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Valentin Serov
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在十九世纪八十年代开始转向印象主义的莫斯科艺术家都崇拜年轻的谢罗夫的作品，他田园牧歌般的景色清晰地揭示了日常生活中那些小事儿的抒情诗。谢罗夫受益于他的老师Repin和Tchistiakov，成为了当时出色的俄罗斯肖像画画家。他娴熟的技艺在他美丽的作品中显露无疑，《带桃子的少女》、《尤利西斯和风之谷》，谢罗夫创造性的作品和经历为俄罗斯绘画成为二十世纪绘画艺术的一部分打开了道路。
Claude Monet
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For Claude Monet the designation ‘impressionist’ always remained a source of pride. In spite of all the things critics have written about his work, Monet continued to be a true impressionist to the end of his very long life. He was so by deep conviction, and for his Impressionism he may have sacrificed many other opportunities that his enormous talent held out to him. Monet did not paint classical compositions with figures, and he did not become a portraitist, although his professional training included those skills. He chose a single genre for himself, landscape painting, and in that he achieved a degree of perfection none of his contemporaries managed to attain. Yet the little boy began by drawing caricatures. Boudin advised Monet to stop doing caricatures and to take up landscapes instead. The sea, the sky, animals, people, and trees are beautiful in the exact state in which nature created them – surrounded by air and light. Indeed, it was Boudin who passed on to Monet his convictio
Egon Schiele
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Egon Schiele’s work is so distinctive that it resists categorisation. Admitted to the Vienna Academy of Fine Arts at just sixteen, he was an extraordinarily precocious artist, whose consummate skill in the manipulation of line, above all, lent a taut expressivity to all his work. Profoundly convinced of his own significance as an artist, Schiele achieved more in his abruptly curtailed youth than many other artists achieved in a full lifetime. His roots were in the Jugendstil of the Viennese Secession movement. Like a whole generation, he came under the overwhelming influence of Vienna’s most charismatic and celebrated artist, Gustav Klimt. In turn, Klimt recognised Schiele’s outstanding talent and supported the young artist, who within just a couple of years, was already breaking away from his mentor’s decorative sensuality. Beginning with an intense period of creativity around 1910, Schiele embarked on an unflinching exposé of the human form – not the least his own – so penetrating th
Ilya Repin
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伊利亚·列宾（Ilya Repin）是俄罗斯领先的画家和雕塑家，是俄罗斯巡回展览画派的重要代表人物。这场先锋运动反对形式主义和官方艺术学院的传统，宣扬自由、平等、博爱的观念。列宾有力量的作品极具心理学深度（《伊凡雷帝杀子》），揭露了当时社会秩序内部的紧张事态（《伏尔加河上的纤夫》）。这本著作邀请您来欣赏这位进步性现实主义画家的杰作。他的作品终定义和影响了未来的社会艺术运动。
The Pre-Raphaelites
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在维多利亚时代，工业革命席卷了英格兰。诸如威廉·莫里斯（William Morris）的拉斐尔前派艺术家们以及工艺美术运动激发了回到传统价值观的灵感。带着重新树立意大利文艺复兴的纯正和高贵形式的愿望，包括约翰·艾佛雷特·米莱（John Everett Millais）、但丁·加百列·罗塞蒂 （Dante Gabriel Rossetti）、爱德华·伯恩·琼斯（Edward Burne-Jones）的艺术家们更加偏爱现实主义和圣经主题。这本著作以翔实的内容和丰富的阐释，热情洋溢地描述了这场激发了象征主义和新艺术主义的运动。
Galle
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An icon in the Art Nouveau movement, ?mile Gallé (1846-1904) sought to portray the beauty and simplicity of nature in his glass art. His designs, referred to as “poetry in glass”, range from fine pottery to jewellery to furniture. Everything Gallé produced contains traces of his masterful technique which reflects his innovativeness as an artist and his skill as a designer. In this rich text, Gallé unravels the beauty and ingenuity found within his own work.
Encaustic Art
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釉烧画是世界脆弱的艺术形式之一，它自古埃及次用于装饰石棺起便流行于世，在现代随着保罗·克利（Paul Klee）和迭戈·里维拉(Diego Rivera)等艺术家而闻名于世。在这本著作中，Jennifer Margell详实地向读者介绍了这一艺术形式，采访了一些为有名的工艺师，为釉烧画的入门者提供了启发性的基础指南。这是迄今为止丰富的釉烧画出版物之一。
Russian Avant-Garde
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The Russian Avant-garde was born at the turn of the 20th century in pre-revolutionary Russia. The intellectual and cultural turmoil had then reached a peak and provided fertile soil for the formation of the movement. For many artists influenced by European art, the movement represented a way of liberating themselves from the social and aesthetic constraints of the past. It was these Avant-garde artists who, through their immense creativity, gave birth to abstract art, thereby elevating Russian culture to a modern level. Such painters as Kandinsky, Malevich, Goncharova, Larionov, and Tatlin, to name but a few, had a definitive impact on 20th-century art.
