购物车
个人中心
Forbidden Asia
￥61.23
Since The Turkish Baths (1863) by the French painter Ingres, the Far Eastern woman has, to many, been a symbol of out of reach or forbidden pleasures. Seafaring explorers, military adventurers and simple travellers from Europe over the centuries have all been enthralled by the exotic nature of the Asian woman, her foreignness accentuated by the gentle pallor of her skin. Thus arose the myth that she, of all women, was in possession of the knowledge of certain refined pleasures.
Chagall
￥40.79
Marc Chagall was born into a strict Jewish family for whom the ban on representations of the human figure had the weight of dogma. A failure in the entrance examination for the Stieglitz School did not stop Chagall from later joining that famous school founded by the Imperial Society for the Encouragement of the Arts and directed by Nicholas Roerich. Chagall moved to Paris in 1910. The city was his “second Vitebsk”. At first, isolated in the little room on the Impasse du Maine at La Ruche, Chagall soon found numerous compatriots also attracted by the prestige of Paris: Lipchitz, Zadkine, Archipenko and Soutine, all of whom were to maintain the “smell” of his native land. From his very arrival Chagall wanted to “discover everything”. And to his dazzled eyes painting did indeed reveal itself. Even the most attentive and partial observer is at times unable to distinguish the “Parisian”, Chagall from the “Vitebskian”. The artist was not full of contradictions, nor was he a split personality, but he always remained different; he looked around and within himself and at the surrounding world, and he used his present thoughts and recollections. He had an utterly poetical mode of thought that enabled him to pursue such a complex course. Chagall was endowed with a sort of stylistic immunity: he enriched himself without destroying anything of his own inner structure. Admiring the works of others he studied them ingenuously, ridding himself of his youthful awkwardness, yet never losing his authenticity for a moment. At times Chagall seemed to look at the world through magic crystal – overloaded with artistic experimentation – of the Ecole de Paris. In such cases he would embark on a subtle and serious play with the various discoveries of the turn of the century and turned his prophetic gaze like that of a biblical youth, to look at himself ironically and thoughtfully in the mirror. Naturally, it totally and uneclectically reflected the painterly discoveries of Cézanne, the delicate inspiration of Modigliani, and the complex surface rhythms recalling the experiments of the early Cubists (See-Portrait at the Easel, 1914). Despite the analyses which nowadays illuminate the painter’s Judaeo-Russian sources, inherited or borrowed but always sublime, and his formal relationships, there is always some share of mystery in Chagall’s art. The mystery perhaps lies in the very nature of his art, in which he uses his experiences and memories. Painting truly is life, and perhaps life is painting.
Picasso
￥40.79
Picasso was born a Spaniard and, so they say, began to draw before he could speak. As an infant he was instinctively attracted to artist’s tools. In early childhood he could spend hours in happy concentration drawing spirals with a sense and meaning known only to himself. At other times, shunning children’s games, he traced his first pictures in the sand. This early self-expression held out promise of a rare gift. Málaga must be mentioned, for it was there, on 25 October 1881, that Pablo Ruiz Picasso was born and it was there that he spent the first ten years of his life. Picasso’s father was a painter and professor at the School of Fine Arts and Crafts. Picasso learnt from him the basics of formal academic art training. Then he studied at the Academy of Arts in Madrid but never finished his degree. Picasso, who was not yet eighteen, had reached the point of his greatest rebelliousness; he repudiated academia’s anemic aesthetics along with realism’s pedestrian prose and, quite naturall
Rembrandt
￥40.79
