26 products were found matching your search for tuymans in 1 shops:

Beginning with 'Gilles de Binche' (Antwerp, 2005) and concluding with 'Against the Day' (Brussels, Moscow and Malmo, 2009-10), acclaimed painter Luc Tuymans produced a landmark suite of seven thematically linked bodies of work. Their meta-narrative, which traces the philosophical and psychic roots of contemporary civilization, weaves together a range of photographic source images, from St Peter's to Disneyland to Big Brother, that together tell the banal and terrifying story of our times. Luc Tuymans: Is It Safe? features this source imagery alongside more than 100 of the artist's newest paintings, many never before published. Accompanying each body of work is an introductory text written by the artist, while the essay 'Tuymans, Loyola, Leibniz', specially commissioned by Mexican artist Pablo Sigg, provides historical and philosophical context. 'Proper', an essay by Belgian art historian Gerrit Vermeiren, looks at one body of work in detail, tracing the themes and sources of each painting and capturing the cultural atmosphere of the moment in which they were produced. And an extensive interview between Tuymans and his assistant Tommy Simoens offers additional insight into the artist's thinking and motivations. Celebrated as one of the world's most gifted and visionary painters, Tuymans has been creating iconic works of contemporary painting for nearly three decades. With their enigmatic compositions and modulated colours, these works are moving and unmistakable, and their power continues to win new converts to Tuymans's chilling vision of history painting.

Luc Tuymans (born 1958) is one of today’s most widely admired painters, a continuation of the great tradition of Northern European painting and an enduring influence on younger and emerging artists. First published in hardback for the artist’s first full-scale American survey in 2009, and now available in paperback, this is without question the authoritative publication on Tuymans. It features approximately 75 key works from 1978 to the present, and is accompanied by essays analyzing the painter’s main concerns, with particular attention paid to his working process and his adaptation of source materials. Helen Molesworth examines themes of sinister banality, Joseph Leo Koerner writes on iconophobia and iconophilia, Ralph Rugoff considers Tuymans’ recent work and Bill Horrigan examines the artist’s cinematic sources. This book remains not only the most comprehensive survey of Tuymans’ career to date, but also the most thorough chronology of his development.

Luc Tuymans is one of today's most widely admired painters, a continuation of the great tradition of Northern European painting and an enduring influence on younger and emerging artists. As a European child of the 1950s, his relationship to painting is inevitably structured by television, cinema and by the lingering effects of World War II; more recent historical preoccupations have included the dramatic turn of world events post-9/11. Tuymans combines a muted palette with deteriorated surface effect and a singular use of cropping, close-up and sequencing--perfect devices with which to undertake his investigation of the pathological, the banal and the conspiratorial. Published in conjunction with the artist's first full-scale American survey, this is without question the authoritative publication on Tuymans. It features approximately 75 key works from 1978 to the present, and is accompanied by essays analyzing the painter's main concerns, with particular attention paid to his working process and his adaptation of source materials. Helen Molesworth examines themes of sinister banality, Joseph Leo Koerner writes on iconophobia and iconophilia, Ralph Rugoff considers the nature of visual experience in light of Tuymans' recent work, and Bill Horrigan examines cinematic sources. This book is not only the most comprehensive survey of Tuymans' career to date, but also the most thorough chronology of his artistic development. Born in Mortsel, Belgium, in 1958, Luc Tuymans first exhibited his paintings in 1985, at Palais des Thermes in Ostend. His first U.S. exhibition came ten years later, at The Renaissance Society in Chicago. He has also worked in film and printmaking.

Good condition. This is the average used book, that has all pages or leaves present, but may include writing. Book may be ex-library with stamps and stickers. 3.03

Luc Tuymans is a Belgian artist who emerged in the late 1980s. Tuymans is one of the world's most prominent figures in contemporary painting although he has also worked in other media. His work fuses the traditions of Old Master Flemish and Spanish genre painting with ideas and images drawn from recent history. Tuymans' monochromatic palette and choice of subject matter - domestic interiors, commonplace objects, the margins of history or family portraits - link painting with filmmaking, photojournalism and amateur photography. The source of his imagery, however, some of which derives from documentation of Nazi atrocities, gives his canvases a brooding violence. Modest in scale and sensitive in execution, this work is powerful in its haunting evocation of lost lives and repressed histories. Tuymans' work has featured in many keys surveys of contemporary painting.

