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个人中心
Diego Rivera
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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
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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
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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.
Central Asian Art
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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.
Jasper Johns
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这本书不仅仅为读者展示了这位艺术家那类目众多的艺术画卷，同样讨论了他对二十世纪六十年代及其之后的艺术的影响，以及他与当时其他的艺术大家的个人和艺术交往。这本书回顾了琼斯的艺术，同时它也展示了过去六十年美国艺术图景，让读者能够感受到他们喜爱的艺术家在历史和当代的重要性。
Leonardo da Vinci volume 1
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莱昂纳多·达·芬奇（1453—1519）不仅仅是位出神入化的画家，也是一位科学家、解剖师、雕塑家、建筑家、音乐家、工程师、发明家，乃至更多。那么也许该这么问：他不是什么呢？在意大利文艺复兴时期，他为意大利美第奇家族和法国王室创作了美的作品。达·芬奇深受同辈的钦佩，是个闻名全世界的少有而高尚的天才。即使是今天，人们对达·芬奇和他的作品的兴趣仍然丝毫没有消退；时代前沿的艺术家们仍然在研习他的作品和书法，希望能够揭开这位远见卓识的艺术家的秘密。
Leonardo da Vinci volume 2
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莱昂纳多·达·芬奇（1453—1519）不仅仅是位出神入化的画家，也是一位科学家、解剖师、雕塑家、建筑家、音乐家、工程师、发明家，乃至更多。那么也许该这么问：他不是什么呢？在意大利文艺复兴时期，他为意大利美第奇家族和法国王室创作了美的作品。达·芬奇深受同辈的钦佩，是个闻名全世界的少有而高尚的天才。即使是今天，人们对达·芬奇和他的作品的兴趣仍然丝毫没有消退；时代前沿的艺术家们仍然在研习他的作品和书法，希望能够揭开这位远见卓识的艺术家的秘密。
Paul Klee
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作为二十世纪早期的标志性人物，保罗·克利（Paul Klee）参与了德国和瑞士前卫的先锋派运动。从充满活力的青骑士运动开始，到二十世纪三十年代末的超现实主义时期，以及他在包豪斯从教的岁月里，保罗·克利研究了诗歌、文学、以及重要的音乐等其他艺术媒介，来试图抓住绘画那有机的、和谐的本质。尽管他与其他艺术家——例如奥古斯特·麦克（August Macke?）和雅弗林斯基（Alexej von Jawlensky）合作过，但他有名的合作伙伴还是抽象表现主义画家瓦西里·康定斯基（Wassily Kandinsky）。作者艾力克．薛恩斯（Eric Shanes）——她还是安迪·沃霍尔（Andy Warhol）和布朗库西（Constantin Brancusi）的专著作者——的这本专著，通过收集和展示保罗·克利重要的作品，向读者发出了探索这位画家诗人那无可替代的艺术人生的邀请。
The Art of the Shoe
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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
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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.
English Painting
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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
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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
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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.
Icons
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As such, icons deserve the attention of art historians, for artistic handicrafts present difficult and complicated problems to historical interpretation which, for such reasons, have long been avoided. The time has come for Russian archaeology to study Russian icon-painting and trace through this particular phenomenon's five centuries of history. Three centuries of neglect beginning with Peter the Great have sundered the Russian people from the last flourishing period of this artform and destroyed a greater number of icons than all the town fires and devastations in the Russian countryside combined.
American Graffiti
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自从二十世纪七十年代早期起，涂鸦艺术家便用铺天盖地的复杂标签占领了地铁车厢。Margo Thompson在书中分析了这种决然反抗的表现形式，他将涂鸦艺术家与当代走廊艺术联系了起来。正如涂鸦艺术家代表了少数种族人发声，这位作家也用原始的方式成为了这种被误解的艺术形式的代言人。这本著作从新的角度分析了涂鸦艺术和巴斯奎特（Basquiat）作品的交叉性。这本书的可读性不仅在于讨论这一话题的作品少之又少，同样，这本书本身也吸引了大量的读者。
Botticelli
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美第奇宫廷画家波提切利（Botticelli）是意大利文艺复兴时期与莱昂纳多·达·芬奇（Leonard da Vinci）、米开朗基罗（Michelangelo）和拉斐尔（Raphael）相比肩的艺术家之一。波提切利擅长女性肖像画，他笔下那巧妙的线条和无拘无束的纵欲之情将他与其他画家区分开来。在宗教和私人的委托创作之间，这位佛罗伦萨的艺术家将世俗的元素引入复杂的神话主题的艺术当中，创作了例如《春》（Primavera）和《维纳斯的诞生》（The Birth of Venus）等不容置疑的杰作。
Edward Hopper Light and Dark
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爱德华·霍普，1882年出生于奈阿克，是重要的美国画家之一。在学习了插图画之后，他进入了大名鼎鼎的纽约艺术学院学习，师从罗伯特·亨利（Robert Henri）。亨利对霍普产生了重大的影响，他鼓励霍普从美国人的生活中去发现素材。在创作中，诗意地表达了人们反对二十世纪二十年代的美国生活方式的孤独。受到电影作品—特别是多种摄影角度和人物性格的影响，他的绘画作品表达了对大众文化的疏离感。通过采用冷色调和绘画匿名人物，霍普的作品同样象征性地反映了大萧条时期。尽管霍普曾多次游历欧洲，但他在当时流行的的改革绘画面前仍然无动于衷，例如立体主义，例如超现实主义。霍普用一种非常个性化的形式来表达主题，致力于效仿古典艺术家，例如伦布兰特（Rembrandt）、德加斯(Degas)或者杜米埃（Daumier）。他绘画的加油站、旅馆和日常生活的场景代表了对个人主义的美学宣言、宽敞的开放空间和美国的基本价值观。霍普在1967年去世了，在美国艺术上留下了后的痕迹。
莫奈第一卷
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对莫奈而言，艺术创作始终是一种痛苦的挣扎。较之同时代人，他更深沉地痴迷于表达情感，更强烈地渴望传达超越大自然的光线效果。用他自己的话来形容：“技巧来来去去……艺术始终如一——它是大自然的转译，需要与意志力同等的敏感性。我和太阳搏斗……（我）应该用金 子和宝石作画。”
莫奈第二卷
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对莫奈而言，艺术创作始终是一种痛苦的挣扎。较之同时代人，他更深沉地痴迷于表达情感，更强烈地渴望传达超越大自然的光线效果。用他自己的话来形容：“技巧来来去去……艺术始终如一——它是大自然的转译，需要与意志力同等的敏感性。我和太阳搏斗……（我）应该用金 子和宝石作画。”
Titian
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这本著作不仅为我们提供了研究性和富有洞察力的视角来欣赏世界上*有天赋的艺术家之一——提香的作品，同样也邀请读者来发掘威尼斯艺术场景中熙熙攘攘的世界，这也正是提香生活和工作的地方。书中迷人的叙述既可愉悦大众，其中对十六世纪威尼斯画家的独特的交叉分析同样也会吸引艺术家和学生。
Gothic Art
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Gothic art finds its roots in the powerful architecture of the cathedrals of northern France. It is a medieval art movement that evolved throughout Europe over more than 200 years. Leaving curved Roman forms behind, the architects started using flying buttresses and pointed arches to open up cathedrals to daylight. A period of great economic and social change, the Gothic era also saw the development of a new iconography celebrating the Holy Mary – in drastic contrast to the fearful themes of dark Roman times. Full of rich changes in all of the various art forms (architecture, sculpture, painting, etc.), Gothic art paved the way for the Italian Renaissance and International Gothic movement.