Rembrandt is completely mysterious in his spirit, his character, his life, his work and his method of painting. What we can divine of his essential nature comes through his painting and the trivial or tragic incidents of his unfortunate life; his penchant for ostentatious living forced him to declare bankruptcy. His misfortunes are not entirely explicable, and his oeuvre reflects disturbing notions and contradictory impulses emerging from the depths of his being, like the light and shade of his pictures. In spite of this, nothing perhaps in the history of art gives a more profound impression of unity than his paintings, composed though they are of such different elements, full of complex significations. One feels as if his intellect, that genial, great, free mind, bold and ignorant of all servitude and which led him to the loftiest meditations and the most sublime reveries, derived from the same source as his emotions. From this comes the tragic element he imprinted on everything he pa
Van Gogh
￥40.79
来吧，来翻来书页欣赏优美的画作，来探索后印象主义的创造性天才——文森特·梵高（Vincent van Gogh）。生动活泼的色彩，异想天开的画笔，这些画作让我们能够洞察梵高波动的内心世界。这本Mega Square的小册子带你领略这位成就非凡的画家。
Bosch
￥40.79
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。
Goya
￥40.79
Goya is perhaps the most approachable of painters. His art, like his life, is an open book. He concealed nothing from his contemporaries, and offered his art to them with the same frankness. The entrance to his world is not barricaded with technical difficulties. He proved that if a man has the capacity to live and multiply his experiences, to fight and work, he can produce great art without classical decorum and traditional respectability. He was born in 1746, in Fuendetodos, a small mountain village of a hundred inhabitants. As a child he worked in the fields with his two brothers and his sister until his talent for drawing put an end to his misery. At fourteen, supported by a wealthy patron, he went to Saragossa to study with a court painter and later, when he was nineteen, on to Madrid. Up to his thirty-seventh year, if we leave out of account the tapestry cartoons of unheralded decorative quality and five small pictures, Goya painted nothing of any significance, but once in contro
Schiele
￥40.79
埃贡·席勒（Egon SchieleA）的作品是如此与众不同，他拒绝被分类。席勒在年仅十六岁的时候被维也纳艺术学院录取，很早就成为了出色的艺术家。他对于线条的完美把控，使得作品充满了紧张的表现张力。他深刻地坚信自己作为艺术家的重要性，在短暂的年轻岁月中完成了很多其他艺术家一生的艺术成就。他扎根在维也纳分离艺术中的“青年风格，和那一代人一样，他受到了维也纳*魅力和名气的艺术家古斯塔夫·克里姆特（Gustav Klimt）的影响。克里姆特也认识到了席勒那超凡脱俗的分才能，他开始支持这位年轻的艺术家。席勒在短短几年的时间里，便脱离了他导师的性感装饰影响，独具一格。1910年开始席勒进行了大量而创新的创作，坚定不移地揭示人类的形式——不仅仅是他自身——如此深刻，也展现了他正在经历更加心理的、精神和情感的解剖，而非物理上的解剖。他绘画了很多城镇、乡村的风景，也创作了不少正式的肖像画和寓言神话的人物。但正是他极其坦率的作品，有些时候甚至带有明显的色情，以及他与未成年的模特的合作使他在吹毛求疵的道德观念面前有些脆弱无力。在1912年，他因冒犯道德的嫌疑——包括绑架、强奸和伤风败俗——而锒铛入狱。严重的指控（差不多指的是伤风败俗）没有成立，但席勒却在监狱中度过了绝望的三个星期。德国的表现主义画家圈子对席勒的作品的接受程度不温不火。他的同胞奥斯卡·柯克西卡（Kokoschka）的待遇却要好得多。他崇拜慕尼黑艺术家蓝骑士（Der Blaue Reiter），但蓝骑士却断然回绝了他。之后，在次世界大战期间，他的作品逐渐小有名气。在1916年的一次事件中，他被柏林的表现主义杂志Die Aktion认定为左翼。席勒是一种嗜好。在很早的时候，他便被认为是天才，这为他招揽了一小群长期沉迷其中的收藏家和崇拜者。但虽然如此，多年来他的生活和经济状况都岌岌可危。他经常欠债，也偶尔会被迫用一些廉价的材料，在发黄的皱巴巴的纸上画画或是用硬纸板，而不是画家的画纸或画布。只有在1918年他才在维也纳拥有了次实质性的成功。悲剧的是，不久之后，他和他的妻子伊迪丝(Edith)便被1918年大规模的流感所击倒，席勒及其妻子和千千万万其他受害者一样都去世了。那年，席勒才年仅二十八岁。
Diego Rivera
￥122.54
弗里达卡罗（Frida Kahlo）与迭戈里维拉（Diego Rivera）在1928年相识，当年弗里达才21岁，而迭戈42岁。当时迭戈已经是举世闻名的画家，而弗里达还在努力中。 这对备受折磨的组合——特别是对于弗里达来说，在痛苦和磨难中催生了大量艺术创作。弗里达时常处于丈夫的阴影下，忍受着他的不忠和她的妒忌，将所有的痛苦倾注在了画布上，逐渐吸引了公众的目光。在美洲和欧洲两块大陆上，坚定的艺术家宣告着自由的自白书，留下了卓越绝伦的才华。 在这本书中，作者Gerry Souter不仅为我们带来了艺术家的传记，也热情地凸显了这两位二十世纪伟大的墨西哥艺术家之间的联系。
Art of War
￥122.54
在历史的进程中，很多战争改变了这个世界的政治文化格局。尽管重大事件取决于战争的剧变和激烈程度，战争也影响了整个民族和几代人的身份定位，因而产生了深远的文化效应。尽管在激烈动荡的时期，战争对身体和情绪造成了破坏，但也刺激了丰富的艺术创造。几个世纪以来，伴随着战争的创伤数不胜数的艺术家创造了不朽的作品来祭奠战争中*戏剧性的时刻，从而将它们永恒定格在历史中。 这本著作中优美的画作刻画了著名的战役和战争场景，形象地加入了传说的中国孙子兵法的说明，以及记载了不同战争中重要的时刻，每一篇都由著名的作者撰写。从乌切洛（Uccello）的《圣罗马洛战争》（The Battle of San Romano）到毕加索的《格尔尼卡》（Guernica），这本著作为我们展现了战争灵感下艺术作品的魅力以及它们所展现的人类历史。
Aestheticism in Art
￥122.54