Beginning with 'Gilles de Binche' (Antwerp, 2005) and concluding with 'Against the Day' (Brussels, Moscow and Malmo, 2009-10), acclaimed painter Luc Tuymans produced a landmark suite of seven thematically linked bodies of work. Their meta-narrative, which traces the philosophical and psychic roots of contemporary civilization, weaves together a range of photographic source images, from St Peter's to Disneyland to Big Brother, that together tell the banal and terrifying story of our times. Luc Tuymans: Is It Safe? features this source imagery alongside more than 100 of the artist's newest paintings, many never before published. Accompanying each body of work is an introductory text written by the artist, while the essay 'Tuymans, Loyola, Leibniz', specially commissioned by Mexican artist Pablo Sigg, provides historical and philosophical context. 'Proper', an essay by Belgian art historian Gerrit Vermeiren, looks at one body of work in detail, tracing the themes and sources of each painting and capturing the cultural atmosphere of the moment in which they were produced. And an extensive interview between Tuymans and his assistant Tommy Simoens offers additional insight into the artist's thinking and motivations. Celebrated as one of the world's most gifted and visionary painters, Tuymans has been creating iconic works of contemporary painting for nearly three decades. With their enigmatic compositions and modulated colours, these works are moving and unmistakable, and their power continues to win new converts to Tuymans's chilling vision of history painting.

The famous David Zwirner Gallery in New York has been a base of operations for the Belgian painter Luc Tuymans since 1994. At the start of his career, Tuymans committed himself to showing a new series of works there once every two years--a promise that he kept, and continues to keep, 18 years on, as his tempered style and political content have steadily garnered him worldwide acclaim. Tuymans’ thematic exhibitions at the Zwirner Gallery have tackled controversial topics, ranging from the Holocaust to Belgium’s colonial past and the hypocrisy of the Disney empire. Luc Tuymans: Exhibitions at David Zwirner 1994–2012 presents the artist’s major works, together with brief commentary, photographs and archival documentation. Interviews with four leading U.S. critics--Ann Temkin, Brice Marden, Peter Schjeldahl and Robert Storr--that were conducted specially for this publication by Lynne Tillman discuss Tuymans’ presence in the U.S.

This exhibition will include 10 new paintings, in which Tuymans puts forth the image of a fragile America and the crumbling state of current affairs. There is a sense of delayed trauma, depicted in flat, muted hues, that shuns the obvious and circumvents easy interpretation. With a similar intensity to the exhibitions Mwana Kitoko, 2000, in which he examined the colonial history of Belgium, and Fortune, 2003, which centered on the effects of images from 9/11, Tuymans offers a critique of America that is intended to be subconsciously constructed. While there is nothing overt or merely symbolic about these paintings, they lay claim to real events, suppressed memories, and, in this case, the reality of our current political dilemma. Incited by war-time musical films from the 1940s, the central concept of the exhibition is a state of confusion derived from inconclusive memories and the dissolution of the familiar. In musicals, the subsequent chaos that is created by dancing (even when carefully choreographed) creates constant, yet dislocated, visual confrontation. For Tuymans, each painting in the exhibition presents a fragmented glimpse of a disjointed whole; his aim is to make the audience consider each image, the opposite of each image, and the uncertainty that follows. The exhibition s title, Proper, is in itself an aberration. While it refers to a seemingly requisite order determined by society at large, it simultaneously suggests the opposite improper and therefore subverts the notion of correctness as it relates to social and societal expectations. In these paintings, things as they should be are indefinite, memories are questionable, and perception is clouded by a juxtaposition of narrative and ambiguity. In a key painting, we are confronted by the cropped, larger-than-life-sized face of Condoleeza Rice. Prompted by a remark made by a Belgian official, in which Rice was described as strong; not unpretty, Tuymans portrait of Rice forces us to reevalua

The famous David Zwirner Gallery in New York has been a base of operations for the Belgian painter Luc Tuymans since 1994. At the start of his career, Tuymans committed himself to showing a new series of works there once every two years--a promise that he kept, and continues to keep, 18 years on, as his tempered style and political content have steadily garnered him worldwide acclaim. Tuymans’ thematic exhibitions at the Zwirner Gallery have tackled controversial topics, ranging from the Holocaust to Belgium’s colonial past and the hypocrisy of the Disney empire. Luc Tuymans: Exhibitions at David Zwirner 1994–2012 presents the artist’s major works, together with brief commentary, photographs and archival documentation. Interviews with four leading U.S. critics--Ann Temkin, Brice Marden, Peter Schjeldahl and Robert Storr--that were conducted specially for this publication by Lynne Tillman discuss Tuymans’ presence in the U.S.

