Preventa de eBooks de Historia del arte

El arte como bálsamo para el alma Ver arte no es solo una experiencia estética, también es una poderosa herramienta para comprender nuestras emociones. Si sabemos cómo mirarlo, un cuadro puede convertirse en una guia para atravesar momentos dificiles. Pablo Ortiz de Zarate lo sabe bien, porque ademas de ser un periodista especializado en arte, sufrio una depresion. Durante su proceso de recuperacion se dio cuenta de que los tres pilares fundamentales de la salud mental vivir el presente, desarrollar empatia y afrontar la ansiedad pueden trabajarse a traves del arte.Este libro nos revela como contemplar las obras de arte para extraer su poder terapeutico y por que algunos cuadros son considerados autenticas obras maestras y otros, mas espectaculares, no. A partir de una metodologia sencilla descubriremos el mensaje oculto de las imagenes centrandonos en los objetos, las personas sus ojos y manos y los elementos intangibles. Aqui se esconden los secretos para cultivar una mente mas sana y una vida emocional plena.Una inyeccion directa de bienestar en nuestra mente.

Una lectura absorbente que arroja luz sobre uno de los delitos más lucrativos y desconocidos del mundo: el robo de arte.Casi tan antiguos como la propia humanidad, los robos de arte se remontan hasta los origenes de los primeros grandes imperios. Desde entonces, nos fascinan y repelen por igual, pero, ¿que se esconde tras ellos? ¿Por que se roba el arte? ¿Que ocurre con las piezas robadas? ¿Existen realmente los robos por encargo? ¿Como funciona el mercado negro del arte? Encontraremos respuesta en este apasionante recorrido a traves de cincuenta robos y saqueos que han determinado el rumbo de la historia. Pero, sobre todo, intentaremos dar respuesta al mayor enigma de todos, ¿por que, a pesar de que la mayoria de nosotros nos encontramos del lado bueno de la historia, nos resultan tan fascinantes?

Stunning watercolour title new in paperback. Leading watercolourist reveals the secrets behind his atmospheric, light-filled paintings. Watercolour is ideal for capturing the transient effects of light and, with compact and lightweight materials, is the perfect medium for plein-air painting. Leading watercolour painter David Curtis is a strong advocate of working on site, observing and capturing changing conditions and effects. In this beautifully illustrated book, he explains in detail his two main methods for working on location for quick, loose studies and for more controlled and detailed paintings. He also shows how to collect reference material on the spot and develop this into resolved paintings back at the studio. He provides helpful instruction on interpreting light effects, with strong guidance on choosing materials, exploring techniques, composition, tone and colour and associated topics. This invaluable advice is complemented by a wealth of sketches, finished works and step-by-step demonstration paintings to illustrate different points and inspire further ideas. Reference Light and Mood in Watercolour hardback (9780713489552) Leading watercolourist reveals the secrets behind his light-filled paintings How to work en plein air to capture the transient effects of light How to collect reference material on location but paint in the studio Bestselling title new in paperback

Where is Charles Simonds? Throughout the 1970s, his diminutive Dwellings, tiny architectural ruins of an imaginary civilization, could be found throughout the crumbling infrastructure of downtown New York. Preoccupied with the relationship between the grown and the built, the archaeological and the urban, Simonds shared friendship and ideas with Gordon Matta-Clark and Robert Smithson. Like Lucy Lippard, with whom he lived during that decade, Simonds believed in combining art and activism, always preferring what he called the "real world" to the art world. Yet despite taking part in many of the seminal exhibitions and art events of 1970s New York, Simonds has left few traces on art history. In order to explain Simondss absence while simultaneously arguing for his central place within it, Jules Pelta Feldman reconsiders the decades self-conception, finding that Simonds exemplifies much of what has been ignored in 1970s artand much of what establishes it as a unique period of experimentation and possibility.

Where is Charles Simonds? Throughout the 1970s, his diminutive Dwellings, tiny architectural ruins of an imaginary civilization, could be found throughout the crumbling infrastructure of downtown New York. Preoccupied with the relationship between the grown and the built, the archaeological and the urban, Simonds shared friendship and ideas with Gordon Matta-Clark and Robert Smithson. Like Lucy Lippard, with whom he lived during that decade, Simonds believed in combining art and activism, always preferring what he called the "real world" to the art world. Yet despite taking part in many of the seminal exhibitions and art events of 1970s New York, Simonds has left few traces on art history. In order to explain Simondss absence while simultaneously arguing for his central place within it, Jules Pelta Feldman reconsiders the decades self-conception, finding that Simonds exemplifies much of what has been ignored in 1970s artand much of what establishes it as a unique period of experimentation and possibility.

