万本电子书0元读

万本电子书0元读

Monet
Monet
Brodskaya, Natalia
¥38.85
Mega Square的《莫奈》通过优美地展示印象主义的作品,带领我们探索十九世纪绘画大师之一——莫奈的非凡的作品。莫奈的风景画和日常生活场景画中画锋急促,阐释了他对于光线和色彩的迷恋。对印象主义运动的爱好者来说,这本小书是一份完美的礼物。
Raphael
Raphael
Müntz, Eugène
¥38.85
拉斐尔(Raphael,1483-1520),意大利文艺复兴鼎盛时期的画家和建筑家,是位超越时代的天才人物。他与米开朗琪罗和莱昂纳多达芬奇并称为古典艺术的“文艺复兴三杰”,它们的作品展现了和谐和几何的多种风格。作为文艺复兴时期的大家之一,作为欧洲皇室和罗马教廷的艺术家,拉斐尔的作品包括了多种神学和哲学的主题,包括但不限于著名的圣母玛利亚画像。拉斐尔成长的环境和经历使他更倾向于将人文主义的理想和宗教相结合,从而在心中树立起坚定的信念,即艺术是揭开自然之美面纱的必然中介。
Van Dyck
Van Dyck
Gritsai, Natalia
¥38.85
安东尼·凡·代克(Anthony Van Dyck,1599-1641)在年近十六岁之时就有了自己的第一个工作室,从那时起他便在艺术界堪称传奇人物。荷兰著名画家鲁宾斯(Rubens)是代克的启蒙导师,他评价代克为自己最有才华的学生。代克之后成为了英格兰和西班牙著名的宫廷画家,也算是不辱才华之名。历史学家、学者和艺术爱好者也欣赏他的作品的复杂精妙和永恒之美。在这本引人入胜的小册子是凡·代克那几十年的艺术生涯的缩影,娜塔莉亚(Natalia Gritsai)将凡·代克一生最杰出的作品奉献给了读者。
The Nabis
The Nabis
Kostenevitch, Albert
¥69.54
波纳尔、维亚尔、鲁塞尔和丹尼斯是纳比派画家中最为赫赫有名的几位。纳比派是19世纪末形成的后印象派艺术团体。但是,他们艺术创作中日益增长的个人主义威胁到了纳比派的团结,他们的作品也逐渐分化。这本书让读者能够认真地对比和视察这一迷人的社团中的艺术家们。通过在和谐的创作中赞美日常的场景和景观,纳比派的作品不仅吸引了艺术学院的学生和艺术爱好者的注意,同样也吸引了一大批普通观众。
Early Italian Painting
Early Italian Painting
Crowe, Joseph Archer;Cavalcaselle, Giovanni Battista;Jameson, Anna
¥69.54
在古拜占庭传统的宏伟壮观与乔托(Giotto)预言的现代性之间摇摆,早期意大利绘画强调了第一场重要的美学运动(这也带来了之后的文艺复兴)——意大利原始艺术。这些革命性的艺术家们不再在墙壁上创作壁画,他们尝试新的媒介和技巧,在木板上创造了第一幅可以移动的绘画作品。为了强调所代表人物的神性,画中人物的脸庞震惊了欣赏者。亮丽的金边框背景用来强调主题的虔诚与信仰,优雅的线条和色彩强化了明确的象征性选择。最终,意大利早期绘画艺术家希望能够以无形胜有形。在这本华丽的著作中,作者强调了科学与佛罗伦萨画派之间的对抗在艺术史演变中的重要性。读者能够从中发现,在这些被遗忘的杰作中,神圣开始展现出人形,为人神同形同性打开了零散但具有决定性的大门,为文艺复兴所珍视的价值观开辟了道路。
Pascin
Pascin
Dupouy, Alexandre
¥38.85
朱勒·帕金斯,在今天看来仍然是个“坏小子”。这位才华横溢的艺术家生活在毕加索、莫迪利阿尼和其他同代艺术家的阴影中。他擅长于描绘女性的躯体,可以说他的油画就是他那派对生活的写照。这位艺术家的充满了性欲色彩的作品被视为不道德,但仍得以在很多画展上展出,特别是在柏林、巴黎和纽约。
Francisco Goya
Francisco Goya
Sarah Carr-Gomm
¥31.47
Astudy of Francisco Goya’s life and work appears to present many contradictions. For nearly forty years Goya was the principal painter at court and he recorded the glittering wealth of the Spanish nobility. At the same time, in one of the least enlightened countries in Europe, Goya was a liberal thinker. He was a tireless commentator on the social conditions of his age. He hated authority in any form, be it priest, soldier or official, and above all he hated those who exploited the helpless. He was concerned with the floating population, with criminals and prostitutes, and by the crippling poverty that resulted from the injustices of an uneven distribution of wealth. The court must have been ignorant of his criticism or blind to his cries of protest.