It is no wonder that this subject was considered inexplicable for so long, as the nature of many parts of it cannot possibly come within the reach of mere men with pens; otherwise those ingenious gentlemen who have published treatises about it (and who wrote much more learnedly than can be expected from one who never took up the pen before) would not so soon have been bewildered in their accounts of it and obliged so suddenly to turn into the broad and more beaten path of moral beauty, in order to extricate themselves from the difficulties they seem to have met with in this. What’s more, they were forced for the same reasons to amuse their readers with amazing (but often misapplied) encomiums on deceased painters and their performances, wherein they continually discoursed effects instead of developing causes. After much flattery, in very pleasing language, one is fairly set down just from where they were picked up, honestly confessed to that in terms of grace, the main point in questio
Persian Art
￥122.54
This book consists of two sections. The wide-ranging introduction attempts to outline the basic stages in the development of Persian Art, from the first appearance of Persian peoples on the Iranian plateau during the 10th-8th centuries BCE up to the 19th century CE. Detailed commentaries on the works of art reproduced here provide not only factual information (dates, iconography, provenance, techniques, etc.), but are also, in many instances, followed by brief scholarly studies of the examples of Persian art housed in various museums of the former Soviet Union that are, in the authors’ opinion, of the greatest interest and significance. Some of these objects are reproduced and discussed here for the first time.
O'Keeffe
￥61.23
In 1905 Georgia travelled to Chicago to study painting at the Art Institute of Chicago. In 1907 she enrolled at the Art Students’ League in New York City, where she studied with William Merritt Chase. During her time in New York she became familiar with the 291 Gallery owned by her future husband, photographer Alfred Stieglitz. In 1912, she and her sisters studied at university with Alon Bement, who employed a somewhat revolutionary method in art instruction originally conceived by Arthur Wesley Dow. In Bement’s class, the students did not mechanically copy nature, but instead were taught the principles of design using geometric shapes. They worked at exercises that included dividing a square, working within a circle and placing a rectangle around a drawing, then organising the composition by rearranging, adding or eliminating elements. It sounded dull and to most students it was. But Georgia found that these studies gave art its structure and helped her understand the basics of abstra
Virgin Portraits
￥61.23
During the Renaissance, Italian painters would traditionally depict the wives of their patrons as Madonnas, often rendering them more beautiful than they actually were. Over centuries in religious paintings, the Madonna has been presented as the clement and protective mother of God. However, with the passing of time, Mary gradually lost some of her spiritual characteristics and became more mortal and accessible to human sentiments. Virgin Portraits illuminates this evolution and contains impressive works by Michelangelo, Caravaggio, Rubens, Fouquet, Dalí, and Kahlo.
Gaudí
￥61.23
Spanish architect and designer, Antoni Gaudí (1852-1926) was an important and influential figure in the history of contemporary Spanish art. His use of colour, application of a range of materials and the introduction of organic forms into his constructions were an innovation in the realm of architecture. In his journal, Gaudí freely expressed his own feelings on art, “the colours used in architecture have to be intense, logical and fertile.” His completed works (the Casa Batlló, 1905-1907 and the Casa Milà, 1905-1910) and his incomplete works (the restoration of the Poblet Monastery and the altarpiece of Alella in Barcelona) illustrate the importance of this philosophy. His furniture designs were conceived with the same philosophy, as shown, for example, in his own office (1878) or the lamps in the Plaza Real in Barcelona. The Sagrada Familia (1882-1926) was a monumental project which eventually took over his life (it was still incomplete at the time of his death).
