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From the man who has brought you twenty books of dark fiction and fantasy, unforgettable horror movies such HELLRAISER and CANDYMAN, and countless paintings and illustrations, this is the first-ever collection of Clive Barker s nonfiction. Representing nearly 30 years of writing, THE PAINTER, THE CREATURE, AND THE FATHER OF LIES covers the inspirations for his works, insights into the creative process, and musings on art and the horror genre. Not currently scheduled to be published anywhere else, don t miss this landmark collection from a modern master of horror and dark fantasy.

neuwertig! In deutscher Sprache. n.pag. pages.

EA, 27x18 cm, 135 S., OKart. m. OU., sehr gut erhalten Sprache: Englisch. Aufgrund der EPR-Regelung kann in folgende Länder KEIN Versand mehr erfolgen: Bulgarien, Finnland, Frankreich, Griechenland, Luxemburg, Österreich, Polen, Rumänien, Schweden, Slowakei, Spanien.

Neuware - Der Basler Maler Rudolf Maeglin (1892-1971) ist bis heute einer der grossen Unbekannten der Schweizer Kunstgeschichte geblieben. Aus grossbürgerlichen Verhältnissen stammend, entschied er sich zu einer Laufbahn als Künstler und gehörte zu den Gründungsmitgliedern der antifaschistischen Gruppe 33. Seit 1947 im Basler Arbeiterviertel Klybeck wohnhaft, verdingte er sich in Fabriken und auf Baustellen und malte in der Nacht, was er tagsüber erlebt hatte. Durch seine Baustellenbilder avancierte er zum Dokumentaristen seiner sich rasant verändernden Heimatstadt. So entstand zwischen 1930 und 1970 ein unverkennbares und vielfältiges Werk, das gleichwohl bislang wenig erschlossen ist.Mit zahlreichen Abbildungen von Werken aus allen Schaffensphasen sowie kunsthistorischen und literarischen Texten stellt diese zweisprachige Monografie Maeglins Werk und Leben erstmals einer breiten, internationalen Öffentlichkeit vor und bildet den Auftakt zu weiterer Auseinandersetzung.

235 S., Opbd. /gebunden, verlagsneu, original in Folie verschweißt. Versand in stabiler Buchverpackung mit der Deutschen Post oder DHL. Rechnung liegt bei.

American painter Sarah Crowner (born 1974) revisits the art historical legacy of abstract painting in a language of collage and domestic craft, piecing together gorgeous geometric abstractions and vibrant color fields out of stitched-together cloth fragments of different colors. “It’s a way of creating form by joining material,” Crowner says of her process. “They are really objects more than paintings.”Sarah Crowner: Patterns is the second artist’s book in a series that Crowner has been developing around the formal aspects of her painting practice; the first was 2012’s Format. In this publication, Crowner devotes her attention to patterns from a range of sources: from those found in nature and the built environment to fashion and the plastic arts. Juxtaposed throughout this selection are images from Crowner’s recent work, specifically her recent paintings, murals and tiled floors.

French flower painter Pierre-Joseph Redouté (1759–1840) devoted himself exclusively to capturing the diversity of flowering plants in watercolor paintings which were then published as copper engravings, with careful botanical descriptions. The darling of wealthy Parisian patrons including Napoleon’s wife Josephine, he was dubbed “the Raphael of flowers,” and is regarded to this day as a master of botanical illustration.This elegant catalogue brings together all engravings from Redouté’s illustrations of Roses and Choix des plus belles fleurs (Selection of the Most Beautiful Flowers) and the most astounding images from The Lilies. Offering a vibrant overview of Redouté’s admixture of accuracy and beauty, it is also a privileged glimpse into the magnificent gardens and greenhouses of a bygone Paris.

The representation of domestic interiors has always been an important subject toBerlin-based German painter Albert Oehlen. In collaboration with Fredi Fischli andNiels Olsen, Oehlen assembled an exhibition (2014) surveying approaches to thepainting of interiors in contemporary art. His most recent artist book, In derWohnung (In the Apartment), from Studiolo artist book series, is a record of hisart historical journey. The book opens onto undulating black-and-white perspectivalline drawings of landscapes sparsely populated with fragments of work by RichardArtschwager, Mike Kelley and Martin Kippenberger, among others, which the artistuses in his own paintings. Arriving at a building set into the landscape, we encounter arecent Klebebild by Oehlen Pop art panels featuring Oehlen s collages. Severalclose-ups of the final artworks are also shown on display. A survey of Oehlen swork is being presented at the New Museum, NY, later this year.