Egon Schiele
Egon Schiele
Esther Selsdon,Jeanette Zwingenberger
¥31.47
In 1964, Oskar Kokoschka evaluated the first great Schiele Exhibition in London as “pornographic”. In the age of discovery of modern art and loss of “subject”, Schiele responded that for him there existed no modernity, only the “eternal”. Schiele's world shrank into portraits of the body, locally and temporally non-committal. Self-discovery is expressed in an unrelenting revelation of himself as well as of his models. The German art encyclopedia, compiled by Thieme and Becker, described Schiele as an eroticist because Schiele's art is an erotic portrayal of the human body. Futhermore, Schiele studied both male and female bodies. His models express an incredible freedom with respect to their own sexuality, self-love, homosexuality or voyeurism, as well as skillfully seducing the viewer.
Paul Gauguin
Paul Gauguin
Victoria Charles
¥31.47
On 8 May 1903, having lost a futile and fatally exhausting battle with colonial officials, threatened with a ruinous fine and an imprisonment for allegedly instigating the natives to mutiny and slandering the authorities, after a week of acute physical sufferings endured in utter isolation, an artist who had devoted himself to glorifying the pristine harmony of Oceania’s tropical nature and its people died. There is bitter irony in the name given by Gauguin to his house at Atuona – “Maison du Jouir” (House of Pleasure) – and in the words carved on its wood reliefs, Soyez amoureuses et vous serez heureuses (Be in love and you will be happy) and Soyez mystérieuses (Be mysterious). After receiving news of the death of their old enemy, the bishop and the brigadier of gendarmes – the pillars of the local colonial regime – hastened to demonstrate their fatherly concern for the salvation of the sinner’s soul by having him buried in the sanctified ground of a Catholic cemetery. Only a small gr
Bosch
Bosch
Virginia Pitts Rembert
¥35.68
在电子游戏发明之前,希罗尼穆斯波希(Hieronymus Bosch)的笔下就已经创作出了恐怖但丑萌的怪物,还带有一点小幽默。他的作品是自信的宣言,有力地挑战了背叛基督教教义之人的精神恐慌。波希生于1450年,死于1516年,他的出生之时正值文艺复兴的高潮时期,也见证了这一时期的宗教战争。中世纪传统和价值观轰然倒塌,为新世纪的到来开辟了道路。在这样的新世纪里,信念失去了力量和魔力。 ?波希开始警告那些不信教者和对上帝丧失了信仰的人——等待是危险的。波希相信所有人必须要有自己的道德选择,他关注地狱、天堂和欲望的主题,才华横溢地挖掘了水果和植物的象征意义,让他的意向充满了强烈的性欲色彩。这本独特的选集展示了波希最为引人入胜的作品,小巧的形式也让它成为了一份完美的礼物。
Gustave Courbet
Gustave Courbet
Georges Riat
¥35.68
居斯塔夫库尔贝(Gustave Courbet,1819--1877)的出生地奥尔南(Ornans)靠近美丽的杜河峡谷的地方,也正是这个地方,让这个男孩成长为男人,并培养了他对于这片风景的热爱。 在本质上,他是个革命者,天生具有反抗现存秩序和独立的精神;他咆哮和残酷的性格使得他的革命性不仅仅体现在艺术中,也体现在政治上。在这两个方面,他的革命精神不证自明。他到巴黎去学习艺术,但是他却不属于任何一个著名的大师的工作室。在此之前在母国,他只学习了很少的绘画技巧,他更愿意去卢浮宫中学习大师的杰作。最初,他的绘画作品还不足以引起任何的反对声音,并被一些美术展览馆收录。而面对之后的《奥尔南的葬礼》,批评家激烈地抨击道:“这是一场伪装的葬礼,在这六米长的画布中,只有啼笑皆非,没有痛哭流涕。”确实,对库尔贝作品最真实的攻击便是鲜活的血肉。他真实地刻画了男男女女的真实面貌和他们从事的事情。他笔下的人物,绝非剥夺了个性、理想化类型的男男女女,也绝不是摆着造型来装饰画布。他宣扬真实的、原本的东西,宣称真理才是艺术家追求的目标。所以,在1855年的世界博览会上,他将他的作品从展览厅中取出,放在入口外的一个小木厅旁。在小木厅上他悬挂了一张大写的横幅,上面写着:“库尔贝——现实主义者。”和每一个革命者一样,库尔贝也是位*主义者。他忽视了这样的事实:自然的真理隐藏在不同的伪装下,不同的视角和经历都会对其有所影响。相反,他坚持认为艺术仅仅是自然的复制品,重新选择和排列也就无关紧要了。在追求美的过程中,库尔贝常常选择那些比较丑陋的主题。但是他同样也有审美观,这体现在他的风景画中。这种美感与他深厚的情感相混合,体现在了他的海景画中——他最后一幅令人印象深刻的作品。不仅如此,无论是否吸引观赏者,他所有的作品都证实了他是一位强有力的画家,以宽广、自由的姿态,色彩的美感和坚固的颜料,使得他的代表作真实而震撼人心。
