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Phaidon Press Fall 2011

Art The Art Museum 2–5 Leonardo 6 Agnes Martin: Paintings, Writings, Remembrances by Arne Glimcher 7 Defining Contemporary Art 8 Abstract Expressionism 9 Wilhelm Sasnal 10 Vitamin P2 11 Architecture The Future of Architecture Since 1889 12 Vitamin Green 13 Katsura Imperial Villa 14 Phaidon Atlas of 21st Century World Architecture: Travel edition 15 10x10_3 16 Design Alexey Brodovitch 16 Ronan and Erwan Bouroullec 17 Food/Cook The Family Meal 18–19 The Silver Spoon 20–21 Terrine 22 The Art of French Baking 23 Children’s Books Hervé Tullet: Doodle Cook 24 Beatrice Alemagna: Bugs in the Garden 25

Tomi Ungerer: Christmas Eve at the Mellops’ 26–27 The Mellops Go Diving For Treasure 26–27 The Mellops Strike Oil 26–27 Nicholas and the Gang 28 Photography Elliott Erwitt: Museum Watching 29 Steve McCurry: The Path to Buddha 29 Questions Without Answers: The World in Pictures by the Photographers of VII 30 Guy Bourdin 31 Fashion Halston 32 Film Citizen Cannes 33 Decorative Arts The Pot Book 34 The Aesthetic Movement 35 Mapping the Silk Road and Beyond 35 Travel Wallpaper* City Guides 36–37


The Art Museum Conceived and edited by Phaidon Editors

420 x 320 mm 16 1/2 x 12 5/8 inches 992 pp 3000 col illus., 10 line drawings Hardback 978 0 7148 5652 0

£ 125.00 $ 200.00 € 175.00 $ 225.00 $ 225.00

UK US EUR CAN AUS

Published September 2011 ISBN: 978- 0 7148 56520

1 Lascaux cave

• This imaginary museum created and curated by Phaidon houses the finest art collection ever assembled • Unrestricted by the constraints of physical space its rooms display around 3,000 paintings, sculptures, frescos, photographs, tapestries, friezes, installations, performances, videos, woodblock prints, folding screens, ceramics and manuscripts that tell the history of world art • This is the only museum to house Leonardo’s Mona Lisa, a collection of Rembrandt’s finest self portraits, Velázquez’s Las Meninas and Picasso’s Guernica as well as ceramics from China, Hokusai’s woodblock prints, gold artefacts from Peru, paintings from the caves at Lascaux and works by Cy Twombly and Brice Marden • With colour-coded galleries, wall texts in each room that clearly explain the movement, culture or theme contained within, and explanatory labels for each work, The Art Museum is spacious, easy to get around, educational, inspiring and an exceptional visual feast • Open 24 hours a day and 365 days a year, this is the world’s first truly accessible art museum Lascaux cave is one of the most spectacular occupied – and some of the art created – in a number Rutting seems to be the unifying theme behind in what is probably a rutting display. The paintings the scene in the Great Chamber. The horses’ thick were created by a mixture of painting with a brush or examples of palaeolithic cave art, still giving of periods within this overall range. Nearly 2,000 depictions have been identified, coats and long tails that reach the floor, the thick some kind and spraying pigments on to the rock by up its secrets more than seventy years after representing almost 10 per cent of known French hair and beards of the male aurochsen and the spitting (for this technique see also Room 2/1). its discovery.

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It is unclear exactly what age the paintings are and whether or not they cluster in one period, although specialists agree that they date to the Solutrean or Early Magdalenian periods (c.18,000–15,000 bc; for the dating of Palaeolithic eras, see Room 3). The animals depicted on the walls – horses, extinct wild oxen and red deer – suggest a relatively warm period within the last Ice Age, which may rule out the earliest part of the epoch, when conditions were severe; but some depictions of reindeer and the recovery of their bones from the cave’s floor show that it was probably paLaeoLithic art

cave art. These are distributed throughout several chambers within the 250-m (820-ft) long upper gallery of the cave. Over 1,500 are simple engravings that remain poorly studied, but the cave is best known for its large, polychrome paintings, which have, understandably, received the most attention. Thematically, Lascaux is dominated by horses – 364 are known – but it is better known for its thirty-six depictions of aurochsen (extinct wild oxen). The best examples are found in the Hall of the Bulls, a large chamber about 17 metres (56 ft) in length. Seven aurochsen appear, some almost lifesize, in addition to nine horses, six red deer, a bear and several enigmatic signs.

