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万本电子书0元读

Historic Maritime Maps
Historic Maritime Maps
Wigal, Donald
¥61.23
In the Middle Ages, navigation relied upon a delicate balance between art and science. Whilst respecting the customs and the precautions of their forbearers, sailors had to count on their knowledge of the stars, the winds, the currents, and even of migratory flights. They also used hand-painted maps, which, although certainly summary, were marvellously well-drawn. In following the saga of old sailors, from Eric Le Rouge to Robert Peary, Donald Wigal leads us in discovering the New World. This magnificent overview of maps dating from the 10th to the 18th centuries, often ‘primitive’ and sometimes difficult to understand, retraces the progress of cartography and shows the incredible courage of men who endeavoured to conquer the seas with tools whose geographical accuracy often left much to be desired.
Hiroshige
Hiroshige
Uspensky, Mikhail
¥61.23
如果迷人的“日出之国”不幸在火山喷发之中沉入大洋之底,它仍然将活在歌川广重(Utagawa Hiroshige)那神奇的画笔之下。通过欣赏他的风景画,想象的光之翼将我们带领到阵雨和黎明的国度——仿佛是在彩虹跌落在人间,散成了千万个棱镜的仙境之中——水流缓缓流向地平线,水仙花散布其间。 这本书宛如一条通向永恒的艺术的小道,凸显了自然之美,无人出其右,令人难忘怀。
Cassatt
Cassatt
Brodskaya, Natalia
¥61.23
Mary was born in Pittsburgh. Her father was a banker of liberal educational ideas and the entire family appears to have been sympathetic to French culture. Mary was no more than five or six years old when she first saw Paris, and she was still in her teens when she decided to become a painter. She went to Italy, on to Antwerp, then to Rome, andfinally returned to Paris where in 1874, she permanently settled. In 1872, Cassatt sent her first work to the Salon, others followed in the succeeding years until 1875, when a portrait of her sister was rejected. She divined that the jury had not been satisfied with the background, so she re-painted it several times until, in the next Salon, the same portrait was accepted. At this moment Degas asked her to exhibit with him and his friends, the Impressionist Group, then rising into view, and she accepted with joy. She admired Manet, Courbet and Degas, and hated conventional art. Cassatt’s biographer stressed the intellectuality and sentiment app
Kirchner
Kirchner
Carl, Klaus
¥61.23
The self-appointed “leader” of the artists’ group Die Brücke (Bridge), founded in Dresden in 1905, Ernst Ludwig Kirchner was a key figure in the early development of German Expressionism. His first works show the influence of Impressionism, Post-impressionism and Jugendstil, but by about 1909, Kirchner was painting in a distinctive, expressive manner with bold, loose brushwork, vibrant and non-naturalistic colours and heightened gestures. He worked in the studio from sketches made very rapidly from life, often from moving figures, from scenes of life out in the city or from the Die Brücke group’s trips to the countryside. A little later he began making roughly-hewn sculptures from single blocks of wood. Around the time of his move to Berlin, in 1912, Kirchner’s style in both painting and his prolific graphic works became more angular, characterized by jagged lines, slender, attenuated forms and often, a greater sense of nervousness. These features can be seen to most powerful effect in
Picasso
Picasso
Charles, Victoria
¥61.23
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
Pieter Bruegel
Pieter Bruegel
Michel, François Émile;Charles, Victoria
¥61.23
Pieter Brueghel was the first important member of a family of artists who were active for four generations. Firstly a drawer before becoming a painter later, he painted religious themes, such as Babel Tower, with very bright colours. Influenced by Hieronymus Bosch, he painted large, complex scenes of peasant life and *ure or spiritual allegories, often with crowds of subjects performing a variety of acts, yet his scenes are unified with an informal integrity and often with wit. In his work, he brought a new humanising spirit. Befriending the Humanists, Brueghel composed true philosophical landscapes in the heart of which man accepts passively his fate, caught in the track of time.
Caravaggio
Caravaggio
Witting, Felix;Patrizi, M.L.
