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A comprehensive look at an important member of the artistic
vanguard of late 19th- and early 20th-century Europe In this
beautifully illustrated book, Michel Draguet, an internationally
recognized authority on fin-de-siecle art, offers an enlightening
examination of the life and art of Belgian Symbolist painter
Fernand Khnopff (1858-1921). Khnopff achieved widespread acclaim
during his lifetime for his moody, dreamlike paintings, as well as
his numerous commissioned portraits, designs for costumes and sets
for the theater and opera, photography, sculpture, book
illustrations, and writings. Khnopff was a reclusive personality,
and in 1900 he focused his attention on the design and construction
of a lavish, secluded home and studio in Brussels, a structure that
became deeply entwined with the artist's work and sense of self.
Although the house was demolished in 1936, Draguet uses new
archival research to reconstruct its spaces and explore the home as
emblematic of the artist, guiding the reader through Khnopff's very
personal world and analyzing his art in the context of its
generative surroundings. Distributed for Mercatorfonds
The work of Fabrice Samyn is as diverse as it is complex, often
referencing masterpieces of art history. In his paintings,
sculptures and drawings, the artist manages to translate and
magnify details from the paintings of the old masters. With his
fascination for the spoken word and everyday poetry, he also
follows the path taken before him by his Belgian compatriot Rene
Magritte.
The work of Fabrice Samyn is as diverse as it is complex, often
referencing masterpieces of art history. In his paintings,
sculptures and drawings, the artist manages to translate and
magnify details from the paintings of the old masters. With his
fascination for the spoken word and everyday poetry, he also
follows the path taken before him by his Belgian compatriot Rene
Magritte.
This catalogue of the Andres Serrano retrospective presents the
work of an artist from New York regarded as one of the major
figures on the contemporary scene, tracing his creative trajectory
in over a hundred photographs. The question of the portrait in the
exploration of signs of the times, the dead body in a classical
presentation of pictorial inspiration, the abstract space of the
studio and the artist's recent immersion in the city, violence in
the relationship with the other on the path from procreation to
creation, poverty and its relation to place, religious feeling and
the collective dynamics of the group portrait are some of the
subjects Andres Serrano addresses. The questions he poses give rise
to debate and sometimes violence. These freely chosen subjects are
thus joined by themes imposed on the work, namely vandalism and
censorship. Four experts develop an original discourse on Serrano's
work: Nathalie Dietschy, PhD in art history at the University of
Lausanne, a specialist on the figure of Christ in contemporary art;
Jan Koenot, Jesuit, theologian, PhD in philosophy and specialist on
contemporary art; Germano Celant, art critic and specialist on
contemporary art, currently artistic director of the Prada
Foundation in Milan; Quentin Bajac, curator of photography at the
Musée d'Orsay and currently chief curator of photography at the
MoMA in New York.
Taking an approach that is equal parts anthropological and art
historical, this lavishly illustrated volume offers a rare look at
the art, artifacts, and culture of the Naga people, an ethnic group
spanning several tribes native to northeastern India and
northwestern Myanmar. The book seeks to shed light on this
geographically isolated and historically insular people,
identifying cultural aspects and artistic traditions that are
common among all Naga tribes, as well as ways in which the tribes
differ. The works featured include textiles, baskets, wood carving,
pottery, metalwork, jewelry, and beadwork, and make use of a wide
range of materials such as glass, stone, metal, wood, shell, seeds,
bone, and hair. Archival photography is used to place clothing,
accessories, and ornaments within the cultural practices of the
Naga. Distributed for Mercatorfonds
The work of Fabrice Samyn is as diverse as it is complex, often
referencing masterpieces of art history. In his paintings,
sculptures and drawings, the artist manages to translate and
magnify details from the paintings of the old masters. With his
fascination for the spoken word and everyday poetry, he also
follows the path taken before him by his Belgian compatriot Rene
Magritte.
As treasure troves of creativity, the homes of artists reflect the
intellectual worlds of their creators. Starting with the Villa
Stuck in Munich-the aesthetic, conceptual cosmos and life's work of
the aristocratic artist Franz von Stuck-this unique volume
integrates the artist's house as a category into the international
context and is the first to assign these buildings the status of
major works. About twenty examples bring to life the fascination
that these artistic fantasies hold for art lovers, including both
existing projects and some which, although they have been lost,
were of unique importance in their day and still retain their
charisma. Along with paintings, sculptures, and photographs closely
related to the houses, plans and models convey the correlation
between art and life as well as the kind of harmony of the arts
expressed in Richard Wagner's historical concept of the total work
of art. Houses featured (selection): Sir John Soane's Museum,
London; William Morris Red House, Bexleyheath; Louis Comfort
Tiffany's Tiffany House, New York City; Mortimer Menpes's flat,
London; the Fernand Khnopff Villa, Brussels; Jacques Majorelle's
villa and garden, Marrakesh; Kurt Schwitters' MERZbau, Hannover;
Max Ernst's house, Arizona
Aboriginalities immerses you into the fascinating universe of
Aboriginal painting - an art form that is both ancestral and
contemporary, always rooted in spirituality. Far more than a simple
physical and sensory experience, Aboriginal art invites us to
rethink our connection to the earth and the universe. As a window
on the spiritual, Aboriginal art tells the story of the creation of
the world - called "Dreamtime"* - and the original link between
humans and the earth. The numerous motifs (dotted lines, spirals,
zigzags, crosshatching...) are passed down from generation to
generation by members of the same community, concealing
centuries-old secrets as well as a map of their territory. This
ancestral and highly symbolic art form was originally concealed:
drawn in the sand or applied on rocks on territories forbidden to
laypersons. But in the early 1970s, amidst struggles for the
recognition of an Aboriginal identity, the Papunya Tula community
translated their cultural practices and symbolic knowledge through
paint. Using non-traditional methods borrowed from Western culture
(acrylics, brushes, cardboard and later canvas), the indigenous
people of Australia found a modern way to express their cultural,
political, social and economic struggles. Vibrant and colourful,
the exhibition Aboriginalities is built around part of the private
collection of Marie Philippson, who has been passionate about
modern culture and Aboriginal art for over 20 years. The exhibition
shows over 120 paintings and objects, reflecting the extraordinary
formal inventiveness of Aboriginal artists. At several
intersections throughout the exhibition, a dozen works from the
RMFAB's modern art collection echo the subjects addressed by these
"Dreamtime" artists, questioning our relationship to the visible
and the invisible.
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