购物车
个人中心
Tiffany
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路易斯·康福特·蒂芙尼（Louis Comfort Tiffany）是闻名于世的珠宝商，也是美国新艺术运动的领头人。在美国处于不断增长的时期，蒂芙尼成功地将装饰提升到了艺术的高度。蒂芙尼的工作室尤其擅长处理玻璃，他们开创了独特的玻璃技艺，使得幻彩玻璃极具美感。追随着加勒（Galle）或多姆（Daum）的脚步，蒂芙尼对玻璃物尽其用：色彩、遮光、透光，戏玩于他的手掌间。当然，他为成功的还是充满色彩与阴影交汇的镶嵌玻璃台灯，类似于教堂的染色玻璃天窗。沉浸在色彩的棱镜之中，作者让我们梦回这家历久弥新的公司的诞生之期。
August Macke
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奥古斯特·麦克（1887-1914），德国表现主义大师。德国表现主义萌芽于19世纪早期，主张放弃勾勒物理实在的艺术，转而致力于谋求情绪的表达，尤其注重于表达悲惨和恐惧的黑暗情绪。麦克是色彩与形体大师，创作了很多吸引人眼球、引起观赏者强烈共鸣的作品。他的笔下既有阳光明媚的突尼斯街道，也有阴云密布的波恩大教堂和那些不知名的拥挤的火车站。在这本书中，作者沃尔特·科恩回顾了这位艺术家短暂的一生，看似潜力无限的他，却终英年早逝。
Van Dyck
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安东尼·凡·代克（Anthony Van Dyck,1599-1641）在年近十六岁之时就有了自己的个工作室，从那时起他便在艺术界堪称传奇人物。荷兰著名画家鲁宾斯（Rubens）是代克的启蒙导师，他评价代克为自己有才华的学生。代克之后成为了英格兰和西班牙著名的宫廷画家，也算是不辱才华之名。历史学家、学者和艺术爱好者也欣赏他的作品的复杂精妙和永恒之美。在这本引人入胜的小册子是凡·代克那几十年的艺术生涯的缩影，娜塔莉亚（Natalia Gritsai）将凡·代克一生杰出的作品奉献给了读者。
Seurat
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乔治·修拉（1859-1891）因点描绘帆布画的复杂精细而闻名于世，他将艺术和科学精妙地结合，创造了世人瞩目的成果。修拉那错综复杂的绘画需要好几年才能完成，给观赏者带来的是一场科学的复杂性和视觉的震撼性的华美盛宴。他的《大碗岛的星期天下午》（Un Dimanche Après-Midi à l’le de la Grande Jatte）是二十世纪艺术中为珍贵和杰出的作品之一。Klaus H.Carl 给读者们带来的是修拉点描绘画杰作背后那些详尽的科学技巧，惊鸿一瞥，但足饱眼福。
Pascin
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朱勒·帕金斯，在今天看来仍然是个“坏小子”。这位才华横溢的艺术家生活在毕加索、莫迪利阿尼和其他同代艺术家的阴影中。他擅长于描绘女性的躯体，可以说他的油画就是他那派对生活的写照。这位艺术家的充满了性欲色彩的作品被视为不道德，但仍得以在很多画展上展出，特别是在柏林、巴黎和纽约。
Icons
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This book analyses the evolution of iconic art from its beginning in Byzantium to the time of the Russian Empire. Icons are a fundamental element in the history of art, and it is therefore crucial to understand how this form of expression began and how it developed over centuries. Icons are discussed by one of the world-renowned experts on early Christian iconography, offering a valuable point of reference for specialists, as well as students.
Historic Maritime Maps
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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
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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。
Sargent
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Sargent was born in Florence, in 1856, the son of cultivated parents. When Sargent entered the school of Carolus-Duran he attained much more than the average pupils. His father was a retired Massachusetts gentleman, having practised medicine in Philadelphia. Sargent’s home life was penetrated with refinement, and outside it were the beautiful influences of Florence, combining the charms of sky and hills with the wonders of art in the galleries and the opportunities of an intellectual and artistic society. Accordingly, when Sargent arrived in Paris, he was not only a skilful draughtsman and painter as a result of his study of the Italian masters, but he also had a refined and cultivated taste, which perhaps had an even greater influence upon his career. Later in Spain, it was chiefly upon the lessons learned from Velázquez that he found his own brilliant method. Sargent belongs to America, but is claimed by others as a citizen of the world, or a cosmopolitan. Sargent, with the exception
Art Nouveau
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作为对工业革命的回应，新艺术运动以装饰和建筑风格发端。新艺术运动初的目标是通过回归自然主题，创造新的自然美学。该运动中的设计常常伴有植物图案和高度风格化、反大起大落曲线的细致刻画，是谓之新艺术风格。 为了达到该目标，诸如古斯塔夫克林姆(Gustav Klimt)、科罗曼穆塞尔(Koloman Moser)、安东尼高迪（Antoni Gaudi）、扬托罗普（Jan Toorop）、威廉莫里斯(William Morris)等艺术家更加偏爱技术创新和形式新颖。新艺术运动试图将艺术融合进生活的所有侧面，从物质的家具到家中的装饰物品再到建筑物；建立在艺术与日常生活相融合的艺术哲学之上。1900年在巴黎世界博览会大获成功之后，这一趋势继续流行且营销了不少艺术家以及装饰艺术运动。新艺术运动的继承者在次世界大战之后依然层出不穷。所以说新艺术运动时装饰艺术“文艺复兴”的核心，一点都不为过。
Chinese Porcelain
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瓷器早出现在七世纪，瓷器艺术在中国迅速成为了皇室贵族的象征，承载着极其重要的意义。这本书中的瓷器作品涵盖了从简单的茶碗到华美的花瓶，发饰、雕像摆件和鼻烟壶等等，不一而足，设计错综复杂，颜色五彩缤纷。这本精美的材质曾经吸引了并将继续吸引着全世界的艺术爱好者，使得这本Mega Square的《中国瓷器》成为了礼物的*。
Art of India
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如果“爱之宫”或者说泰姬陵是印度艺术的象征，这决不可能是的代表。印度艺术高雅、辉煌，受波斯和欧洲的影响，在建筑和艺术领域也有与装饰艺术相媲美的盛誉。
Little Boys
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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 1
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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.
Munch
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Edvard Munch, born in 1863, was Norway's most popular artist. His brooding and anguished paintings, based on personal grief and obsessions, were instrumental in the development of Expressionism. During his childhood, the death of his parents, his brother and sister, and the mental illness of another sister, were of great influence on his convulsed and tortuous art. In his works, Munch turned again and again to the memory of illness, death and grief. During his career, Munch changed his idiom many times. At first, influenced by Impressionism and Post-impressionism, he turned to a highly personal style and content, increasingly concerned with images of illness and death. In the 1892s, his style developed a ‘Synthetist' idiom as seen in The Scream (1893) which is regarded as an icon and the portrayal of modern humanity's spiritual and existential anguish. He painted different versions of it. During the 1890s Munch favoured a shallow pictorial space, and used it in his frequently frontal p
Goya
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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
Kirchner
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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
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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
Still Life
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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.
Courbet
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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。
O'Keeffe
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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