massive antlers of the red deer stags show each species in their rutting seasons: winter, summer and autumn respectively. The scenes have been called a ‘fantastic ode to life’, and they act as a kind of calendar of procreation, obviously a strong concern for Palaeolithic hunter-gatherers. There is an overall harmony of layout in the Hall of Bulls, and it seems clear that it was designed as unified scheme. A mysterious, possibly imaginary animal, usually called the ‘unicorn’ (shown in the extreme top left), seems to drive a dynamic procession of horses and aurochsen, until in the centre of the wall two huge aurochs bulls confront each other

1. hall of the Bulls Late Solutrean / Early Magdalenian period, c.18,000–15,000 ; pigments on rock L (area shown): c.10m / 33 ft

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44 HellenistiC sCulpture: drama in stone Characterized by heightened dramatic facial Greece, encompassing areas such as Egypt, Asia previously depicted only on amaller scale, all now Historical and mythological groups were a major expressions, complex multi-figural composi- Minor and the Near East, and these regions brought appeared in sculpture, including haggard beggars, new feature of Hellenistic sculpture, embodying the tions and a tinge of tragic suffering, Hellenistic their own strong artistic traditions to native Greek demure middle-class ladies and plump children. style that has come to be known as the Hellenistic baroque sculpture is among the most moving styles. Surprisingly, the Hellenistic styles developed Even within a single genre, the range of subjects baroque; for like the Baroque style of later European uniformly across the Greek world, as artists frequently was greatly expanded. For example, in the Classical art, such figures represent the tumultuous, dramatic from the ancient Greek world. Following the death of Alexander the Great in 323 Greek sculptors brought several innovations to the service of their clients in a drastically changed world. Genre figures, individualized portraiture and a baroque style of representation were employed on a wide variety of monuments. The Hellenistic world spanned a much larger territory than that of Classical bc,

travelled to different cities, sharing and transplanting different techniques. Demand for craftsmen was high, as Alexander’s successors competed not only on the battlefield, but also as patrons of art, commissioning lavish monuments on a massive scale. While royal victory monuments and portraits of rulers and their families were popular subjects for statues, they did not completely dominate Hellenistic sculpture. An astonishing diversity of new subjects,

period, statues of athletes tended to be idealized world of epic heroes and mythological characters. In and identified only by attributes such as the spear the Classical period, mythological action groups were or discus; in the Hellenistic period, boxers, jockeys, confined to temple pediments, but in the Hellenistic runners and wrestlers were all distinguished by world they burst out from their architectural frames careful observations of the body types and muscu- and become three-dimensional monuments in their lature appropriate for each sport. Another popular own right. genre was the exotic world of Dionysos, replete with beastly Pans, bawdy satyrs, sprightly nymphs and sensuous hermaphrodites.

1. Hagesandros, athenedoros and polydoros of rhodes (attrib.) Laocoön, copy after 3rd–2nd century original; marble; H: 1.84 m / 6 ft ½ in Discovered in 1506 in Rome, this sculptural group caused an instant sensation not only for the quality of its carving and pathos of its characters, but also because it could be associated directly with a work mentioned by the ancient Roman author Pliny the Elder as having been admired in the palace of the Emperor Titus (r. 79–81). A first century Roman copy of a Greek work, it depicts the Trojan priest Laocoön and his two sons being attacked by serpents sent (according to Virgil’s Aeneid) by Athena as punishment for having warned the Trojans against bringing

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the sculptor as ‘…andros of Antioch on the Menander’, but museum officials seeking to associate the figure with the more famous Athenian sculptor Praxiteles (see Room 38/0) separated the base from the statue. Despite the loss of her arms, one of which may well have held an apple (a pun on the name of the island), the statue remains one of the most admired works to survive from antiquity.