Lempicka
Lempicka
Patrick Bade
¥35.68
Tamara de Lempicka created some of the most iconic images of the twentieth century. Her portraits and nudes of the years 1925-1933 grace the dust jackets of more books than the work of any other artist of her time. Publishers understand that in reproduction, these pictures have an extraordinary power to catch the eye and kindle the interest of the public. In recent years, the originals of the images have fetched record sums at Christie’s and Sotheby’s. Beyond the purchasing power of most museums, these paintings have been eagerly collected by film and pop stars.
Remington
Remington
Emerson Hough,Frederic Remington
¥35.68
After the New World had been settled by European immigrants landing on America’s eastern coastline, the only direction to go was west. This new country contained untold fortunes, and drew adventurers who wished to explore this vast frontier, and settlers who longed to make it their own.
Russian Painting
Russian Painting
Peter Leek
¥35.68
At the time when Dionysius and his sons were active, ownership of icons became increasingly common. Previously nobles and merchants had begun the practice of displaying them in a place of honour in their homes, sometimes even in a special room, but now peasant families who could afford it also began to hang icons in a krasny ugol, or“beautiful corner”.
The Art of Champa
The Art of Champa
Jean-Fran?ois Hubert
¥35.68
Evoking Champa means glorifying death, sanctifying remnants, magnifying clues, singing the praises of mourning, and reconstructing history. Champa only exists now in the memories of a diminishing collection of living people who desire eternal life, in a half-audible melody – necessarily exotic – that is hummed by a few disquieted spirits.
The Brueghels
The Brueghels
Emile Michel,Charles Bernard
¥35.68
After an initial period of brilliance, during which time it rose to achieve perfection, Flemish art gradually fell into decline. Although thorough studies of its origins have revealed works, in particular those of the miniaturists, that are deserving of notice and which predate the artistic careers of the two Van Eycks, Hubert and Jan, the genius of the brothers remains stunningly spectacular, surpassing that of their predecessors to such a degree that it would be impossible to find an equally sudden, decisive and glorious evolution in the history of art.
