购物车
个人中心
Chagall
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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
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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
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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
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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
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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。
Rodin
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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
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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
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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。
Paul Signac
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保罗·西涅克（Paul Signac，1863-1935）在年少之时便深受莫奈的作品的影响，其朋友及师父乔治·修拉（Georges Seurat）是点彩画派大师，将点彩的科学精确性与印象主义色彩和感情的表达相结合。西涅克与文森特·梵高（Vincent van Gogh）也私交甚密，他崇敬梵高的绘画技巧，通过游历全国为那些不朽的画作寻找灵感。这本著作介绍了西涅克纷繁复杂、闻名于世的技巧，也展示了他有名的作品。
Little Girls
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Ever since the ancient greeks sculpted the first kouros, children have been a source of inspiration for some of the world’s greatest artists. Whether portraits of their own children, friends, and family members, or a nostalgic psychological portrayal of the artist’s own youth, depictions of children in art remain arresting examples of an intersection between the picturesque innocence of childhood and the methodical work of adult artistry. In this delightful new puzzle book, children get a chance to see little boys and girls just like them as portrayed by great artists, learning about how children grew up throughout history while experiencing a genuine connection with works of artistic genius.
Top 5 Masterpieces vol 2
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Ever since the ancient greeks sculpted the first kouros, children have been a source of inspiration for some of the world’s greatest artists. Whether portraits of their own children, friends, and family members, or a nostalgic psychological portrayal of the artist’s own youth, depictions of children in art remain arresting examples of an intersection between the picturesque innocence of childhood and the methodical work of adult artistry. In this delightful new puzzle book, children get a chance to see little boys and girls just like them as portrayed by great artists, learning about how children grew up throughout history while experiencing a genuine connection with works of artistic genius.
Claude Lorrain
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Claude Gellée, called Claude Lorrain was neither a great man nor a lofty spirit like Poussin. His genius cannot, however, be denied and he was, like Poussin, a profoundly original inventor within the limitations of a classical ideal. He too spent most of his life in Rome though the art he created was not specifically Italian, but French. For more than two centuries afterwards everyone in France who felt called upon to depict the beauties of nature would think of Lorrain and study his works, whether it be Joseph Vernet in the eighteenth century or Corot in the nineteenth. Outside France it was the same; Lorrain was nowhere more admired than in England. There is an element of mystery in the vocation of this humble and almost illiterate peasant whose knowledge of French and Italian was equally poor, and who used to inscribe on his drawings notes in a strange broken Franco-Italian. This mystery is in some way symbolic of that with which he imbued his pictures, le mystère dans la lumière. T
Kahlo
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在弗里达·卡罗（Frida?Kahlo）的自画像背后，是她一生的故事。也正是因此，读者会被这本画集所深深吸引。弗里达的作品是她生命的记录，很少有艺术家如同弗里达一样，能够让我们从画框之间获得如此多的东西。弗里达·卡罗确实是墨西哥艺术史的礼物。当她年仅十八岁的时候，一场严重的车祸永远地改变了她的生命，她自此以后被残疾和频繁的疼痛所困扰。但是弗里达那火爆的个性、天然的决心和勤奋的工作造就了她的艺术才能。即使是花花公子的伟大画家迭戈·里维拉（Diego Rivera）也深深迷恋着她。弗里达靠自身的魅力、才能和智慧赢得了迭戈·里维拉，她也学会了依靠里维拉的成功来探索世界，从而在一群紧密的友人之中创造了自己独特的风格。她的私生活极其混乱，一方面她常常摆脱与迭戈的关系，另一方面她也深陷双性恋之中。不仅如此，弗里达和迭戈还不断拯救着他们之间分崩离析的关系。弗里达留给我们的故事和绘画作品为我们诠释了一个女人不断发现自我的勇者历程。
Michelangelo
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米开朗基罗（Michelangelo）的名字不断浮现在西斯廷教堂、阿波罗、丘比特等数不计数的杰作中。在《意大利绘画》（The Italian Painting）这本书中，作者司汤达写道：“在古希腊风物和米开朗基罗之间，没有任何距离，除了或多或少技术娴熟的伪造物。”在《漫步罗马》（Promenade in Rome）一书中，沙特布莱表达了对《圣母怜子像》（Pieta）中那些精致的线条的崇敬之情。诸如司汤达等大连古欧秀的作家将米开朗基罗视为西方艺术复兴的大家之一。毫无疑问，米开朗基罗的作品经历住了时间的考验。在若干年后，米开朗基罗的作品何以能够揭示希腊先驱们的创造性来源？米开朗基罗是创造性的天才和超人，是意大利文艺复兴中无与伦比的艺术家，他的影响力和成就与达芬奇可相媲美。在这本著作中， Jean-Matthieu Gosselin探讨了米开朗基罗所有的身份：雕塑家、建筑师、画家和美术家。
Illuminated Manuscripts
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Those who have had the chance to hold a medieval manu* in their hands cannot fail to have been impressed by the feeling of being in touch with a long-passed epoch. Back when a book was a true handicraft and every copy the result of a laborious process, the object was more a work of art than a volatile commercial product. The Mega Square Illuminated Manu*s puts the reader in touch with amazing medieval illustrations and unique adornments, which document the imaginative power of their creators.
Flowers
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花朵至今仍活在我们绘画艺术中的核心部分。从布勒哲尔到奥基芙，花朵激发了无数艺术家的灵感，也成就了不少杰作。这一创作主题至始至终都受人欢迎。这本书与Mega Square精巧实用的形式相结合，必将是一份完美而特殊的礼物。
Cézanne
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让我们去发现保罗·塞尚（Paul Cezanne）的作品，他对于技巧和形式的探讨定义了绘画的后印象主义运动，也为立体主义的出现搭建了艺术的舞台。他大胆地运用亮丽的色彩，影响了之后好几代艺术家，也让今天的我们感到惊喜和愉悦。这本Mega Square收录了大量这位重要的法国画家的作品——当然，对于任何一位艺术粉丝来说，都是一份至上的礼物。
Gauguin
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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。
Herbarim
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Mega Square版的《植物标本》是基于巴西利厄斯·贝斯莱尔（Basilius Besler）的作品。贝斯莱尔是著名的植物专家，也是历史上描写、绘画和雕刻了上千种植物的人。Mega Square将是一份理想的礼物，在一本精巧实用的小册子里充满了有趣而另类的话题。
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。
Renoir
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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