Since the 1970s, Anselm Kiefer has explored existential issues in monumental canvases, woodcuts, photo sequences and lead-bound tomes. He is one of the most important and best-known post-war German painters. This volume explores two recent bodies of work, Hermann's Battle and The Women of the French Revolution.

Since the 1970s, Anselm Kiefer has explored existential issues in monumental canvases, woodcuts, photo sequences and lead-bound tomes. He is one of the most important and best-known post-war German painters. This volume explores two recent bodies of work, Hermann's Battle and The Women of the French Revolution.

German-French sculptor, painter and poet Jean Arp (1886-1966) is one of the most important pioneers of twentieth-century nonfigurative art. A founder of the Zurich and Cologne Dada movements, a key Surrealist and Constructivist and later a founder of the Paris Abstraction-Création movement, he was always at the forefront of his era's evolving avant-gardes. His work was by turns powerful, organic, anthropomorphic, biomorphic, geometric, coincidental and formal, evoking "the natural process of compression, hardening, of coagulation, of thickening, of growing together." In general, Arp preferred not to talk about his abstractions, citing the fact that sculptural forms in nature do not illustrate, but rather paraphrase and produce concrete forms themselves. He did not want to work according to nature, but like nature. This beautifully produced volume, which documents the complete range of Arp's artistic and poetic oeuvre, is published on the occasion of the opening of Germany's Arp Museum extension, designed by the Pritzker Prize-winning New York architect Richard Meier. The new panel-and-glass Modernist extension is situated high atop a bank of the Rhine River, accessible by an innovative subterranean passageway connected to a monumental elevator that cuts through the heavily wooded hillside below the museum.

Rogier van der Weyden 1400-1464: Master of Passion' highlights the body of work of, alongside Jan van Eyck, one of the most important Flemish painters of the fifteenth century.

This splendidly illustrated, multi-colored publication serves as a fitting memorial to a much-admired Canberra-based artist, teacher and traveller who died in 2012 while still involved with the production of the book. A painter of the art of colour etching, his keenly observed studies of the world around him - whether in his birthplace, Germany, or in fair-flung and ancient places in the Middle East, Far East and Australia - are rich in detail and often annotated in his own handwriting. He lets the etched line work on the spectator's imagination - with poetic rewards for all who ponder. Schemisser came to Australia in 1978 as head of the Printmaking Department of the Canberra School of Art. As such, he encouraged the development of a generation of young artists. His own works are keenly collected - particularly in Australia, Germany and Jpan. Co-published by SFA Press, Canberra, and Macmillan Art Publishing, this is a heartwarming account of an artistic life well-lived from a variety of scholarly and critical perspectives. The design and colour reproduction are both spectacular.

A reappraisal of the Blue Rider group in the context of their legendary almanacFor just a few years at the beginning of the 20th century, Munich was the hot spot of Germany‘s artistic avant-garde. Russian painter Wassily Kandinsky and Franz Marc’s initiative as founding editors of the almanac Der Blaue Reiter (The Blue Rider) was a catalyst for the arts. The journal and the 1911 exhibition of the same name created international waves and heralded the start of the modern era in Germany before the First World War. Today, the names of the movement’s key players Franz Marc, Gabriele Münter, Alexej von Jawlensky and Paul Klee stand for a pivotal chapter in the international history of art, marked by the transition of painting into a vibrant, colorful and transcendental form of abstraction. This volume surveys their accomplishments.The Blaue Reiter was an art movement that lasted from 1911 to 1914 and was fundamental to Expressionism. Founded by Russian emigrants in Munich including Wassily Kandinsky, Alexej von Jawlensky, Marianne von Werefkin, along with native German artists Franz Marc, August Macke and Gabriele Münter, the group's unified goal was to express spiritual truths through art--largely through a spontaneous, intuitive approach to painting, which, for many group members, took the form of abstraction. The group organized touring exhibitions before disbanding around the outbreak of the First World War in 1914.

