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Joan Mitchell (1925–1992) was fearless in her experimentation, creating works of unparalleled beauty, strength, and emotional intensity. This gorgeous book unfolds the story of an artistic master of the highest order, revealing the ways she expanded abstract painting and illuminating the transatlantic contexts that shaped her. Lavish illustrations cover the full arc of her artistic practice, from her exceptional New York paintings of the early 1950s to the majestic multipanel compositions she made in France later in her career. Signature works are represented here along with rarely seen paintings, works on paper, artist’s sketchbooks, and photographs of Mitchell’s life, social circle, and surroundings. Featuring scholarly texts, in-depth essays, and artistic and literary responses, this book is organized in ten chronological chapters. Each chapter centers on a closely related suite of paintings, illuminating a shifting inner landscape colored by experience, sensation, memory, and a deep sense of place. Presenting groundbreaking research and a variety of perspectives on her art, life, and connections to poetry and music, this unprecedented volume is an essential reference for Mitchell’s admirers and those just discovering her work.

Painting --- Mitchell, Joan --- Painting, Modern --- Mitchell, Joan, --- Vrouwelijke kunstenaars ; 20ste eeuw --- Schilderkunst ; Abstract Expressionisme --- Schilderkunst ; 20ste eeuw ; Joan Mitchell --- Schilderkunst ; Verenigde Staten ; 20ste eeuw --- Mitchell, Joan 1926-1992 (°Chicago, Verenigde Staten) --- 75.07 --- Schilderkunst ; schilders A-Z

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Albrecht Dürer (1471-1528) is one of the most important and influential artists of the Northern Renaissance. He was a painter, printmaker and theorist and knew the major Italian artists of his time, such as Raphael, Bellini and Leonardo da Vinci. His enormous talent and skills as a draughtsman revealed themselves at a very young age: they can already be seen in the silverpoint Self-Portrait made in 1484 when he was barely 13 years old. Patronized from 1512 by the Emperor Maximilian I, Dürer realized numerous engravings, altarpieces, portrait and self-portraits, watercolors and books. His introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, secured his reputation as the most important figure of German Renaissance. Dürer in Detail reveals the work of the German master as never before, in breathtaking, full-page details. Till-Holger Borchert, German art historian and director of the Bruges Museums, describes Dürer's paintings, drawings and graphic masterpieces detail by detail, while offering original insights in clear and accessible language. The book is organized thematically and includes a biography, an annotated list of works and a suggested reading list.

Drawing --- Painting --- Graphic arts --- Dürer, Albrecht --- 75.07 --- Dürer, Albrecht 1471-1528 (°Nürnberg, Duitsland) --- Schilderkunst ; grafiek ; 16de en 17de eeuw ; Albrecht Dürer --- Schilderkunst ; Noordelijke Renaissance ; Albrecht Dürer --- Schilderkunst ; schilders A-Z

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Stefaan Vermuyten’s unique and idiosyncratic oeuvre is difficult to categorize within the world of contemporary painting. His work is a peculiar patchwork of found images, a catalogue of situations, a collection of suprising representations of banale or incongruous realities and phenomena. Vermuyten succeeds to sublimate our infinite struggle with the complexity of the world, without becoming explanatory or mimetic. The beautiful charm that lays in his images has an illusionistic and absurd undertone reminiscent of the dark and tragi-comic work of Samuel Beckett. In the supposed banality of his visual language lies a raunchy existential reality, not a cheesy attempt to evoke compassion or empathy, but a genuine disrupting anxiousness about the human condition. Through the use of humour, imaginative language and bold courage, Vermuyten continuously finds a way to surprise the spectator, as well as himself. This monography is published on the occasion of Vermuyten’s solo-exhibition in the summer of 2021 at De Markten (Brussels), curated by Luk Lambrecht, in a scenography by Guy Rombouts.

kunst --- België --- tekenkunst --- 75.071 VERMUYTEN --- schilderkunst --- Vermuyten Stefaan --- twintigste eeuw --- eenentwintigste eeuw --- Exhibitions --- België

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James Ensor (1860-1949) is zonder twijfel één van de meest complexe en veelzijdige kunstenaars uit de tweede helft van de negentiende eeuw. Zonder meester of leerlingen, heeft hij in totale onafhankelijkheid en los van de toen gangbare kunststromingen picturale bakens verzet en de grenzen van de visuele kunsten afgetast. Toen hij als twintigjarige zijn eerste meesterwerken schilderde vierde het impressionisme hoogtij in Europa. Samen met Van Gogh, Gauguin en Munch, werkte James Ensor aan een totale nieuwe visie die zijn weerga niet kende binnen de moderne kunst aan het einde van de negentiende eeuw. Los van het impressionisme, het symbolisme en het neo-impressionisme ontwikkelde hij een persoonlijke stijl en een originele beeldentaal. De elementen die hij uit totaal verschillende inspiratiebronnen heeft geput wist hij om te vormen tot zijn eigen beeldentaal. Als er één moderne kunstenaar is die we zonder veel nadenken associëren met maskers en geraamten dan is het zonder twijfel de Oostendse schilder. Niemand voor hem heeft het carnavalsmasker en het geraamte zo grondig geschilderd, gebruikt en uitgebuit. Het werd uiteindelijk zijn embleem. Maar James Ensor is meer dan de 'schilder van maskers en geraamten'. Zijn oeuvre is omvangrijk en gediversifieerd. Hij heeft stillevens, portretten, landschappen, karikaturen, fantastische en religieuze scènes getekend, geëtst en geschilderd. De satirische, politieke, religieuze en historische thema's zijn legio. Hij vond zijn inspiratie zowel in de Bijbel, als in historische geschriften, in erudiete naslagwerken als in populaire tijdschriften. Maar uiteindelijk waren het vooral zijn eigen fantasmen die zijn beeldentaal zouden bepalen.

75.07 --- Ensor, James 1840-1949 (°Oostende, België) --- Schilderkunst ; grafiek ; 20ste eeuw ; James Ensor --- Kunstenaarsbiografieën --- Belgische kunstenaars --- Schilderkunst ; schilders A-Z --- Ensor, James --- Painting --- biography [genre] --- easel paintings [paintings by form] --- biography [general genre]

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‘Prime Suspect’ is the first international survey exhibition of the Brussels-based Scottish artist, Lucy McKenzie (b. 1977).
The exhibition at Museum Brandhorst brings together all of the artist’s significant bodies of work from 1997 to the present.

This extensive and profusely illustrated catalogue documents the full range of McKenzie’s oeuvre – from her early works exploring the pageantry and iconography of international sport and the politics of postwar muralism, through her engagement with fin-de-siècle architecture and interior design and mid-century Belgian illustration.

Through her ongoing research into the intertwined histories of art, fashion and retail display, McKenzie has established herself among the most singular artistic voices of her generation.

McKenzie, Lucy --- kunst --- 75.071 MCKENZIE --- 7.071 MCKENZIE --- trompe-l'oeil --- McKenzie Lucy --- Groot-Brittannië --- installaties --- schilderkunst --- eenentwintigste eeuw --- Exhibitions --- 75.07 --- McKenzie, Lucy °1977 (°Glasgow, Groot-Brittannië) --- Vrouwelijke kunstenaars --- Trompe-l'oeil --- Schilderkunst ; schilders A-Z