2. Hagesandros of antioch on the menander Venus de Milo, late 2nd century ; marble H: 2.04 m / 6 ft 8¼ in 3. nike of samothrace c.180 ; marble; H: 2.45 m / 8 ft ½ in Found in 1820 on the Aegean island of Milos, this statue was soon acquired by the French This monumental figure of the Greek state and presented to the Louvre by Louis goddess of victory was originally set in the XVIII (r.1814–24). With it was found a marble upper basin of a two-level fountain at the base with a fragmentary inscription naming Sanctuary of the Great Gods in Samothrace,

where she was depicted alighting on the prow of a ship. Despite its naturalistic appearance, her wind-blown drapery is simultaneously dense and transparent, revealing anatomic details underneath the rippling surface of the mobile, deeply carved folds. The exuberance of the work, which has been attributed to Rhodian sculptors, and its illusionistic setting, is typical of the Hellenistic baroque. 4. aphrodite, eros and pan c.100 ; marble H (without base): 1.32 m / 4 ft 4 in The inscription on the base of this group from Delos indicates that it was dedicated by Dionysios, son of Zenon, of Berytos

(Beirut) to the ancestral gods. Aphrodite, the goddess of love, with her left hand shielding her pudenda in a pose adapted from that made famous by the Athenian sculptor Praxiteles in the mid-fourth century , playfully threatens the demigod Pan, while her son Eros flutters overhead. The sandal is not only a weapon, but also an allusion to lovemaking, for ancient erotic scenes often depict slapping with sandals as a form of sexual stimulation. 5. dying Gaul Copy after late 3rd century marble; L: 1.85 m / 6 ft ¾ in

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this collapsed warrior as a Gaul. Although carved in the style associated with Hellenistic Pergamon (Room 46), this statue is generally thought to be a second-century Roman copy of an original bronze erected in the late third century to celebrate the Pergamene victories over invading Celts. Whenever it was carved, it has been praised, since it was first recorded in the Ludovisi collection in 1623, as a masterful attempt to depict a human body as life slips away due to the wound under the figure’s right breast, which would once have been painted (or inlaid in bronze).

The torc around the neck, the shaggy hair and moustache, and the shield all identify

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the wooden horse into their city; or by Apollo for Laocoön’s having broken his vows of celibacy. The dramatic statue group was acquired by Pope Julius II (1443–1513) and displayed in the Vatican Belvedere; it was admired and soon echoed in the works of Michelangelo, Raphael, Bernini, Titian, Rubens and others.

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140 ExhiBiTion: ThE BooK of KElls

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The Book of Kells, a codex composed of 680 through the patronage of Oengus mac Fergus (r. c. ad each of the Gospels are cruciform ‘carpet pages’ compasses and ruler, and are in accordance with pages, of which only two are not elaborated 732–761), a Pictish king then ruling Dál Riada (where (pages covered with mostly geometric ornamenta- celestial geometry, using number symbolism in intriwith vibrant colour, is the most sumptuous Iona was situated). This might explain some of the tion, repeated to fill up the space). There are also cate ways. The depiction of animals also accords with decorative pages (pages with no text, or a few letters ideas about the ‘natures’ of different beasts, which illuminated manuscript to survive from early Pictish elements in the work’s ornament. At least four separate artists have been distin- or words only), notably the Christi Autem; this page conveyed important lessons to the faithful. medieval Europe.

‘If my work were properly understood, it would be the end of state capitalism and totalitarianism.’ Artist, writer, intellectual and anarchist, Barnett Newman (1905–70) claimed the most ambitious goals, which he believed could be reached through an art of purely formal, non-figurative means. His pared-down paintings – pure colour dissected by vertical line – and his polemical writing helped to shape the first-generation Abstract expressionist movement at mid-century.

The large volume was intended for display: the Latin text uses Insular majuscule (upper case) script. Although it is associated with the monastery at Kells in County Meath, Ireland, it was probably taken there by monks from Iona, now in Scotland, in ad 807, when they were fleeing Viking raids. Its production probably does not long pre-date their flight, and the book may well have been made to mark the enshrinement of St Columba’s relics on Iona, between ad 752 and 767,

The Book of Kells Late eighth century ; pigments on vellum 33 x 25.5 cm / 1 ft 1 in x 10 in 1. liber Generationis This page (fol.29r) underwent several changes, and sections have been left incomplete – the roundel for the ER or Liber was abandoned after some of the snake decoration had been done, and was simply infilled with yellow, while the angel at the top left has no face. Some compass circles are left unfilled. 2. symbols of the Evangelists This page (fol.129v) has the four symbols of the Evangelists, arranged in the angles of a cross. The symbols are drawn from the prophecies in Ezekiel and the Book of Revelation. According to St Gregory,