Luc Tuymans is one of today's most widely admired painters, a continuation of the great tradition of Northern European painting and an enduring influence on younger and emerging artists. As a European child of the 1950s, his relationship to painting is inevitably structured by television, cinema and by the lingering effects of World War II; more recent historical preoccupations have included the dramatic turn of world events post-9/11. Tuymans combines a muted palette with deteriorated surface effect and a singular use of cropping, close-up and sequencing--perfect devices with which to undertake his investigation of the pathological, the banal and the conspiratorial. Published in conjunction with the artist's first full-scale American survey, this is without question the authoritative publication on Tuymans. It features approximately 75 key works from 1978 to the present, and is accompanied by essays analyzing the painter's main concerns, with particular attention paid to his working process and his adaptation of source materials. Helen Molesworth examines themes of sinister banality, Joseph Leo Koerner writes on iconophobia and iconophilia, Ralph Rugoff considers the nature of visual experience in light of Tuymans' recent work, and Bill Horrigan examines cinematic sources. This book is not only the most comprehensive survey of Tuymans' career to date, but also the most thorough chronology of his artistic development. Born in Mortsel, Belgium, in 1958, Luc Tuymans first exhibited his paintings in 1985, at Palais des Thermes in Ostend. His first U.S. exhibition came ten years later, at The Renaissance Society in Chicago. He has also worked in film and printmaking.

135 pp.; 27 x 23.2 cm.; sewn bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue published in conjunction with show held in the Belgian Pavilion of the Venice Biennale, June 10 - November 4, 2001. Texts by Robert Storr, Philippe Pirotte and Jan Hoet. Text in English, French and Dutch. Fair / Very Good. Dust-Jacket: Fair / Good with wear along cover edges and along dust-jacket edges including a 5.1 cm. area of wear to verso cover bottom edge. 24 cm. scattered area of soiling to verso. Book is Very Good with light bumping of upper right cover corners. Contents clean and unmarked.

This exhibition will include 10 new paintings, in which Tuymans puts forth the image of a fragile America and the crumbling state of current affairs. There is a sense of delayed trauma, depicted in flat, muted hues, that shuns the obvious and circumvents easy interpretation. With a similar intensity to the exhibitions Mwana Kitoko, 2000, in which he examined the colonial history of Belgium, and Fortune, 2003, which centered on the effects of images from 9/11, Tuymans offers a critique of America that is intended to be subconsciously constructed. While there is nothing overt or merely symbolic about these paintings, they lay claim to real events, suppressed memories, and, in this case, the reality of our current political dilemma. Incited by war-time musical films from the 1940s, the central concept of the exhibition is a state of confusion derived from inconclusive memories and the dissolution of the familiar. In musicals, the subsequent chaos that is created by dancing (even when carefully choreographed) creates constant, yet dislocated, visual confrontation. For Tuymans, each painting in the exhibition presents a fragmented glimpse of a disjointed whole; his aim is to make the audience consider each image, the opposite of each image, and the uncertainty that follows. The exhibition s title, Proper, is in itself an aberration. While it refers to a seemingly requisite order determined by society at large, it simultaneously suggests the opposite improper and therefore subverts the notion of correctness as it relates to social and societal expectations. In these paintings, things as they should be are indefinite, memories are questionable, and perception is clouded by a juxtaposition of narrative and ambiguity. In a key painting, we are confronted by the cropped, larger-than-life-sized face of Condoleeza Rice. Prompted by a remark made by a Belgian official, in which Rice was described as strong; not unpretty, Tuymans portrait of Rice forces us to reevalua

Luc Tuymans is a Belgian artist who emerged in the late 1980s. Tuymans is one of the world's most prominent figures in contemporary painting although he has also worked in other media. His work fuses the traditions of Old Master Flemish and Spanish genre painting with ideas and images drawn from recent history. Tuymans' monochromatic palette and choice of subject matter - domestic interiors, commonplace objects, the margins of history or family portraits - link painting with filmmaking, photojournalism and amateur photography. The source of his imagery, however, some of which derives from documentation of Nazi atrocities, gives his canvases a brooding violence. Modest in scale and sensitive in execution, this work is powerful in its haunting evocation of lost lives and repressed histories. Tuymans' work has featured in many keys surveys of contemporary painting.

The third volume of a catalogue raisonné of Luc Tuymans’s paintings, surveying nearly two hundred works, charts the artist’s investigation into painting’s relationship to history and technology.Tuymans is widely credited with having contributed to the revival of painting in the 1990s. His sparsely colored, figurative works speak in a quiet, restrained, and at times unsettling voice and are typically painted from preexisting imagery that includes photographs and video stills. The works in this volume, made between 2007 to 2018, show Tuymans at his most virtuosic, subtly but provocatively addressing a range of topics including religion, corporatization, and cultural memory, in addition to modernism and the history of painting. The Internet, in particular, is central to these works as well as the screen—leading to a new style of contemporary image. The works are mediatized to the nth degree, despite the artist’s continuous use of the traditional medium of painting. There is a certain kind of light that comes out of a screen, which can be found in Tuymans’s recent paintings.   This volume includes an editor’s note by Eva Meyer-Hermann and an illustrated chronology with archival images and installation views of the featured works. It also presents brilliant color reproductions of each painting from this period. This publication is a testament to Tuymans’s persistent assertion of the relevance and importance of painting—a conviction that he maintains even in today’s digital world, when his work continues to be a touchstone for artists and scholars.

