Magnum Manifesto

The roaring twenties in Berlin It was the decade of daring Expressionist canvases, of brilliant book design, of the Bauhaus total work of art, of pioneering psychology, of drag balls, cabaret, Metropolis, and Marlene Dietrich’s rising star in theater and silent film. Between the paroxysms of two world wars, Berlin in the 1920s was a carpe diem cultural heyday, replete with groundbreaking art, invention, and thought. This book immerses readers in the freewheeling spirit of Berlin’s Weimar age. Through exemplary works in painting, sculpture, architecture, graphic design, photography, and film, we uncover the innovations, ideas, and precious dreams that characterized this unique cultural window. We take in the jazz bars and dance halls; the crowded kinos and flapper fashion; the advances in technology and transport; the radio towers and rumbling trams and trains; the soaring buildings; the cinematic masterworks; and the newly independent women who smoked cigarettes, wore their hair short, and earned their own money. Featured works in this vivid cultural portrait include Hannah Höch's The Journalists; Lotte Jacobi’s Hands on Typewriter; Otto Dix's Portrait of the Journalist Sylvia von Harden; Peter Behrens's project of theAlexanderplatz; and Josef von Sternberg’s The Blue Angel, starring Dietrich as cabaret performer Lola Lola. Along the way, we explore both the utopian yearnings and the more ominous economic and political realities which fueled the era's escapist, idealistic, or reactionary masterworks. Behind the bright lights and glitter dresses, we see the inflation, factory labor, and fragile political consensus that lurked beneath this golden era and would eventually spell its savage end with the rise of National Socialism.

Painter, sculptor, writer, and filmmaker, Salvador Dali (1904-1989) was one of the century's greatest exhibitionists and eccentrics-and was rewarded with fierce controversy wherever he went. He was one of the first to apply the insights of Sigmund Freud and psychoanalysis to the art of painting, approaching the subconscious with extraordinary sensitivity and imagination.

Przeżywanie macierzyństwa jako powołania nie było nigdy łatwe, a obecnie jest trudniejsze niż kiedykolwiek. Kościół ukazuje nam wiele przykładów świętych matek (św. Monika, św. Zelia Martin, czy św. Joanna Beretta Molla), których życie stało się świadectwem przeżywania wiary przez pryzmat macierzyństwa. Autorka podpowiada jak przygotować się do roli matki, zachęca też kobiety do spojrzenia na siebie w zupełnie nowej perspektywie: jako żony, córki swoich rodziców, czy dziecka Bożego. Dzieli się również swoim doświadczeniem jak rozmawiać ze swoimi dziećmi, jak pozwolić im odejść i się usamodzielnić oraz jak się za nie modlić. Nie zapomina w tym wszystkim o aspekcie duchowym. Każdy rozdział został opatrzony propozycją tekstu do modlitwy osobistej i pytaniami do refleksji.

The life of Antoni Gaudí (1852–1926) was full of complexity and contradictions. As a young man he joined the Catalonian nationalist movement and was critical of the church; toward the end of his life he devoted himself completely to the construction of one single spectacular church, La Sagrada Família. In his youth, he courted a glamorous social life and the demeanor of a dandy. By the time of his death in a tram accident on the streets of Barcelona, his clothes were so shabby that passersby assumed he was a beggar. Gaudí’s incomparable architecture channels much of this multifaceted intricacy. From the shimmering surface textures and skeletal forms of Casa Batlló to the Hispano-Arabic matrix of Casa Vicens, his work merged the influences of Orientalism, natural forms, new materials, and religious faith into a unique Modernista aesthetic. Today, his buildings enjoy global popularity and acclaim; his magnum opus, the Sagrada Família, is the most-visited monument in Spain and seven of his works are UNESCO World Heritage Sites. Packed full of expert texts and hundreds of full-color illustrations, including new photography, this book presents Gaudí’s complete oeuvre. Like a personal tour through Barcelona, we explore his residential, religious, and public projects. We see how the “Dante of architecture” was a builder in the truest sense of the word, crafting extraordinary constructions out of minute and mesmerizing details, transforming fantastical visions into realities on the city streets.

Utagawa Hiroshige (1797-1858) was one of the last great artists in the ukiyo-e tradition. Literally meaning "pictures of the floating world," ukiyo-e was a particular genre of art that flourished between the 17th and 19th centuries and came to characterize the Western world's visual idea of Japan. In many ways images of hedonism, ukiyo-e scenes often represented the bright lights and attractions of Edo (modern-day Tokyo): beautiful women, actors and wrestlers, city life, and spectacular landscapes. Though he captured a variety of subjects, Hiroshige was most famous for landscapes, with a final masterpiece series known as "One Hundred Famous Views of Edo" (1856-1858), which depicted various scenes of the city through the seasons, from bustling shopping streets to splendid cherry orchards. This reprint is made from one of the finest complete original sets of woodblock prints belonging to the Ota Memorial Museum of Art in Tokyo. It pairs each of the 120 illustrations with a description, allowing readers to immerse themselves in these beautiful, vibrant vistas that became paradigms of Japonisme and inspired Impressionist, Post-Impressionist and Art Nouveau artists alike, from Vincent van Gogh to James McNeill Whistler.

„Są na świecie miejsca niepowtarzalne, które poruszają wyobraźnię, inspirują, zdumiewają. Wizyta w Kopalni to równocześnie wyprawa do wnętrza Ziemi J. Verne i podziwianie Morii J.R.R. Tolkiena. Wedle życzenia pobyt w Kopalni może być wizytą w podziemnym mieście wyposażonym w sklepy, restaurację, plac zabaw, wi-fi lub ekscytującą przygodą, podczas której śmiałkowie wcielają się w górników i poznają solny świat przy świetle górniczej lampy.”
Fragment wstępu autorstwa Kajetana d’Obryn
Prezesa Zarządu Kopalni Soli „Wieliczka” SA

Edycja w języku rosyjskim.