guished in different parts of the diverse decoration of the Book of Kells. In keeping with many of the Gospel books produced at this period, there are portrait pages representing the Evangelists and, less usually, Christ (3 and 11). The work also includes pages displaying the symbols of the four Evangelists (2, 5 and 7): lion (St Mark), calf (St Luke), eagle (St John) and Vitulus – a man or angel (St Matthew). There are also full-page illustrations of the Temptation of Christ (11), the Virgin and Child, and what has usually been interpreted as the Arrest of Christ (3). Prefacing

they were also seen to represent the stages of the life of Christ, who is represented as a man at his birth, a calf in his death, a lion in his resurrection and an eagle ascending to heaven. 3. arrest of Christ This full-page scene (fol.114r) contains complex symbolism. The outstretched arms and legs of Christ are symbolic of the Crucifixion that is to come, and the Eucharist is indicated by the vines or olives growing from vessels at Christ’s head; in some literature Christ was equated with the olive. 4. opening of st John This carries the text of ‘In principio erat verbum’ (‘In the beginning was the Word’), and the point is emphasized by the figure holding a book at the top left, interpreted

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as the deacon, responsible for church furnishings (fol.292r). 5. st Matthew St Matthew is here holding his Gospel, and is flanked by the symbols of calf (St Luke) and eagle (St John) that decorate his throne (fol.28v). 6. opening of st Mark The words are subordinate to the ornament on this page (fol.130r), which includes snakes with duck heads, a portrait and what appear to be griffins flanking a cross. 7. The four Evangelist symbols This is one of four such pages (fol.27v; see also 2) in the Book of Kells. Here the symbols have haloes. The arrangement is in accordance with the Vulgate, the Latin

(12) uses the Greek monogram of Christ as the core of a complex ornamental scheme. Finally, there are canon tables in which a concordance of events in the different Gospels is given (8). Throughout the work there are figures both of humans and animals, decorative letters and embellishments. The ornament in the Book of Kells was not intended, however, simply to provide decoration. It contains very complex symbolism that was meant to lead the reader to consider hidden meanings in the Gospels. The pages have been laid out with

version of the Bible prepared principally by St Jerome in the late fourth century , which orders the Gospels differently from later versions. 8. Canon Table The Canon Tables were intended to provide a concordance of verses in the Gospels in which the events in the Life of Christ are alluded to. They took an architectural form, for they were seen as a doorway into the Gospels. Here (fol.5r) the symbols of the Evangelists appear on the arch above. 9. The Genealogy of Christ This comes from the Gospel of St Luke (fol.200r). The small figure at the bottom right is holding a small targe-like shield and spear, and wears breeches cut off at the knee like those on the Cross of

The sources that lie behind the ornament in the Book of Kells are diverse, ranging from the traditional types of decoration derived from Roman Britain, stylized animal ornament that owes something to AngloSaxon England, to more exotic models for figural work, which may in some instances have originated in the eastern Mediterranean. The current rebinding of the manuscript in four volumes took place in 1953.

Muiredach at Monasterboice, County Louth, ‘church’ is notable for its gable finials, a Ireland. This figure has a penis drawn feature both of real churches and of houseparallel to the spear and has been seen as shaped shrines in early medieval Ireland. symbolic of procreation and death, the spear being an anticipation of the Crucifixion. 12. Chi rho page This is one of the most symbolically complex 10. opening of st luke pages (fol.34r). The symbols of earth (cats, This page (fol.188r) is noteworthy for its mice), air (butterfly, angels) and water (otter figural work as well as its ornament. In the catching fish) appear as part of the design, top centre is an unfinished drawing of a with the head of Christ forming the end of cloak without a head next to an animal head. the loop of the Rho. The Chi Rho was the The meaning of the figures at the bottom monogram of the first two letters of Christ’s right is obscure. name in Greek, and the page represents Christ as the fountain of life. 11. Temptation page One of the full-page pictures in the Book of Kells (fol.202v), this shows the temptation of Christ by Satan, here represented as a black-winged demon, the origin of which may lie in eastern Mediterranean art. The

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Nothing is known of the early training of Riemenschneider (c.1460–1531), but he spent his working years in Würzburg, where he first appeared as ‘journeyman’ in 1483, was listed as a master in 1485, and ran a large and productive workshop thereafter. Riemenschneider even served as the city’s mayor in 1520, but in the religious conflict that tore through

Germany in the following years he sided with the burghers and peasants against the local bishop, who fought to stamp out the Reformation in his jurisdiction. As a result, Riemenschneider was expelled from the city council in 1525, fined and imprisoned. Southern German sculpture was very different from that produced in Italy in this period, little influenced by antiquity and still deeply rooted in medieval piety. Although Riemenschneider’s imagery stemmed from the late Gothic artistic tradition, he was an innovator in leaving many of his limewood sculptures unpainted. It may have been an economic decision, since polychromy added significantly to the cost of sculpture, or he may have had religious considerations: unpainted images resembled living figures less than painted ones, important in the iconoclastic atmosphere of the Reformation. Whatever the reasoning, he initiated a fashion.