When Abdul Rahman Munif embarked on the first extensive study in Arabic about Marwan Kassab Bachi, he mailed the artist asking about how his art emerged, its contextual influences, and timely interpretations. Marwan recorded his answers on seven audio tapes and sent them to Munif, but also started writing his memoirs in Arabic. This book is an anthology of the letters exchanged between two friends, Marwan in Berlin and Munif in Damascus, from 1990 to 2004.

When Abdul Rahman Munif embarked on the first extensive study in Arabic about Marwan Kassab Bachi, he mailed the artist asking about how his art emerged, its contextual influences, and timely interpretations. Marwan recorded his answers on seven audio tapes and sent them to Munif, but also started writing his memoirs in Arabic. This book is an anthology of the letters exchanged between two friends, Marwan in Berlin and Munif in Damascus, from 1990 to 2004.

For more than three decades, South African artist William Kentridge has created a vast body of work comprising drawings and multimedia installations that have been exhibited worldwide.Here he immerses us in the artistic, intellectual and production processes of his creations, providing philosophical, autobiographical, technical and practical commentary and giving intimate insight into the studios where he has created throughout his life.A Natural History of the Studio is not only a must-read for admirers of Kentridges work, but also a vibrant personal and philosophical exploration of the creative process and a critical look at the world and the human condition.

Many of us are drawn to a life in the arts but daunted by how to balance that ambition with the very real need to pay rent and put food on the table. It is impossible to become an accomplished painter, composer, or novelist without spending time experimenting, making false starts, absorbing criticism, reading, talking, and moping about the house. All this time must be purchased, one way or another. Is the history of art and ideas just a history of rich kids?The answer, of course, is no. William Carlos Williams was a family doctor. Franz Kafka was an insurance man, as were Charles Ives and Wallace Stevens. Grace Hartigan temped. James Joyce mooched off his brother; Christopher Isherwood ingratiated himself with a wealthy uncle. Virginia Woolf and Louisa May Alcott were determined to make their writing pay no matter what. And their material circumstances had an impact on all of their creative outputs.From family money to jobs to colorful schemes, Mason Currey, author of the acclaimed Daily Rituals, explores both the well-worn and unlikely paths forward for the up-and-coming artist. Making Art and Making a Living is an entertaining and thought-provoking examination of the collision of creative ambitions with real-world necessities and of the messy, glorious, torturous compromises that gifted individuals have patched together when facing the eternal dilemma of an artistic life.

Por anos, eu me questionava por que algo que eu considerava extraordinário estava despercebido pelos outros. A resposta não estava no que eu fazia — mas em como eu me posicionava. Foi quando descobri

This book is the first major study of Edita Schuberts art published outside Croatia. Edita Schuberts body of work is strikingly diverse, spanning pioneering explorations of natural ecology in the 1970s to bold paintings in the spirit of the transavantgarde in the 1980s. She also created performance art on the streets of Dubrovnik and created installations that invited viewers into her world. Her later worksself-portraits of various kindsoffer profound meditations on memory, identity, and mortal- ity. Working in her studio in the Institute of Anatomy in Zagreb, she once compared her art with the practice of dissection, a precise and purposeful science which reveals the hidden territories of the human body. Often her subject was herself. The breadth of her artistic output seems to anticipate the "post-medium" condition of contemporary art. Yet when viewed together, strong lines of connection and continuity emerge, revealing a deeply intimate and single-minded vision of art.Edita Schubert (19472001) was an exceptionally prolific and inventive artist, active from the early 1970s until her untimely death at the age of 54 in 2001. A significant figure in Croatian and Yugoslav art, she exhibited at the Venice Biennale and the Biennale of Sydney and in galleries in Austria and the US, as well as frequently throughout Yugoslavia. Yet today, her art remains relatively little known.