Persian Miniatures
￥61.23
文森特·梵高（1853-1890）是传奇，是被诅咒的艺术家神话的化身，是当代艺术的楷模。作为后印象派运动中表现主义画家，他的艺术在他生前备受误解。在荷兰，他研习农民的人物形象，参与了荷兰现实主义绘画运动。梵高一生忧心忡忡，丧心丧意，创作了超过两千幅艺术作品，但只在生前卖出去了一幅。梵高是一位自力更生的画家，他的作品因为粗犷而富含感情之美而闻名于世，是当今艺术市场上为有名的作品之一。
Edward Hopper Light and Dark
￥122.54
爱德华·霍普，1882年出生于奈阿克，是重要的美国画家之一。在学习了插图画之后，他进入了大名鼎鼎的纽约艺术学院学习，师从罗伯特·亨利（Robert Henri）。亨利对霍普产生了重大的影响，他鼓励霍普从美国人的生活中去发现素材。在创作中，诗意地表达了人们反对二十世纪二十年代的美国生活方式的孤独。受到电影作品—特别是多种摄影角度和人物性格的影响，他的绘画作品表达了对大众文化的疏离感。通过采用冷色调和绘画匿名人物，霍普的作品同样象征性地反映了大萧条时期。尽管霍普曾多次游历欧洲，但他在当时流行的的改革绘画面前仍然无动于衷，例如立体主义，例如超现实主义。霍普用一种非常个性化的形式来表达主题，致力于效仿古典艺术家，例如伦布兰特（Rembrandt）、德加斯(Degas)或者杜米埃（Daumier）。他绘画的加油站、旅馆和日常生活的场景代表了对个人主义的美学宣言、宽敞的开放空间和美国的基本价值观。霍普在1967年去世了，在美国艺术上留下了后的痕迹。
Jasper Johns
￥122.54
这本书不仅仅为读者展示了这位艺术家那类目众多的艺术画卷，同样讨论了他对二十世纪六十年代及其之后的艺术的影响，以及他与当时其他的艺术大家的个人和艺术交往。这本书回顾了琼斯的艺术，同时它也展示了过去六十年美国艺术图景，让读者能够感受到他们喜爱的艺术家在历史和当代的重要性。
African Art
￥122.54
Well-known and appreciated by Africanists, Maurice Delafosse (1870-1926) knew how to exceed the requirements of his environment and of his time for the benefit of an authentic Africa.
English Painting
￥122.54
Strictly speaking, the word school applies only in a very imperfect manner to the growth of painting in England. Generally it is used to designate a special collection of traditions and processes, a particular method, a peculiar style in design, and an equally peculiar taste in colouring – all contributing to the representation of a national ideal existing in the minds of the artists of the same country at the same time. In this sense, we speak of the Flemish school, the Dutch school, the Spanish school, several Italian schools, and the French school, but not of the English school. We cannot apply the word to English art, for it is just this absence of any national tradition that strikes one most forcibly in studying English painting. Each painter seems to stand by himself, and is, so to speak, isolated from his brother artists. No trace is to be found of any uniformity of method or of teaching, none of systematic instruction by the State, the Academy, or the Fine Art school. English a
Central Asian Art
￥122.54
Ever since the Bronze Age and the beginning of the Iron Age, Central Asia has rivalled with classical Eastern Asia (which extended from Mesopotamia to India) in the abilities and skills of its peoples. In the 6th century BCE it was largely conquered by the powerful Achaemenian Dynasty and in the 4th century BCE by Alexander the Great's army which gave it considerable artistic impetus. The period between the 3rd century BCE and the 3rd century CE marked the area with the appearance of powerful Kingdoms: the Parthians of the Arsacid dynasty (south of Turkmenistan, in Persia, and in part of Mesopotamia), the Greco-Bactrians, the Kushans (which included Bactria and the territory beyond Amu-Daria as far as the Indus and the Ganges), the Kangas (that united the Kharezm, the Sogdian, and the northern territories) whose social and cultural development founded an entirely new cultural impulse throughout the territory they controlled.
