购物车
个人中心
Mondrian
￥40.79
Piet Mondrian (1872-1944), who can be assigned to the school of classical modernism, was born in Amersfort, Netherlands. After studying in Amsterdam, he started his artist?s career in the impressionist style as a figure and landscape painter. His works from these years showed the influence of Vincent Van Gogh (1853-1890) and of Fauvism, a French school from the beginning of the 20th century. When he traveled to Paris in 1911, he discovered Pablo Picasso?s works (1881-1973) and, with that, Cubism. He thereafter became a pioneer of abstract painting in the Netherlands. From the 1920s on, his paintings show a vertical and horizontal composition that, combined with the oppositions of blue, yellow, red, and noncolored spaces, turned into his trademark. His art was very appreciated in New York, where he spent his last years. Mondrian was not only a painter but also an art theoretician and cofounder of the art school De Stijl.
Icons
￥61.23
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
￥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
￥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。
Sargent
￥61.23
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
￥61.23
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。
Angels
￥61.23
天使——这些神秘的长着翅膀的宗教神话人物——在几个世纪以来影响了无数作家和艺术家。这本书中收藏了很多伟大的古典和现代艺术家绘画的天使，包括了从精致的异想天开的丘比特到宏大的天使长米迦勒，不一而足。这些神秘的生物的画像特点都是半小孩，半神仙的模样。这本方便携带的册子《天使》将是一份完美的礼物。
Chinese Porcelain
￥61.23
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*。
Monet
￥61.23
Mega Square的《莫奈》通过优美地展示印象主义的作品，带领我们探索十九世纪绘画大师之一——莫奈的非凡的作品。莫奈的风景画和日常生活场景画中画锋急促，阐释了他对于光线和色彩的迷恋。对印象主义运动的爱好者来说，这本小书是一份完美的礼物。
Michelangelo
￥110.28
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。
Hieronymus Bosch
￥110.28
Hieronymus Bosch was painting terrifying, yet strangely likeable, monsters, long before computer games were invented, often with a touch of humour. His works are assertive statements about the mental dangers that befall those who abandon the teachings of Christ. With a life that spanned from 1450 to 1516, Bosch was born at the height of the Renaissance and witnessed its wars of religion. Medieval traditions and values were crumbling, thrusting man into a new universe where faith had lost some of its power and much of its magic. Bosch set out to warn doubters of the perils awaiting all and any who lost their faith in God. Believing that everyone had to make their own moral choices, he focused on themes of hell, heaven and lust. He brilliantly exploited the symbolism of a wide range of fruits and plants to lend sexual overtones to his themes.
Whistler
￥40.79
Whistler suddenly shot to fame like a meteor at a crucial moment in the history of art, a field in which he was a pioneer. Like the impressionists, with whom he sided, he wanted to impose his own ideas. Whistler’s work can be divided into four periods. The first may be called a period of research in which he was influenced by the Realism of Gustave Courbet and by Japanese art. Whistler then discovered his own originality in the Nocturnes and the Cremorne Gardens series, thereby coming into conflict with the academics who wanted a work of art to tell a story. When he painted the portrait of his mother, Whistler entitled it Arrangement in Grey and Black and this is symbolic of his aesthetic theories. When painting the Cremorne Pleasure Gardens it was not to depict identifiable figures, as did Renoir in his work on similar themes, but to capture an atmosphere. He loved the mists that hovered over the banks of the Thames, the pale light, and the factory chimneys which at night turned into
Cassatt
￥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
Degas
￥40.79
Degas was closest to Renoir in the impressionist’s circle, for both favoured the animated Parisian life of their day as a motif in their paintings. Degas did not attend Gleyre’s studio; most likely he first met the future impressionists at the Café Guerbois. He started his apprenticeship in 1853 at the studio of Louis-Ernest Barrias and, beginning in 1854, studied under Louis Lamothe, who revered Ingres above all others, and transmitted his adoration for this master to Edgar Degas. Starting in 1854 Degas travelled frequently to Italy: first to Naples, where he made the acquaintance of his numerous cousins, and then to Rome and Florence, where he copied tirelessly from the Old Masters. His drawings and sketches already revealed very clear preferences: Raphael, Leonardo da Vinci, Michelangelo, and Mantegna, but also Benozzo Gozzoli, Ghirlandaio, Titian, Fra Angelico, Uccello, and Botticelli. During the 1860s and 1870s he became a painter of racecourses, horses and jockeys. His fabulous p
Modigliani
￥40.79
Modigliani (1884-1920) was a painter of great unhappiness in his native Italy and felt only sorrow in his adopted country of France. Out of this discontent came forth Modigliani’s original work, which was influenced by African art, the Cubists, and drunken nights in Montparnasse. His portrayal of women—sensual bodies, almost aggressive nudity, and mysterious faces—expresses their suffering and feelings of being unloved and unjustly disregarded. Modigliani died at the age of 36.
Toulouse-Lautrec
￥40.79
Lautrec studied with two of the most admired academic painters of the day, Léon Bonnat and Fernand Cormon. Lautrec’s time in the studios of Bonnat and Cormon had the advantage of introducing him to the nude as a subject. At that time life-drawing of the nude was the basis of all academic art training in nineteenth-century Paris. While still a student, Lautrec began to explore Parisian nightlife, which was to provide him with his greatest inspiration, and eventually undermined his health. Lautrec was an artist able to stamp his vision of the age in which he lived upon the imagination of future generations. Just as we see the English court of Charles I through the eyes of van Dyck and the Paris of Louis-Philippe through the eyes of Daumier, so we see the Paris of the 1890s and its most colourful personalities, through the eyes of Lautrec. The first great personality of Parisian nightlife whom Lautrec encountered – and a man who was to play an important role in helping Lautrec develop his
Kahlo
￥40.79
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。
Impressionism
￥61.23
“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。
Canaletto
￥122.54
乔凡尼安东尼奥康纳尔（Venetian Giovanni Antonio Canal），通常被叫做卡纳莱托（Canaletto，1697-1768）受父亲的影响进入了绘画和透视的世界。他是一位剧院的装修师，他的城市景观图为有名。当时的业余爱好者从意大利旅行归来后，也带回了他们的城市绘画。卡纳莱托成为了巴洛克时代西罗尼希玛的化身。卡纳莱托在绘画中注重隔开不同位面，他也是这一技巧的先驱人物，他以精确的细节装饰绘画。为了更好地强调距离，卡纳莱托层用一架针孔照相机把摄得的画面投影到幕布上，然后在幕布上精确地描绘出风景。卡纳莱托的绘画是静态的，利用线条的准确性和调色板的不同色调，在他手中创造了艺术*美丽的全景图。 在这本引人入胜、内容丰富的著作中，Octave Uzanne激发了读者对于这位十七世纪的不同寻常的威尼斯画家的热情。
Michelangelo
￥40.79
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。
O'Keeffe
￥40.79
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
