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The Art of the Shoe
￥122.54
Aside from noticing a shoe for its comfort or elegance, contemporaries rarely take interest in this necessary object of daily life. However, the shoe is considerable in the history of civilization and art.
William Morris
￥122.54
For us there is a violent contrast between the beauty of nature and the ugliness of man’s work which most past ages have felt little or not at all. We think of a town as spoiling the country, and even of a single modern house as a blot on the face of the earth. But in the past, until the eighteenth century, men thought that their own handiwork heightened the beauty of nature or was, at least, in perfect harmony with it. We are aware of this harmony in a village church or an old manor house or a thatched cottage, however plain these may be; and wonder at it as a secret that we have lost.
Still Life
￥61.23
Cézanne transformed a teacup into something alive, raising still-life to the point that it ceased to be inanimate. Wassily Kandinsky said about the French artist: “He painted these things as human beings because he was endowed with the gift of divining the inner life in everything.” In addition to those of Cézanne, this book is devoted to still-life paintings by artists such as Van Gogh, Matisse, Chardin and Picasso.
Audubon's Birds
￥61.23
Audubon’s ambitious project to paint all the birds of North America resulted in a work that represents one of the greatest advances in ornithology. Not only did he identify new species, he also depicted birds within their natural habitat and in vivid poses. This impressive collection ranges from the Greater Flamingo and Bald Eagle to the Carolina parakeet. Audubon describes every species in concise texts, drawing attention the peculiarities of each bird.
French Painting
￥61.23
The influence of works by French artists extends itself across all artistic styles, and many French works have gained world fame as classics. This book gives an overview of the French milestones in still lifes, portraits, and landscapes, and includes artists like Poussin, Clouet, Moreau, Millet, Courbet, Signac, and Rouault. The convenient format makes the Mega Square edition an ideal gift for any art lover.
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
Bakst
￥61.23
Léon Bakst (1866-1924) was a painter, illustrator, stage and costume designer. He is universally acknowledged for representing a synthesis of creative energy in the late 19th and early 20th centuries. Bakst travelled widely throughout Europe and in 1890 joined the World of Art journal circle which numbered many artists among its members, the most famous being Benois and Diaghilev. This book illustrates the wealth of Bakst's contribution to the world of theatre and dance. His best known work includes sets for Stravinsky's Firebird, and Weber's Spectre de la Rose.
Chagall
￥61.23
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.
Lingerie
￥61.23
What do the thousands of images of bras and panties on perfectly sculpted bodies that we see spread across billboards and magazines say about our societyMany women indulge in lingerie to please men. Yet, since antiquity, women have always kept lingerie hidden away under outer garments. Thus, lingerie must be more than erotic bait. Authors Muriel Barbier and Shazia Boucher have researched iconography to explore the relationship of lingerie to society, revealing the economy and corridors of intimacy. They correlate lingerie with emancipation, querying whether it asserts newfound freedoms or simply adjusts to changing social values. This Mega Square book contains pictures of lingerie from the 17th to the 21st century.
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).
Byzantine Art
￥110.28
拜占庭的宫殿、教堂、绘画、珐琅、陶瓷和镶嵌细工的辉煌宏伟在本书中都展现得淋漓尽致，读者仿佛遨游于穿越时空的旅程之中。拜占庭传统中蕴涵着非凡的力量，在帝国崩溃后的漫长岁月里，其传统仍然生生不息，拜占庭的艺术遗产一直召唤着当今的我们。
The Fauves
￥110.28
诞生于二十世纪的破晓，野兽派在1905年的秋季沙龙中出现在了艺术家的眼帘。野兽派艺术家用明亮、生动的色彩冲击了艺术传统，也带来了巨大的争议。受到改变的鼓舞，诸如马蒂斯（Matisse），德兰（Derain）和弗兰曼克（Vlaminck）等艺术家通过采用习惯之外的色彩，寻找新的彩色语言。脱离了巴黎美术学院（Ecole des Beaux-Arts）所倡导的严格技艺的束缚，他们以浓淡不均的色彩为工具，深深浸透到绝美的画作之中。本书的作者邀请我们来体验这一生动艺术演变，尽管它在艺术史上的历时尚短，但在通往现代的道路上留下了不可磨灭的印记。
Vincent van Gogh
￥114.37
在向日葵之上，在鸢尾花之外，在加谢医生的肖像背后，有一个男人——梵高。他敏感脆弱，他天赋异禀，从1853年出生到1890年去世这几十年的岁月里，后印象主义画家梵高用他的创造力和技巧塑造了十九世纪绘画的概念。他成为了表现主义、野兽派和现代艺术的先驱。但是今天，梵高成为了备受疾病折磨的画家的象征，受制于他人，更受制于自己。在这本著作中，作者从梵高的书信和绘画入手，探索色彩的新的表现方式。传奇总是与平庸并存，伟大的艺术天才也总会遭遇现实的繁琐。
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。
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
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.
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.
