购物车
个人中心
Bikini Story
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The beginning of a new millennium – let alone a new century – simply demands a quick but thorough look back at the past hundred years. Different outline sketches of the history of the twentieth century might all too quickly resort to headline-style formulae about “a century of war and terrorism”, “a century of barbarism”, and omit any mention of a great number of events and triumphs that should be rightfully regarded as entirely positive. These might seem to have been of secondary significance in relation to more sombre events, but they certainly cannot be excluded if our historical round-up of a hundred years is to retain its proper balance, if it is to be truly historical, and not be reduced to checklists of damage and destruction, of wars and disasters alike and their cost of lives and property, of the numbers of casualties, and of the people, places, and things that are now as if they had never been.
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.
Mondrian
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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.
Toulouse-Lautrec
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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
Pollock
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Born in 1912, in a small town in Wyoming, Jackson Pollock embodied the American dream as the country found itself confronted with the realities of a modern era replacing the fading nineteenth century. Pollock left home in search of fame and fortune in New York City. Thanks to the Federal Art Project he quickly won acclaim, and after the Second World War became the biggest art celebrity in America. For De Kooning, Pollock was the “icebreaker”. For Max Ernst and Masson, Pollock was a fellow member of the European Surrealist movement. And for Motherwell, Pollock was a legitimate candidate for the status of the Master of the American School. During the many upheavals in his life in Nez York in the 1950s and 60s, Pollock lost his bearings - success had simply come too fast and too easily. It was during this period that he turned to alcohol and disintegrated his marriage to Lee Krasner. His life ended like that of 50s film icon James Dean behind the wheel of his Oldsmobile, after a night of
Velasquez
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Diego Rodríguez de Silva y Velázquez (June 1599 – August 6 1660), known as Diego Vélasquez, was a painter of the Spanish Golden Age who had considerable influence at the court of King Philip IV. Along with Francisco Goya and Le Greco, he is generally considered to be one of the greatest artists in Spanish history. His style, whilst remaining very personal, belongs firmly in the Baroque movement. Velázquez’s two visits to Italy, evidenced by documents from that time, had a strong effect on the manner in which his work evolved. Besides numerous paintings with historical and cultural value, Diego Vélasquez painted numerous portraits of the Spanish Royal Family, other major European figures, and even of commoners. His artistic talent, according to general opinion, reached its peak in 1656 with the completion of Las Meninas, his great masterpiece. In the first quarter of the 19th century, Velázquez's style was taken as a model by Realist and Impressionist painters, in particular by ?douard
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
Paul Gauguin
￥85.76
On 8 May 1903, having lost a futile and fatally exhausting battle with colonial officials, threatened with a ruinous fine and an imprisonment for allegedly instigating the natives to mutiny and slandering the authorities, after a week of acute physical sufferings endured in utter isolation, an artist who had devoted himself to glorifying the pristine harmony of Oceania’s tropical nature and its people died. There is bitter irony in the name given by Gauguin to his house at Atuona – “Maison du Jouir” (House of Pleasure) – and in the words carved on its wood reliefs, Soyez amoureuses et vous serez heureuses (Be in love and you will be happy) and Soyez mystérieuses (Be mysterious). After receiving news of the death of their old enemy, the bishop and the brigadier of gendarmes – the pillars of the local colonial regime – hastened to demonstrate their fatherly concern for the salvation of the sinner’s soul by having him buried in the sanctified ground of a Catholic cemetery. Only a small gr
Vincent van Gogh
￥85.76
在向日葵之上，在鸢尾花之外，在加谢医生的肖像背后，有一个男人——梵高。他敏感脆弱，他天赋异禀，从1853年出生到1890年去世这几十年的岁月里，后印象主义画家梵高用他的创造力和技巧塑造了十九世纪绘画的概念。他成为了表现主义、野兽派和现代艺术的先驱。但是今天，梵高成为了备受疾病折磨的画家的象征，受制于他人，更受制于自己。在这本著作中，作者从梵高的书信和绘画入手，探索色彩的新的表现方式。传奇总是与平庸并存，伟大的艺术天才也总会遭遇现实的繁琐。
Canaletto
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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。
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
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。
Renoir
￥40.79
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
Degas
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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
Whistler
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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
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。
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
Bosch
￥122.54
在电子游戏发明之前，希罗尼穆斯波希（Hieronymus Bosch）的笔下就已经创作出了恐怖但丑萌的怪物，还带有一点小幽默。他的作品是自信的宣言，有力地挑战了背叛基督教教义之人的精神恐慌。波希生于1450年，死于1516年，他的出生之时正值文艺复兴的高潮时期，也见证了这一时期的宗教战争。中世纪传统和价值观轰然倒塌，为新世纪的到来开辟了道路。在这样的新世纪里，信念失去了力量和魔力。 ?波希开始警告那些不信教者和对上帝丧失了信仰的人——等待是危险的。波希相信所有人必须要有自己的道德选择，他关注地狱、天堂和欲望的主题，才华横溢地挖掘了水果和植物的象征意义，让他的意向充满了强烈的性欲色彩。这本独特的选集展示了波希为引人入胜的作品，小巧的形式也让它成为了一份完美的礼物。
Gustave 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。