Utamaro
Utamaro
Edmond de Goncourt
¥35.68
如果色情也有一个名字的话,那肯定是喜多川歌麿。喜多川歌麿细腻地勾画了构成江户时代的乐之园。丰富多样的画布,天鹅长长的脖颈,神秘的面孔,寥寥几笔,便是东方的肉欲之欢。
Munch
Munch
Ingles, Elisabeth
¥38.85
Edvard Munch, born in 1863, was Norway's most popular artist. His brooding and anguished paintings, based on personal grief and obsessions, were instrumental in the development of Expressionism. During his childhood, the death of his parents, his brother and sister, and the mental illness of another sister, were of great influence on his convulsed and tortuous art. In his works, Munch turned again and again to the memory of illness, death and grief. During his career, Munch changed his idiom many times. At first, influenced by Impressionism and Post-impressionism, he turned to a highly personal style and content, increasingly concerned with images of illness and death. In the 1892s, his style developed a ‘Synthetist' idiom as seen in The Scream (1893) which is regarded as an icon and the portrayal of modern humanity's spiritual and existential anguish. He painted different versions of it. During the 1890s Munch favoured a shallow pictorial space, and used it in his frequently frontal p
Gauguin
Gauguin
Brodskaya, Nathalia
¥27.20
Mega Square的《高更》邀请读者跟随这位绘画梦想家保罗·高更(Paul Gauguin)的色彩丰富的杰作,从法国到梦幻到充满异域风情的塔希提岛。这本书既收录了这位影响深远的画家的标志性作品,也收录了他一些鲜为人知的杰作,重点强调了高更著名的情色、原始的风格和色彩的灵动。对于高更的粉丝或者是还未发掘高更作品的艺术爱好者来说,这本方便丰富的小册子就是一份*的礼物。
Renoir
Renoir
Brodskaya, Nathalia
¥27.20
Pierre-Auguste Renoir was born in Limoges on 25 February 1841. In 1854, the boy’s parents took him from school and found a place for him in the Lévy brothers’ workshop, where he was to learn to paint porcelain. Renoir’s younger brother Edmond had this to say this about the move: “From what he drew in charcoal on the walls, they concluded that he had the ability for an artist’s profession. That was how our parents came to put him to learn the trade of porcelain painter.” One of the Lévys’ workers, Emile Laporte, painted in oils in his spare time. He suggested Renoir makes use of his canvases and paints. This offer resulted in the appearance of the first painting by the future impressionist. In 1862 Renoir passed the examinations and entered the Ecole des Beaux-Arts and, simultaneously, one of the independent studios, where instruction was given by Charles Gleyre, a professor at the Ecole des Beaux-Arts. The second, perhaps even the first, great event of this period in Renoir’s life was
Degas
Degas
Brodskaya, Nathalia
¥27.20
Degas was closest to Renoir in the impressionist’s circle, for both favoured the animated Parisian life of their day as a motif in their paintings. Degas did not attend Gleyre’s studio; most likely he first met the future impressionists at the Café Guerbois. He started his apprenticeship in 1853 at the studio of Louis-Ernest Barrias and, beginning in 1854, studied under Louis Lamothe, who revered Ingres above all others, and transmitted his adoration for this master to Edgar Degas. Starting in 1854 Degas travelled frequently to Italy: first to Naples, where he made the acquaintance of his numerous cousins, and then to Rome and Florence, where he copied tirelessly from the Old Masters. His drawings and sketches already revealed very clear preferences: Raphael, Leonardo da Vinci, Michelangelo, and Mantegna, but also Benozzo Gozzoli, Ghirlandaio, Titian, Fra Angelico, Uccello, and Botticelli. During the 1860s and 1870s he became a painter of racecourses, horses and jockeys. His fabulous p
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