Search results for ""Skira""

A fully-fledged Skira Architecture house organ which presents the Skira’s point of view on world architecture. Published annually, only in English, with a very heavy emphasis on the graphic side: from June to June (summer solstice); on sale date: October. The Yearbook includes: Wall paper: a number of double-page spreads featuring about a hundred of the most interesting projects built or designed during the year. Editorial: an essay with a systematic presentation of all news items, problems and key characters. Projects: a selection of 25/30 projects, themes, outstanding people or towns which have displayed significant content or results over the year. Each project is sumptuously illustrated and includes a critique by a well-known figure or an interview with the designers. Tools: Index of the Index: a selection of the world’s top architectural journals’ annual indexes; of international exhibitions and events; of interesting websites; details about the designers and the institutions mentioned. Work in progress: a few pictures of major, ongoing projects as a “teaser” for the next issue.

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Skira Mini ARTbooks is a pocket-sized series, conveniently priced, very practical and with lots of images dedicated to single international artists, artistic movements and painting genres. The genius of Italian painting, symbol of grace and beauty, is considered one of the greatest and most popular artists of all time. An introduction to the life of the artist, with his masterpieces.

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A richly illustrated and extremely enjoyable reference book on the historical evolution of the nude. From the Palaeolithic “Great Mothers” to the Greek athletes, from the Venus of Urbino by Titian to Leonardo’s Virtuvian Man, from the Odalisque by Boucher to those by Ingres, to the amazons of Helmut Newton and the desolate lifeless bodies of Andres Serrano, the nude is the theme of artistic representation par excellence. The nude body as the incarnation of perfect beauty and the suspicions concerning its sensuality imposed by Christian culture; the renewed triumph of ancient beauty in the Renaissance and the study of anatomy; the visual licentiousness of the 18th century and the photographic nude; ideal beauty, eroticism, pornography; the nude also as representation of the ugly and its flaunted truthfulness in the art of the 20th century; the nude that itself becomes a work of art in the avant-garde of the post-WWII period, with performance, body art and experimental theatre. These are the threads of the narration all conducted around a rich apparatus of images. After Art of the Twentieth Century, published by Skira in four languages in 2009, Flaminio Gualdoni has now created a richly illustrated new reference book that is also extremely enjoyable to read.

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A book about the 800 million people around the world who live with hunger daily. Not the emergency cases, but the people whose lives are made up of nothing more than the search for their next meal.

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Multi-disciplined artist Mihail Chemiakin's exquisitely drawn costume sketches, stage sets and production design come to life in this extraordinary record of the two-act ballet premiered in St. Petersburg's Mariinsky Theater in 2005. Based on "The Story of a Hard Nut" from the Nutcracker and the Mouse King by E.T.A. Hoffmann, "The Magic Nut" is a ballet conceived by artist Mihail Chemiakin as a prologue to "The Nutcracker" in which we learn how the Nutcracker comes to be. Here Chemiakin tells the story of The Nutcracker's origins creating a fairy tale with a cast of bird-people, sea monsters, satyrs, cats, jellyfish, and, of course, a whole society of rats. In this phantasmagorical interpretation of Hoffman's tale the audience discovers the kind and heroic qualities of young Drosselmeyer, fated to be turned into a Nutcracker for his virtuous deeds. The story contains many of the elements of the classic fairy tale but the anticipated happy ending is ultimately postponed - until the story continues in the Tchaikovsky ballet. The book leads the reader through the ballet, scene by scene, with detailed sketches of the sets, costumes, masks and props created for the production. A virtuoso of invention, of expression through color and unexpected interpretation, the work of Chemiakin could not be better fitted to fairytales. Humorous and engaging, the colorful drawings featured here will delight ballet fans, costume designers, students of theater and art lovers alike.

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Post-Impressionism is a movement in France that represented both an extension of Impressionism and a rejection of that style’s inherent limitations. The term Post-Impressionism was coined by the English art critic Roger Fry for the work of such late 19th-century painters as Paul Cézanne, Georges Seurat, Paul Gauguin, Vincent van Gogh, Henri de Toulouse-Lautrec, and others. Most of these painters began as Impressionists; each of them abandoned the style, however, to form his own highly personal art. Impressionism was based, in its strictest sense, on the objective recording of nature in terms of the fugitive effects of colour and light. The Post-Impressionists rejected this limited aim in favour of more ambitious expression, admitting their debt, however, to the pure, brilliant colours of Impressionism, its freedom from traditional subject matter, and its technique of defining form with short brushstrokes of broken colour. The work of these painters formed a basis for several contemporary trends and for early 20th-century modernism.

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50 Moons of Saturn is the catalog of the exhibition curated by Daniel Birnbaum for T2 - the second Torino Triennale. It brings together works by fifty young international artists and presents two special projects by Paul Chan and Olafur Eliasson. “The Saturnine mind is gloomy and depressed, yet inspired and radiant; passive and fundamentally negative, yet rebellious and magnificently productive. Traditionally linked to the artist’s temperament, melancholy is the state of mind of inspiration” (Daniel Birnbaum).

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A new title of the 5-volume series covering the fundamental events and pivotal works of international art in the 20th century. With the third volume, this history of art goes past the halfway mark of the 20th century to enter the contemporary sphere. The book relates how artists reacted to the greatest tragedy of the 20th century and responded to the advent of the society of mass communication and consumption, to the moulding of the world in which we find ourselves ever more deeply immersed today. The collapse and rebirth of Europe, the years of the Cold War and the evolution leading to the upheavals of 1968 are fundamental themes of this third volume.

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