Hokusai
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毫无疑问，葛饰北斋是十九世纪中期以来负盛名的日本艺术家，他的作品在西方世界广为人知。葛饰北斋的作品是对于一种被孤立的文明的艺术表达和反应，极大影响了诸如梵高之类的欧洲印象派和后印象派画家；这也使得葛饰北斋成为了跻身欧洲艺术界个日本艺术家。葛饰北斋是位日本浮世绘的大师，他的作品丰富多样、意蕴重大，创作年限长达九十年，其气势恢宏和类型缤纷的特点在本书中展现得淋漓尽致。
Expressionism
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Max Beckmann, Otto Dix, George Grosz, Emil Nolde, E.L. Kirchner, Paul Klee, Franz Marc as well as the Austrians Oskar Kokoschka and Egon Schiele were among the generation of highly individual artists who contributed to the vivid and often controversial new movement in early twentieth-century Germany and Austria: Expressionism. This publication introduces these artists and their work. The author, art historian Ashley Bassie, explains how Expressionist art led the way to a new, intense, evocative treatment of psychological, emotional and social themes in the early twentieth century. The book examines the developments of Expressionism and its key works, highlighting the often intensely subjective imagery and the aspirations and conflicts from which it emerged while focusing precisely on the artists of the movement.
Edgar Degas
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德加是印象主义画家中接近雷诺阿（Renoir）的人。他从1853年开始在路易斯-欧内斯特·巴里亚斯（Louis-Ernest Barrias）的工作室做学徒。1854年起，他师从拉莫特（Louis Lamothe）学习。拉莫特为崇敬法国画家安格尔（Ingres），并且将对这位大师的崇敬之情传递给了埃德加·德加。从1854年起，德加频繁地游历意大利，向早期的大师临摹学习。他的绘画和素描非常明晰地展现了自己的偏好，特别是对于拉斐尔、莱昂纳多·达·芬奇、米开朗基罗和曼坦那（Mantegna）。在他次创作——绘画马——德加开始了另一场发现之旅。德加的幅作品《勒伯迪街上剧院内的练舞场》献给了芭蕾舞。经过了细致的构图，左右人物相互平衡，姿态各异。广泛的观察和大量的素描是完成这幅作品的关键。芭蕾舞的画作中将至始至终保留德加的热情。
Romanesque Art
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罗马艺术指的是11世纪到13世纪的艺术史。这一时代有各种学派百家争鸣，多种多样，各具特色。在建筑和雕塑领域，罗马艺术的特色是具有原始的形式。这本著作通过丰富的插图和迷人的文字，重新发现这种在当今备受轻视的中世纪艺术仍然可与之后功成名就的哥特艺术相媲美。
Baroque Art
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The Baroque period lasted from the beginning of the seventeenth century to the middle of the eighteenth century. Baroque art was artists’ response to the Catholic Church’s demand for solemn grandeur following the Council of Trent, and through its monumentality and grandiloquence it seduced the great European courts. Amongst the Baroque arts, architecture has, without doubt, left the greatest mark in Europe: the continent is dotted with magnificent Baroque churches and palaces, commissioned by patrons at the height of their power. The works of Gian Lorenzo Bernini of the Southern School and Peter Paul Rubens of the Northern School alone show the importance of this artistic period. Rich in images encompassing the arts of painting, sculpture and architecture, this work offers a complete insight into this passionate period in the history of art.
Na?ve Art
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Naive art first became popular at the end of the 19th century. Until that time, this form of expression, created by untrained artists and characterised by spontaneity and simplicity, enjoyed little recognition from professional artists and art critics. Influenced by primitive arts, naive painting is distinguished by the fluidity of its lines, vivacity, and joyful colours, as well as by its rather clean-cut, simple shapes. Naive art counts among it artists: Henri Rousseau, Séraphine de Senlis, André Bauchant, and Camille Bombois. This movement has also found adherents abroad, including such prominent artists as Joan Miró, Guido Vedovato, Niko Pirosmani, and Ivan Generalic.
Art Deco
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Art Deco style was established on the ashes of a disappeared world, the one from before the First World War, and on the foundation stone of a world yet to become, opened to the most undisclosed promises. Forgetting herself in the whirl of Jazz Age and the euphoria of the “Années Folles”, the Gar?onne with her linear shape reflects the architectural style of Art Deco: to the rounded curves succeed the simple and plain androgynous straight line… Architecture, painting, furniture and sculpture, dissected by the author, proclaim the druthers for sharp lines and broken angles. Although ephemeral, this movement keeps on influencing contemporary design.
