for nature; he was also particularly sensitive to the ways in which human beings are affected by their often devastating socio-economic conditions. Of the myriad works Salgado has produced in his acclaimed career, three long-term projects stand out: "Workers"(1993), documenting the vanishing way of life of manual laborers across the world, "Migrations"(2000), a tribute to mass migration driven by hunger, natural disasters, environmental degradation and demographic pressure, and this new opus, "Genesis," the result of an epic eight-year expedition to rediscover the mountains, deserts and oceans, the animals and peoples that have so far escaped the imprint of modern society--the land and life of a still-pristine planet. "Some 46% of the planet is still as it was in the time of genesis," Salgado reminds us. "We must preserve what exists." The "Genesis" project, along with the Salgados' Instituto Terra, are dedicated to showing the beauty of our planet, reversing the damage done to it, and preserving it for the future.
Over 30 trips--travelled by foot, light aircraft, seagoing vessels, canoes, and even balloons, through extreme heat and cold and in sometimes dangerous conditions--Salgado created a collection of images showing us nature, animals, and indigenous peoples in breathtaking beauty. Mastering the monochrome with an extreme deftness to rival the virtuoso Ansel Adams, Salgado brings black-and-white photography to a new dimension; the tonal variations in his works, the contrasts of light and dark, recall the works of Old Masters such as Rembrandt and Georges de La Tour.
What does one discover in "Genesis"? The animal species and volcanoes of the Galapagos; penguins, sea lions, cormorants, and whales of the Antarctic and South Atlantic; Brazilian alligators and jaguars; African lions, leopards, and elephants; the isolated Zo'e tribe deep in the Amazon jungle; the Stone Age Korowai people of West Papua; nomadic Dinka cattle farmers in Sudan; Nenet nomads and their reindeer herds in the Arctic Circle; Mentawai jungle communities on islands west of Sumatra; the icebergs of the Antarctic; the volcanoes of Central Africa and the Kamchatka Peninsula; Saharan deserts; the Negro and Jurua rivers in the Amazon; the ravines of the Grand Canyon; the glaciers of Alaska... and beyond. Having dedicated so much time, energy, and passion to the making of this work, Salgado likens "Genesis" to "my love letter to the planet."
Whereas the limited Collector's Edition is conceived like a large-format portfolio that meanders across the planet, this unlimited book presents a selection of photographs arranged in five chapters geographically: Planet South, Sanctuaries, Africa, Northern Spaces, Amazonia and Pantanal.
Each in its own way, this book and the Collector's edition--both edited and designed by Lelia Wanick Salgado--pay homage to Salgado's triumphant and unparalleled "Genesis" project.
The world premiere of "Sebastiao Salgado: Genesis "will open at the Natural History Museum in London on April 11, 2013. The exhibition builds on the Museum's reputation as the home of the planet's best nature photography. For further information and to book tickets please go to www.nhm.ac.uk/salgado. Additionally, from May 14th, a special portfolio of plantinum prints from "Genesis" will be shown at Phillips Howick Place gallery in London.
Worldwide venues for the "Genesis" exhibition: The Natural History Museum, London, UK - April 11 through September 8, 2013 The Royal Ontario Museum, Toronto, Canada - May 2 through September 2, 2013 Ara Pacis Museum, Rome, Italy - May 15 through September 15, 2013 Jardim Botanico, Rio de Janeiro, RJ, Brazil - May 28 through August 25, 2013 Musee de l'Elysee, Lausanne, Switzerland - September 21, 2013 through January 12, 2014 La Maison Europeenne de la Photographie (MEP), Paris, France - September 25, 2013 through January 5, 2014 SESC Belenzinho, Sao Paulo, SP, Brazil - September 9 - November 2013

In 1958, journalist Neil Leifer took the picture that remains one of his most famous to this day. The day he got the shot - Alan Ameche's game-winning "sudden death" touchdown - was Leifer's 16th birthday. This game, called "the greatest ever played," signaled football's emergence as America's new national pastime; formerly half-empty stadiums welcomed sold-out crowds seemingly overnight, while football surpassed baseball in national television ratings. Starting then, on any given Sunday Leifer was most likely shooting a football game somewhere in America...While best known for his iconic photograph of Muhammad Ali towering over a fallen Sonny Liston, it is his football pictures Leifer considers his best. This collection represents the best of his best, culled from over 10,000 rolls of film on the sport. With an introduction assembled from the best football columns of the era by famed sports columnist Jim Murray, and incisive captions detailing the legendary players, coaches, and games, this volume carries the guts and glory of the game into the end zone.