Search results for ""Skira""

The book presents a portrait of Tirelli with the history of his apprenticeship and his passion not only for the painstaking reproduction of ancient garments and accessories but also for building up a priceless collection of tens of thousands of original items of clothing. A long chapter presents testimonials from faithful customers including the most illustrious Italian and foreign costume designers, winners of countless Oscars, some of whom have been with Tirelli from the outset. The rich array of illustrations – comprising sketches, photographs of finished costumes and scenes from plays and films – spans five decades of inventions and successes, and the work ends with a catalogue raisonné of the company’s creations for theater, opera, cinema, and television.

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The city of Milan encloses some of the most important masterpieces of Italian art. This special guide to the city, realized on the occasion of the 2015 Expo, offers an art histor - ical tour focusing on ten works not to be missed by visitors: Leonardo’s Last Supper , Michelangelo’s Rondanini Pieta , Raphael’s Marriage of the Virgin , Piero della Francesca’s Brera Madonna , Caravaggio’s Basket of Fruit , the Portrait of a Lady attributed to Pollaiolo, Andrea Mantegna’s Lamentation of Christ , but also Francesco Hayez’s Kiss , Giuseppe Pellizza da Volpedo’s Fourth Estate and Umberto Boccioni’s Riot in the Galleria.

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Jennifer Montagu is a world-renowned art historian whose name has become synonymous with the study of Italian Baroque sculpture. In honor of Jennifer Montagu’s immeasurable contribution to the field of Italian Baroque sculpture, sixty-two of the foremost scholars of European sculpture have been invited to participate in a symposium in her honor on 6 - 7 September 2013 at the Wallace Collection, London. Thirty of the papers presented there were selected for the publication as a tribute to this generous colleague and friend who has inspired and mentored dozens of younger historians in European art. Dr. Montagu’s academic work began in Political Science at Oxford, but conversations with Ernst Gombrich led her to pursue an advanced degree in art history instead. In 1963, long before the study of Italian bronze statuettes reached the level of interest that it enjoys today, her classic survey, simply titled Bronzes, was met with great enthusiasm, eventually being printed in five languages. Montagu taught at the University of Reading until 1964, when she became an assistant curator of the Photographic Collection at the Warburg Institute. In 1971 she became a full curator of the collection, a position she held until 1991. During these years she published at an indefatigable rate, and following her retirement from that post, her productivity only increased. Montagu was a Slade Professor of Fine Art at Cambridge University, a Mellon Professor at the Center for Advanced Study in the Visual Arts (National Gallery of Art,Washington, D.C.), and a visiting professor at the Collège de France. Montagu’s numerous publications include her monumental study of Alessandro Algardi (Yale University Press, 1985), Roman Baroque Sculpture: the Industry of Art (Yale, 1989) and Gold, Silver and Bronze: Metal Sculpture of the Italian Baroque (Mellon Lectures, CASVA; Yale University Press, 1996). She was appointed LVO (Royal Victorian Order) in 2006 for services to the Royal Collection and CBE (Commander of the Most Excellent Order of the British Empire) in 2012 for her contribution to the history of art.

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From Hogarth to Reynolds, from Gainsborough to Turner, the great protagonists of English painting between the eighteenth and nineteenth centuries. This is the first comprehensive overview of the extraordinary development of British painting during the eighteenth century, which anticipated themes, styles and techniques that later became paradigms of modernity. This volume focuses on the English context at a time when the growth of artistic standing was accompanied by the country’s conquest of hegemony on a historical, political and economic plane. The volume is arranged chronologically in seven sections, which include a selection of over 100 masterpieces by the most significant English painters. The main objective is to enable readers to rediscover the genres of portrait and landscape, which have always characterized English art. Readers can admire the work of artists like William Hogarth, Henry Fuseli (Johann Heinrich Füssli), Sir Joshua Reynolds, Thomas Gainsborough, Joseph Wright of Derby, George Stubbs, John Constable and William Turner, who offer a completely original cross-section of eighteenthand early nineteenth-century painting in Great Britain.

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As a result of five years of work, the photographs collected in this volume were taken in different countries: Kenya, Tanzania, Cameroon, Ethiopia, Djibouti, Botswana, Morocco, Benin, South Soudan, Mali, Burkina Faso, Namibia, Zambia, Uganda. The camera lens of Sergey Yastrezhembsky is focused on the scenes of patriarchal daily routine of Africans, who try to preserve their adherence to the traditions of their forefathers in everyday life, customs, and religion regardless of the rising pressure of pervasive globalization.