This book is the first major study of Edita Schuberts art published outside Croatia. Edita Schuberts body of work is strikingly diverse, spanning pioneering explorations of natural ecology in the 1970s to bold paintings in the spirit of the transavantgarde in the 1980s. She also created performance art on the streets of Dubrovnik and created installations that invited viewers into her world. Her later worksself-portraits of various kindsoffer profound meditations on memory, identity, and mortal- ity. Working in her studio in the Institute of Anatomy in Zagreb, she once compared her art with the practice of dissection, a precise and purposeful science which reveals the hidden territories of the human body. Often her subject was herself. The breadth of her artistic output seems to anticipate the "post-medium" condition of contemporary art. Yet when viewed together, strong lines of connection and continuity emerge, revealing a deeply intimate and single-minded vision of art.Edita Schubert (19472001) was an exceptionally prolific and inventive artist, active from the early 1970s until her untimely death at the age of 54 in 2001. A significant figure in Croatian and Yugoslav art, she exhibited at the Venice Biennale and the Biennale of Sydney and in galleries in Austria and the US, as well as frequently throughout Yugoslavia. Yet today, her art remains relatively little known.

To mark the 200th anniversary of the Karlsruhe Institute of Technology (KIT), its history is being told through 100 selected objects. Proposals from the entire institute were submitted in response to a "Call for Objects." The curators Klaus Nippert and Andrea Stengel provide historical classifications of the objects with regard to their role in research, teaching, and development. The catalogue shows numerous new images of the objects, photographed by Jonas Zilius and Amadeus Bramsiepe, and mediates between their current appearance and the historical perspectives raised. In the design, Christoph Engel interweaves text and image in a special form that invites you to take a visual stroll.Klaus Nippert studied history and philology, and has a doctorate in early modernism. In 2002, he became head of the University Archive Karlsruhe, since 2009 the KIT Archive. He has published in the fields of archival, historical, and literary studies.

To mark the 200th anniversary of the Karlsruhe Institute of Technology (KIT), its history is being told through 100 selected objects. Proposals from the entire institute were submitted in response to a "Call for Objects." The curators Klaus Nippert and Andrea Stengel provide historical classifications of the objects with regard to their role in research, teaching, and development. The catalogue shows numerous new images of the objects, photographed by Jonas Zilius and Amadeus Bramsiepe, and mediates between their current appearance and the historical perspectives raised. In the design, Christoph Engel interweaves text and image in a special form that invites you to take a visual stroll.Klaus Nippert studied history and philology, and has a doctorate in early modernism. In 2002, he became head of the University Archive Karlsruhe, since 2009 the KIT Archive. He has published in the fields of archival, historical, and literary studies.

Em Mulheres, Terra e Memória, Jéssica Callegari de Castro conduz o leitor por um emocionante resgate das histórias de vida das camponesas que ajudaram a construir Xanxerê, em Santa Catarina. Com deli

Over the past two decades, Lisa Oppenheim has developed a critically acclaimed practice that is deeply rooted in the field of photography while also constantly exploring its margins. She often focuses on the unexplored potential of the mediums artistic, technological, and sociopolitical histories. Combining material experimentation with archival research, Oppenheim transforms or, in her words, "reprocesses"images and ideas both recent and historical by employing creative mechanisms ranging from a host of photographic processes to other media such as textiles, film and video, and, most recently, sculpture. Published in conjunction with her exhibition Monsieur Steichen at MUDAM Luxembourg, this richly illustrated catalogue surveys Oppenheims works from the past dozen years, and includes new texts by Darsie Alexander, Christophe Gallois, Jacob Proctor, and Bettina Steinbrugge, as well as a conversation between Lisa Oppenheim and artist Liz Deschenes.Lisa Oppenheim (*1975, New York) lives and works in New York City and holds degrees from Brown University, Bard College, and the Rijksakademie van beeldende kunsten. She is represented by Tanya Bonakdar Gallery in New York and Los Angeles and The Approach in London.

Over the past two decades, Lisa Oppenheim has developed a critically acclaimed practice that is deeply rooted in the field of photography while also constantly exploring its margins. She often focuses on the unexplored potential of the mediums artistic, technological, and sociopolitical histories. Combining material experimentation with archival research, Oppenheim transforms or, in her words, "reprocesses"images and ideas both recent and historical by employing creative mechanisms ranging from a host of photographic processes to other media such as textiles, film and video, and, most recently, sculpture. Published in conjunction with her exhibition Monsieur Steichen at MUDAM Luxembourg, this richly illustrated catalogue surveys Oppenheims works from the past dozen years, and includes new texts by Darsie Alexander, Christophe Gallois, Jacob Proctor, and Bettina Steinbrugge, as well as a conversation between Lisa Oppenheim and artist Liz Deschenes.Lisa Oppenheim (*1975, New York) lives and works in New York City and holds degrees from Brown University, Bard College, and the Rijksakademie van beeldende kunsten. She is represented by Tanya Bonakdar Gallery in New York and Los Angeles and The Approach in London.