The Fauves
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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。
1000 Paintings of Genius
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从早期文艺复兴到巴洛克，再到浪漫主义、立体主义、超现实主义和流行绘画，这些标准的方艺术跨越了八个世纪，探索了众多的主题。在这里，有神圣的和诽谤的，有抽象的和丰富的，也有开天辟地的和因循守旧的。这些绘画作品抓住了时代的脉搏，吹响了新时代的号角。有的艺术作品一经问世便获得认可，还有一些则被拒之门外。 无论艺术的概念如何改变，无论艺术究竟在多大程度上照射现实，也无论艺术能如何改变现实，所有的这些作品都经历了时间的考验，并以独特的方式宣示着其伟大之处。总而言之，这些伟大的作品照亮了我们的先人变换的聚焦点和视线，也让我们停下来思考我们时代的哪些作品能够终成为标准。
Post-Impressionism
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印象主义彻底改变了备受学术规范桎梏的艺术媒介，标志着向现代绘画迈出的步。后印象主义则更加革命性，完全解放了色彩，带我们进入了新的未知的视野领域。乔治·修拉（Georges Seurat）在新时代起锚启航，通过研习谢弗勒尔（Chevreul ,Michel Eugene）的色彩法则，将色彩的化学原理融入到点绘中，创造了全新的形象。梵高也通过浓墨重彩的画笔来表现正午的太阳，而塞尚（Cézanne）则摒弃了线性透视法。正是这些艺术家们的多元化和奇特性，后印象主义成为了二十世纪著名绘画大家的华美乐章。Nathalia Brodskaa的这本《印象主义》正是基于此，以飨读者。
Cubism
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Les Demoiselles d’Avignon: five young women that changed modern art forever. Faces seen simultaneously from the front and in profile, angular bodies whose once voluptuous feminine forms disappear behind asymmetric lines - with this work, Picasso revolutionised the entire history of painting. Cubism was thus born in 1907. Transforming natural forms into cylinders and cubes, painters like Juan Gris and Robert Delaunay, led by Braque and Picasso, imposed a new vision upon the world that was in total opposition to the principles of the Impressionists. Largely diffused in Europe, Cubism developed rapidly in successive phases that brought art history to all the richness of the 20th century: from the futurism of Boccioni to the abstraction of Kandinsky, from the suprematism of Malevich to the constructivism of Tatlin. Linking the core text of Guillaume Apollinaire with the studies of Dr. Dorothea Eimert, this work offers a new interpretation of modernity’s crucial moment, and permits the read
Impressionism
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“我画我所见，而非他人所想见。”难道还有什么能比 爱德华马奈（Edouard Manet）的这句话更能诠释印象主义运动了。马奈的这句话似乎与莫奈（Monet）或雷阿诺（Renoir）的情感表达完全不同。莫奈在去世前不久曾写道：“印象主义之名源我而起，但却冠以了一群并非印象主义者的群体，对此我深表遗憾。” 在这本书中，Nathalia Brodskaia考察了这场十九世纪末期的印象主义运动的矛盾之处，分析了印象主义群体在艺术家个人的主张之下形成了的连贯整体的悖论。学术艺术和现代抽象绘画之间的道路漫长而艰辛。作者逐一分析这场艺术运动的基本元素，通过每位艺术家的作品考察了个人的需求是如何催生出现代绘画。
The Viennese Secession
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维也纳分离派预示着一场变革。这一学派拥有约二十位才华横溢的艺术家，他们持不同意见，反对保守的学院派画风，认为学院派的风格僵化了维也纳和当时的奥匈帝国。受到新艺术运动的影响，克林姆（Klimt）、莫尔（Moll）和霍夫曼（Hoffmann）在1897年创造了分离派，这并非是一场匿名的艺术革命。因为本质上的不同，分离派将自身定义为“完全艺术”。没有受到任何政治或商业的限制，分离派运动更加类似于哲学运动，是一种以意识形态的风暴来影响工匠、建筑师、图形艺术家和设计师。艺术家们从功成名就的艺术中抬起头来，将目光投放在大量装饰性的植物、仙女之中。他们拥抱唯美主义；当然，这些情色的力量只会冒犯当时的官僚阶级。在这本书中，作者谈到了绘画、雕塑、建筑，强调了分离派运动的多样性和丰富性，正如他们那明确有力的口号：“为时代的艺术，为艺术应得的自由”，阐释了创新性和创造力。