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Hornby Island is a northern Gulf Island, which sits within an archipelago, near Vancouver Island on the West Coast of British Columbia, Canada. Less than 12 square miles in size, its unique landscape shelters a population centred on simple life-styles, self-reliance and art. Seeming to sit slightly out of time, its counter cultural atmosphere was somewhat shaped by the shared visions of its settlers during 1960s and 1970s. Despite challenges, these values remain compelling — as our contemporary economic crisis sits within an ecological disaster. Hornby’s characteristic vernacular buildings still embody the wish to turn against rampant consumerism, pollution and political horror — towards handmade houses; food; clothing and contentment. Land Ends was made during Melissa Moore’s various self-styled long-term residencies on the island — exploring her own “feedback between art and nature”. An enchantment by a particular landscape and its mythology is palpable in this sequence of distinctive works. Through a performative practice Moore puts herself in the fundament of the ecologies she finds — nestling into both the island and its communal dreams. Melissa Moore is a London based artist. She studied at the Manchester Metropolitan University then at the Royal College of Art, and is an Associate Lecturer at the University of the Arts London. She has exhibited and published internationally. This new series has so far been shown in Singapore, Italy, Japan and Germany.

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The publication, edited and curated by Mary Angela Schroth, recounts the story of the acquisitions of the private collection of Hussain Ali Harba, which began with a painting executed in the 1970s by Fa’iq Hassan, one of the protagonists of Irachi modern art and ends with experimental contemporary artists such as Adel Abidin. Born in Babylon (Iraq) in 1961 and resident in Turin (Italy) since 1979, Harba received his first artwork from his father at the age of 15, and through the years has become one of the most impassioned Iraqi collectors in the world. Together with his family, he is building a private museum in Babylon that will one day permanently house this major collection. The book bears witness to Harba’s work of dedication and conservation related to the artistic patrimony of his native country.

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The first book to exclusively present Cleto Munari’s latest creations in the field of the applied arts: a unique collection of art carpets. Cleto Munari was born in Gorizia and he lives and works in Vicenza. After meeting Carlo Scarpa in 1973, who encouraged him in his work, he decided to focus his attention on the area of industrial design, and began to work for some of the most important companies in the world. Constantly in search of original ideas, over the years he has tirelessly been engaged in analyzing and experimenting with both forms and material. In 1985 he opened a laboratory-studio-jeweler’s, where, together with a group of worldclass architects, he designs and produces silver jewelry and other objects for avant-garde collections that truly represent historical revolutions in jewelry both in Italy and abroad, and have also led to the production of watches, pens and furniture. Cleto Munari’s objects have entered the permanent collections of some of the world’s top museums, including the Metropolitan Museum of Art and the Museum of Modern Art in New York. This book is the first to exclusively present Cleto Munari’s latest creations in the field of the applied arts. After his jewelery, silverware, watches and furnishings, the great designer has involved ten other designers and artists in the creation of a unique collection of art carpets. Signed by Lawrence Ferlinghetti, Dario Fo, Mario Botta, Alessandro Mendini, Javier Mariscal, Ettore Mochetti, Deisa Centazzo, Sandro Chia, Mimmo Paladino and by Cleto Munari himself, these creations are full-fledged works of art and represent the high point of the skills and expertise of one of the greatest creative designers in the world, who has been designing and producing for over forty years.

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An acclaimed fashion photographer provides a personal, luminous, and moving account of post-tsunami Japan. This volume is an extraordinary photographic report by the famous Japanese fashion photographer Yasushi Handa, taken a few weeks after the terrible earthquake and tsunami that battered the eastern coastline of Japan in March 2011. It includes the detailed history of the provinces affected by the disaster, an accessible scientific explanation of the reasons why such an event can occur, and a look to the future that talks clearly about how damage can be limited and how nuclear disasters can be prevented. The book also reveals the composure of the Japanese people and their incredible capacity to resurrect themselves. The photographs were exhibited in Tokyo, Kobe, and Okinawa between January and March 2012 and were admired by a great number of visitors.

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The Catalogue Raisonné of the work of Giuseppe Capogrossi (Rome 1900-1972) presents for the first time all the painter’s works up to 1949, in other words up to the birth of the sign with the works shown at the Galleria del Secolo in Rome in January 1950. Beginning from his earliest paintings, executed in around 1920, the Catalogue records in detail the artist’s path towards the development of an increasingly abstract language and then the invention of his famous “signs”. The volume is completed by critical essays, a detailed biographical timeline and an exhaustive bibliography which make the Catalogue an essential instrument of study for scholars, experts and art lovers.

