Akt W Malarstwie Polskim

A world of floating symbols For Marc Chagall (1887–1985), painting was an intricate tapestry of dreams, tales, and traditions. His instantly recognizable visual language carved out a unique early 20th-century niche, often identified as one of the earliest expressions of psychic experience. Chagall’s canvases are characterized by loose brushwork, deep colors, a particular fondness for blue, and a repertoire of recurring tropes including musicians, roosters, rooftops, flowers, and floating lovers. For all their ethereal charms, his compositions were often rich and complex in their references. They wove together not only colors and forms, but also his Jewish roots with his present encounters in Paris, markers of faith with gestures of love and symbols of hope with testimonies of trauma. Across scenes of birth, love, marriage, and death, this dependable artist introduction explores the many versions of Chagall’s rich vocabulary. From visions of his native Vitebsk in modern-day Belarus to images of the Eiffel Tower, we explore the unique aesthetic of one of the most readily identifiable modern masters and one of the most influential Jewish artists of all time.

Temporary Projects, Eternal Impressions The XXL exploration, now in a condensed handbook The works of Christo and Jeanne-Claude are monuments of transience. Gigantic in scale, they are always temporary, created to exist only for a limited time and to leave unique, unrepeatable impressions. “From the smallest of the Packages made in Paris in the early 1960s, to the delicate pattern of hundreds of branches embraced by a translucent fabric veil... in Christo and Jeanne-Claude’s works there is nothing abstract, nothing imagined; it is all there—corporeal and tangible.” (Lorenza Giovanelli) Part biography, part critical analysis, part catalogue, this updated edition brings back TASCHEN’s best-selling Collector’s Edition. It spans Christo and Jeanne-Claude’s entire work, from early drawings and family photos to plans for future projects. Hundreds of photographs and original works trace the couple’s projects from the past 10 years, including The Floating Piers and The London Mastaba, as well as works in progress such as The Mastaba, Project for the United Arab Emirates and L’Arc de Triomphe Wrapped, Paris. Together with the comprehensive photographic documentation by Wolfgang Volz this book is a celebration of the work of two artists whose imagination has affected the landscape of every continent.

At the vivid intersection of cinematic and graphic design history, this book gathers 250 film posters from the Soviet Union of the 1920s and early 1930s to explore a world of innovative, revolutionary aesthetics. Brimming with bold colors, dramatic angles, and eye-catching typography, these startling designs bear witness to the experimental avant-garde of those days, before Soviet Realism became the official art doctrine.

The city of Florence is both an art form in itself and an open-air museum. The one hundred and forty photographs in Florence illustrate the beauty of this ancient city and provide a complete picture of its artistic treasures. The text by historian Mario Scalini provides insight into each work and contextualizes it within the story of the artists and their relationship to their patrons. Florence is a book you will return to again and again to delight in the beauty of the city and the majesty of its art.

Galeria Miejska Arsenał z okazji obchodzenia „Urodzin Fotoplastykonu” postanowiła wydać publikację „Fotoplastykon Poznański”. Fotoplastykon Poznański to jedyne takie urządzenie funkcjonujące w zachodniej Polsce, które umożliwia prezentowanie trójwymiarowych zdjęć, jak czyniono to powszechnie jeszcze sto lat temu. Publikacja przybliży historię Fotoplastykonu Poznańskiego [„Dzieje wypraw w głąb trzeciego wymiaru” Georgi Gruew], przedstawiając sposób jego działania, a także podkreślającej jego funkcję edukacyjną [„Wielka brązowa beczka. Przez zabawę do nauki, czyli fotoplastykon jako narzędzie edukacyjne” Jadwiga Grzybak (Siatka)] i historyczno- artystyczną [„Trójwymiarowe ekspozycje. O wystawach w Fotoplastykonie Poznańskim” Marcel Skierski]. W książce znajdzie się bogata dokumentacja fotograficzna obejmująca zarówno stereofotografie, które można było zobaczyć na organizowanych w Galerii wystawach, jak i zdjęcia z przeprowadzonych licznych warsztatów plastycznych dla dzieci, inspirowanych Fotoplastykonem. Wartość książki zwiększy rozdział złożony ze wspomnień poznaniaków [„Migawki ze wspomnień” Sylwia Jarmuż], dzięki czemu publikacja stanie się jeszcze bardziej wyjątkową i unikatową pozycją na polskim rynku księgarskim. Fragment publikacji [z tekstu Sylwii Jarmuż pt. Migawki ze wspomnień] „Pamiętam czarną kotarę… Leszek Jasiński: …za nią, w pomieszczeniu, w którym stał Fotoplastikon, było ciemno. Tylko błyszczały w tej ciemności te złote okulary… Światło tak na nie padało, że miało się wrażenie, iż świecą w mroku. Budowało to atmosferę tajemnicy. Gdy człowiek był dzieckiem, to w ogóle działało tajemniczo. Te okulary były jak prześwity do innej rzeczywistości. (…)”

The Pop Star When art went Whaam! American painter Roy Lichtenstein (1923–1997) pioneered a new epoch in American art, bursting onto a scene dominated by Abstract Expressionism in late 1950s New York and defining a new art vocabulary for a new era. With his groundbreaking use of industrial production techniques and trivial, quotidian imagery such as cartoons, comic strips, and advertising, Lichtenstein joined contemporaries such as Andy Warhol and James Rosenquist to reflect and satirize American mass media and consumer culture. Works such as Look, Mickey! (1961), Drowning Girl (1963), and Whaam! (1963) deployed mass production techniques, particularly Ben-Day dots printing, to create a blow-up effect and pixelated “dot” style, with which Lichtenstein has become synonymous. This book provides an essential overview of Lichtenstein’s career, tracing his earliest Pop statements through to later “brushstroke” retorts to Abstract Expressionism and reinterpretations of modern masterpieces. We look at his leading position in midcentury modernism, and the ways in which his works both critique and chronicle 20th-century America.