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An authoritative new publication that revisits Munch’s work in
its entirety. Edvard Munch occupies a pivotal place in artistic
modernity. His work is permeated by a singular vision of the world,
with a powerful symbolist dimension that goes beyond the
masterpieces he created in the 1890s, and which gives his art a
great coherence. For Munch, humanity and nature were united in the
cycle of life, death and rebirth, which is reflected in the
unending recurrence of certain motifs and colour combinations in
his work. He wrote: ‘These paintings, which are, admittedly,
relatively difficult to understand, will be […] easier to grasp
if they are integrated into a whole.’ Published to accompany the
major exhibition at the Musée d’Orsay, Edvard Munch: A Poem of
Life, Love and Death presents about a hundred works – paintings,
drawings, prints and engraved blocks – reflecting the diversity
of Munch’s practice. Seven essays explore the artist in his
philosophical and scientific milieu and the places that shaped the
man and his art, as well as offering a rare glimpse of Munch’s
attempts at creative writing. They also examine the historical
evolution of his monumental Frieze of Life series and the
world-famous Scream. This publication invites readers to revisit
the painter’s work in its entirety by following the thread of an
ever-inventive pictorial thinking: a vision that is both
fundamentally coherent, even obsessive, and at the same time
constantly renewed.
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Useful Lies (Hardcover)
Eric Antoine; Contributions by Pierre Wat
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R1,374
Discovery Miles 13 740
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Ships in 12 - 17 working days
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By using an older form of technology, French artist Éric Antoine
strips away modern-day conceits in the quest for simplicity,
solitude, and core truths. The works speak to the passage of time
but also to a sense of timelessness. Useful Lies brings together
several series among the last he produced. Aside from a single
cardboard box in Les Intrus - a series that highlights the human
body and the fragility of shelter - nothing in the photographs
dates them. And yet, his framing and cropping are entirely modern,
subverting any suggestion of nostalgia. These are not attempts to
replicate nineteenth-century photographs but rather forays into
unchartered territory that use the past to draft new stories. The
collodion process also helps visually convey the feeling of being
caught between two forces: the drive toward perfection and the
desire to embrace flaws. More specifically, Antoine is drawn both
to German New Objectivity of the 1920s, with its rejection of
Expressionism, and to the movement known as pictorialism. His
medium dovetails with his interest in New Objectivity by allowing
for great precision and very fine detail. At the same time, the
process is highly pictorial in that the artist essentially paints
the glass plate with a sensitive coating, which pools and drips and
must be controlled. This tension between exactitude and
imperfection opens up the works, creating scenes that are both true
to nature and evocative of their own realities.
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Monet/Rothko (Hardcover)
Cyrille Sciama, Marie Delbarre, Géraldine Lefebvre, Pierre Wat, Valérie Reis
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R842
Discovery Miles 8 420
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Ships in 12 - 17 working days
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In the 1970s, in the region of the Landes, between Bayonne and
Peyrehorade, on the banks of the Adour River, the photographer
Jeannette Leroy and the art dealer Paul Haim created a sculpture
garden around a modest farm, La Petite Escalere. With the help of
the faithful gardener Gilbert Carty, amidst canals, bridges, paths
made of railway ties, and many trees and flowers, they installed
about 50 works, some of them monumental, by artists such as Rodin,
Maillol, Niki de Saint Phalle, Zao Wou-Ki, Francoise Lacampagne,
Cardenas, Mark Di Suvero, Leger, Matta, Zigor... Paul positioned
the sculptures, and to help them vanish into the natural
environment Jeannette would plant a shrub, a rosebush, dahlias, an
oak, a maple, a gingko, a Caucasian walnut... "I don't want this
garden to become ridiculous!" she said. Paul Haim has evoked the
bewitching beauty of La Petite Escalere better than anyone else:
"The nonchalant visitor will pass from the shade of Les Barthes to
the brightness of the Moura, from the freshness of the fountains to
the suffocating heat of the forest. Coming around a bush, he allows
himselfto be surprised by an unusual presence. Immutable. ... Far
from the agitations of the world, sinking into nothing-ness,
watching the clouds go by, contemplating the places of joy." Text
in English and French.
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