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An original and entertaining catalogue for a travelling exhibition that has already been much talked about. The expressive power of glass emerges from the pages of the Glasstrees catalogue, which travelled from the Venice Biennale to the Museum of Art and Design of New York in February 2012. The excellent colour photographs illustrate the glass sculptures and installations by internationally-acclaimed artists and designers, some of the most important on the international scene, who for the occasion tackled one of the arts to have made Venice famous throughout the world. This catalogue will become a “must” for collectors, designers, students and connoisseurs.

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Fifty-six international designers and architects celebrate the Hogan label’s most recent collections. There is an obvious connection between the different forms of creative expression: this is the core philosophy Hogan, expressed in the Future Roots project in which 56 internationally famous designers and architects are captured in Ornella Sancassani’s photographs wearing the most recent collections designed by the fashion label. The black-and-white photographs interpret the fashion house’s savoir-faire; the architects and designers are captured in their professional workplaces or with those objects that in a concise way best express their Weltanschauung. Future Roots is therefore a story in pictures in which the different aspects of planning in design, architecture, fashion and photography are brought to the fore, showing little distinction between sectors.

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The first monograph on an “alternative” artist in contemporary Chinese art. In the reformulation of values in contemporary Chinese art, Wang Luyan’s concepts and methodologies differentiate his from those that have been most popular. The most significant characteristic is his transformation of artistic concepts into the commonplace through social relations and everyday experience. In other words, they have become extensions of everyday life, social aesthetics, technical standards, through which he reflects on his own doubt and confusion. Since 1979, when Wang Luyan first became involved in art, he has been a key participant and witness in every period during the development of Chinese contemporary art. He is definitely not one of the “hot” or “sentimental” artists, yet he is, undeniably, important.

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An overview and insight into the unique collection of the Norwegian art collector Erling Neby. Erling Neby is the owner of one of the most important and precious private collections of constructivist and concrete art in Europe, and even worldwide. Over a period of thirty years, Neby has been building up a collection which is today unequalled in the Nordic countries and is of international standards and fame. Thanks to more than 200 color plates by such artists as Josef Albers, Olle Baertling, Jean Dewasne, Emilio Gilioli, Jan Groth, Arne Malmedal, Aurelie Nemours, Lars G. Nordström, Jesus Rafael Soto, Victor Vasarely, Thornton Willis, the book gives an inspiring insight into the international constructivist art from the 1940s till today.

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The hidden soul of a group of creative individuals which, since the beginning, has always expressed itself in images. As I told you before, Ideas not Airships is a 500-page table book celebrating the 30th anniversary of the Hangar Design Group, one of the first independent and multidisciplinary creative design groups in Italy. The book is a narrative in pictures representing an attempt to discover an underlying theme in the intricate creative process of a group that is unique from the point of view both of its degree of expertise and its creative practices. Through works and experiences the book illustrates the life of the studio, tracing a decidedly unconventional figurative path made up of suggestions, inspirations, memories, faces and places – not only those of the Hangar Design Group itself but of anyone who undertakes to give form to an idea. The book illustrates the network’s modus operandi. It begins from the birth of the first embryonic concepts and follows through to the finished product. As I told you before, Ideas not Airships is the enthusiastic narration of a gripping story, and is dedicated to all those who believe that with creativity we can (even) change the world.

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Naked Architecture Valerio Paolo Mosco An account of one of the most interesting phenomena of contemporary architecture: the return to the structure and methods with which contemporary constructions are realized. Over the last ten years architecture would seem to have rediscovered engineering. Now that the Postmodern period, in which the structure of buildings was camouflaged by coverings of every kind, has passed, architecture today seems to have undressed, almost as though wishing to show how it is made (and to render this spectacular). On the other hand, the rediscovery in recent years of plastic form has brought about a closer relationship between architects and engineers. In the wake of the phenomenon that is the work of Santiago Calatrava, figures of engineer-architects have emerged such as Cecil Balmond, Sasaki and Guy Nordenson, who have been able to give a strongly "engineering-oriented" guise to ever more complex building sites. To this we must add the rise of new issues, such as that of environmental engineering, which has changed from being a specifically technical sphere to one of many other realms of knowledge, not least the aesthetic. If, therefore, there is a phenomenon today that is able to hold together the various expressions of contemporary architecture, it is precisely this return to the structure and methods with which it is realized.

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