Robert Campin, also known as the Master of Flémalle (c. 1375-1444), and his pupil Rogier van der Weyden (c. 1399-1464) were two of Europe's greatest Northern Renaissance painters, though art history has been slow to catch up with them. Along with Jan and Hubert van Eyck, Campin and van der Weyden are now considered synonymous with the development of Old Netherlandish painting, having given oil painting some of its earliest virtuoso works. Campin's work marks the shift from manuscript painting to Realist painting, both in its subject matter and in the artist's use of oils to mold signature shapes such as brocades or the teardrops on the cheek of a grieving Madonna. "The Mérode Altarpiece" (c. 1425) at The Cloisters in New York is perhaps Campin's best-known painting--but both his and van der Weyden's reputations have fluctuated, as the work of each has been attributed to the other. (When van der Weyden died in 1464 he was the most famous painter in Europe, but today not one painting is decisively attributed to him.) This volume collects more than 50 masterpieces from the most important museums in the world and presents them side by side to encourage direct comparison. No monograph on either artist, or indeed on any early Netherlandish artist, offers such exacting reproduction and examination of this hotly debated body of works.

Lucas Cranach the Younger (1515 - 1586) was long overshadowed by his famous father Lucas Cranach the Elder. The most recent research, presented in the catalogue and conference proceedings, reveals the son to have been an artistically innovative painter, graphic artist, businessman and politician who reflected the extensive transformations of the age of Reformation and confessionalization.

Oskar Schlemmer, painter, draughtsman, graphic artist, sculptor, wall designer, set designer, choreographer and author, is one of the most diverse artists of the modern ageTwo inspiring essays as well as a biography and chronology, introduce us to the Bauhaus masterFirst monographic exhibition on the work of Oskar Schlemmer in Eastern GermanyPainter, draughtsman, graphic artist, sculptor, wall designer, set designer, choreographer, author: Oskar Schlemmer (1888-1943) is one of the most diverse artists of the modern age. Embodying the all-encompassing Bauhaus concept of uniting the arts and crafts, his works always focused on a vision of the future in which modern man would live in harmony with technical and societal innovations.To mark the Bauhaus anniversary in 2019, the first monographic exhibition on Oskar Schlemmer in Eastern Germany is to take place in Gotha in 2019. With two inspiring essays as well as a biography and chronology, this catalog introduces us to the Bauhaus master's fascinating world of ideas, in particular those generated during the vibrant 1920s and 1930s.The exhibition will be held at the Herzogliches Museum Gotha (DE), 28 April - 28 July 2019.Text in German.

Austrian painter Egon Schiele (1890–1918) is one of the most famous and recognizable twentieth-century artists, his work seen everywhere from museum walls to dorm room posters. This book is the first to focus on his early life and work, starting with his childhood in Tulln and following his career through his resignation from the Vienna Art Academy in 1909.Through that period, we see Schiele begin to develop the distinctive brushstrokes, expressive lines, and underlying intensity that make his work so unforgettable. Essays by art historians shed light on the circumstances of Schiele’s childhood and the cultural, social, and family setting in which he began thinking about and making art. Beautiful, large-scale reproductions illustrate the evolution of his basic formal principles, and they help us understand his first creative phase, which reflected his dissatisfaction with the traditional styles that were then dominant. Other essays address his crucial friendship with Gustav Klimt and the various collections and collectors of Schiele’s early work. An enlightening new take on one of the most influential figurative painters, Egon Schiele: The Beginning will appeal not only to specialists and scholars, but to Schiele’s many fans as well.

A reappraisal of the Blue Rider group in the context of their legendary almanacFor just a few years at the beginning of the 20th century, Munich was the hot spot of Germany‘s artistic avant-garde. Russian painter Wassily Kandinsky and Franz Marc’s initiative as founding editors of the almanac Der Blaue Reiter (The Blue Rider) was a catalyst for the arts. The journal and the 1911 exhibition of the same name created international waves and heralded the start of the modern era in Germany before the First World War. Today, the names of the movement’s key players Franz Marc, Gabriele Münter, Alexej von Jawlensky and Paul Klee stand for a pivotal chapter in the international history of art, marked by the transition of painting into a vibrant, colorful and transcendental form of abstraction. This volume surveys their accomplishments.The Blaue Reiter was an art movement that lasted from 1911 to 1914 and was fundamental to Expressionism. Founded by Russian emigrants in Munich including Wassily Kandinsky, Alexej von Jawlensky, Marianne von Werefkin, along with native German artists Franz Marc, August Macke and Gabriele Münter, the group's unified goal was to express spiritual truths through art--largely through a spontaneous, intuitive approach to painting, which, for many group members, took the form of abstraction. The group organized touring exhibitions before disbanding around the outbreak of the First World War in 1914.

Pieter Bruegel the Elder, his sons Pieter the Younger and Jan Brueghel the Elder: for several generations, the Flemish family of painters enraptured the collectors of sixteenth and seventeenth-century Europe. The Alte Pinakothek, one of the most important museums in the world, here presents its fascinating and varied Brueghel collection.