¥61.23
直到二十世纪中期,长期以来备受争议的意大利画家卡拉瓦乔(Caravaggio,1571-1610)才重新被发现。作为现实主义的倡导者,这位反宗教改革的艺术家挑战陈习旧规,回归圣人形象的人性感。这位神秘的画家赋予了圣人纵欲之情,远远超出了通常的圣人崇拜,为模糊的色情打开了一扇门,这也导致了教廷的愤怒。这位影子画家矛盾而强烈地阐释了他堕落的生活方式和放荡的道德准绳。他所创造的明暗处理技巧,在艺术史上留下了血腥的印象。
Lingerie
Lingerie
Carl, Klaus
¥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
Virgin Portraits
Carl, Klaus
¥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.
Rodin
Rodin
Rilke, Rainer Maria
¥61.23
受到古典大师——包括天才米开朗基罗和巴洛克雕塑,特别是贝尔尼尼(Bernini)——的影响,奥古斯特·罗丹(Auguste Rodin,1840-1917)是历*为声名显赫的艺术家之一。尽管罗丹被认为是现代雕塑的奠基人,他并不批判过去的古典传统。他的雕塑是批判性的,也是备受争议的,情色荡漾,高度写实。他富创造性的作品抛弃了神话和寓言的传统主题,拥抱人体,高歌个人主义和肉体。这本著作解密了这位备受赞扬的艺术家的事业和人生,探讨了他有名的艺术作品,例如《地狱之门》、《思考者》及“伤风败俗”之作——《吻》。
Van Gogh
Van Gogh
van Gogh, Vincent
¥61.23
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。
Franz Marc
Franz Marc
Marc, Franz;Carl, Klaus H.
¥61.23
他曾被纳粹诽谤为“堕落艺术家”,他笔下鲜明的线条和感情充沛的颜色有力地展现了战争的疼痛与创伤,他就是德国画家弗兰茨·马尔克(1880-1916)。在他的名作《动物的命运》中,马尔克创造性地用指直白的情感表达了原始的暴力,他称之为“战争的预感”。终,也正是这种对战争的热情终导致了三十六岁的马尔克的死亡。
Manet
Manet
Brodskaya, Natalia
¥61.23
Manet is one of the most famous artists from the second half of the nineteenth century linked to the impressionists, although he was not really one of them. He had great influence on French painting partly because of the choice he made for his subjects from everyday life, the use of pure colours, and his fast and free technique. He made, in his own work, the transition between Courbet’s Realism and the work of the impressionists. Born a high bourgeois, he chose to become a painter after failing the entry to the Marine School. He studied with Thomas Couture, an Academic painter, but it was thanks to the numerous travels he made around Europe from 1852 that he started to find out what would become his own style. His first paintings were mostly portraits and genre scenes, inspired by his love for Spanish masters like Velázquez and Goya. In 1863 he presented his masterpiece Luncheon on the Grass at the Salon des Refusés. His work started a fight between the defenders of Academic art and th
Na?ve Art
Na?ve Art
Brodskaya, Natalia
¥61.23
Until the end of the 19th century Na?ve Art, created by untrained artists and characterised by spontaneity and simplicity, enjoyed little recognition from professional artists and art critics. Na?ve painting is often distinguished by its clarity of line, vivacity and joyful colours, as well as by its rather clean-cut, simple shapes, as represented by French artists such as Henri Rousseau, Séraphine de Senlis, André Bauchant and Camille Bombois. However, this movement has also found adherents elsewhere, including Joan Miró (who was influenced by some of its qualities), Guido Vedovato, Niko Pirosmani, and Ivan Generalic.
Still Life
Still Life
Charles, Victoria
¥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
Audubon's Birds
Audubon, John James
¥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.
Courbet
Courbet
Bade, Patrick
¥61.23
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。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。
French Painting
French Painting
Charles, Victoria
¥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
O'Keeffe
Souter, Janet
¥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
Bakst
Ingles, Elisabeth
¥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
Chagall
Forestier, Sylvie
¥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.