Luc Tuymans has been at the forefront of the re-energising of painting over the past fifteen years. Using a restricted palette of eerily bleached-out colours and giving his paintings an apparently aged, cracked patina, he imbues everyday objects with a sense of impending menace, hinting at the terrors that lurk beneath the surface of everyday life. This book is an essential reference to the career of one of the most important painters working today.

In this stunning monograph, the internationally acclaimed Belgian painter Luc Tuymans opens up and reveals, in the form of Polaroids, film stills and other source documents, what has up until now been a largely hidden part of his artistic practice--thereby making it possible to chart both the subjects that fascinate him and his rather idiosyncratic working processes. On the one hand, Tuymans' methods are influenced by photographic techniques. The artist would, however, immediately deny this, claiming that the more than 1,000 Polaroids he has used as the basis for his paintings are not photographs--for the emulsion and the chemical formation of the image behave very differently in each. On the other hand, Tuymans' paintings are imbued with cinematic techniques such as the close-up, slow motion, montage and animation. He draws inspiration from cinematic techniques to load the painted image with topicality and pertinence. This volume, whose reproductions were extensively edited by the artist himself, unravels the anatomy of Tuymans' treatment of images. It is an essential addition to any contemporary art library. Tuymans is represented in New York by David Zwirner gallery.

Since the end of the 1980s, Belgian artist Luc Tuymans has been developing an extraordinarily complex work, combining the question of representation and representability--inherent in any kind of painting--with a radical charge of pictorial motives. Grounded in a structure that is coolly figurative and drawinglike, and materials that are always preprocessed and mediated (for example, Polaroid shots, newspaper clippings, film stills), Tuymans creates calm, small-format pictures of cropped landscapes, objects, architecture, and seemingly masked people. In their pastel haziness, often primed with white, his pictures evade concrete designation. This book presents a representative selection of Tuymans's works as well as a large group of specially created new works delimited by two central picture motifs: the cycle Die Zeit references the Holocaust, whereas Passion concerns the essence of religious belief.

Luc Tuymans (born 1958) is one of today’s most widely admired painters, a continuation of the great tradition of Northern European painting and an enduring influence on younger and emerging artists. First published in hardback for the artist’s first full-scale American survey in 2009, and now available in paperback, this is without question the authoritative publication on Tuymans. It features approximately 75 key works from 1978 to the present, and is accompanied by essays analyzing the painter’s main concerns, with particular attention paid to his working process and his adaptation of source materials. Helen Molesworth examines themes of sinister banality, Joseph Leo Koerner writes on iconophobia and iconophilia, Ralph Rugoff considers Tuymans’ recent work and Bill Horrigan examines the artist’s cinematic sources. This book remains not only the most comprehensive survey of Tuymans’ career to date, but also the most thorough chronology of his development.

James Ensor (1860–1949) produced some of the most unusual paintings of the late 19th and early 20th centuries. Marked by psychological complexity, contradictions, and sheer eccentricity, his works―featuring such bizarre subject matter as dressed-up skeletons and macabre carnival masks―have continued to baffle and intrigue in equal measure. Ensor was born in Ostend, Belgium, and despite his success barely left his home town during his lifetime; his family’s curio shop, which was filled with exotic objects including parrots, a monkey, and masks from around the world, surely influenced the imagery of his mature work. In this volume, published to accompany a major exhibition, essays explore Ensor’s life and legacy, while leading contemporary artist Luc Tuymans comments on his selection of Ensor’s works, offering a distinctive view of Ensor, one only another artist can provide.

At the age of 19, on a visit to the Museum of Fine Arts in Budapest, a young Luc Tuymans saw the work of El Greco for the first time―an event that would lead him to become one of today’s most influential artists. Almost 40 years later, that life-changing experience is recounted and celebrated in The Image Revisited, a publication that acts as both a monograph and a history of art.Published to coincide with an exhibition of Baroque art curated by Tuymans at M HKA in Antwerp in June 2018, this richly illustrated book includes three conversations Tuymans conducted with art historians T.J. Clark, Hans Maria De Wolf, and Gottfried Böhm at museums in Basel, Brussels and Budapest over the course of three years. In the course of fascinating discussions on the work of artists such as El Greco, Cézanne, Goya, de la Tour, Titian, Courbet, Mantegna, Hopper, Newman and Richter, what emerges is an exceptional insight into Tuymans’ own creative process, and how the great art of the past has inspired and motivated him.