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display the consecrated Eucharistic host, rising high above the rest of the church . Riemenschneider carved the figures in what is now called the ‘Florid style’, common to German sculpture in this period. Typically of his art, the faces of his figures are long and thin, with sunken cheeks and flowing hair; drapery folds are elaborate and hide any sense of anatomy beneath; hands, hair and faces are rendered in fine detail. Riemenschneider’s compositions were inspired by the prints of Martin Schongauer (Room 213/1 and 4) and Rogier van der Weyden, with dramatic action at the centre sending out a ripple of effects toward the sides. The whole is both highly decorative and deeply spiritual.

1. altarpiece of the holy blood 1499–1505; limewood; H: 2.7 m / 9 ft

1. white fire I 1954; medium? 1.21 x 1.51m / 3ft 12 in x 5 ft

3. uriel 1955; oil on canvas 2.44 x 5.49 m / 8 ft x 18 ft

in various tones. From 1953 to 1955 he explored pale blue or aqua.

tapestries, precious metalwork and jewellery were the art forms most closely associated with royalty during the renaissance, and King Francis i of France was well aware of their importance to his prestige. the one certain product of the weaving factory he established at Fontainebleau is a spectacular six-piece set representing the painted and plaster decorations of Fontainebleau’s celebrated Galerie François ier. Francis (r.1515–47) was particularly fond of weavings that reproduced famous artworks in other media: he was the first patron to buy a copy of the Acts of the Apostles tapestries designed for the Sistine Chapel by Raphael, and he sent creations by his own court artists to be woven in Brussels.

Fontainebleau was Francis’s pleasure palace, which he rebuilt between 1528 and 1540. To redecorate his residence he brought in two Italian artists, Rosso Fiorentino (1494–1540) and Francesco Primaticcio (1504–70), who provided the designs based on which a large team of French, Italian and Netherlandish craftsmen adorned the interiors of the palace with frescos, stucco work and murals, all done in the fashionable Mannerist style (Room 188). The most splendid new space in the palace was the long Galerie François Ier. Francis had grown up at a court oriented towards Italy after the French occupation of Lombardy in 1499 and had travelled there in 1515 and 1524–25. He tried unsuccessfully to bring Raphael and Michelangelo into his service; he did manage to lure Leonardo, who spent the last three years of his life in France. Benvenuto Cellini (Room 192/1) worked for Francis

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for a while, and although Giulio Romano did not succumb to the king’s enticements, he did send his pupil Primaticcio, who thrived at Fontainebleau in collaboration with Rosso Fiorentino. The sumptuous hangings produced by Francis’s tapestry workshop – woven in gold, silver and silk threads – reproduced the painting and the stucco work designed by these Italian masters. The weavings are a tour de force, imitating in a highly illusionistic manner both the paintings and sculptures in Francis’s famous gallery, and even the trompe l’oeil architectural elements of the room, such as wainscoting and beam ends. It has been suggested that the king was so proud of his gallery that he wanted to have it with him at all times. His tapestries allowed him to bring the room with him wherever he travelled and to show off the artistic achievements he sponsored at Fontainebleau.

1, 2. rosso Fiorentino and Francesco primaticcio Fontainebleau Tapestries, 1540–47; wool, silk, silver and gold thread c.3.4 x 6.1 m / 11 ft x 20 ft 1. unity of the state Francis I, wearing the cuirass and laurel crown of a Roman emperor, is surrounded by people of all social ranks: warriors and burghers, civil dignitaries and scholars, even peasants. He holds a pomegranate, symbol of concord: as the fruit contains many seeds, so the state’s many citizens gather under the benevolent rule of the king. 2. danae This image of Danae receiving the amorous Zeus (Jupiter) in the form of golden rain has elicited various scholarly interpretations. Some see it as an allusion to the mistresses of Francis I, while others claim that Danae represents either Francis’s mother, Louise de Savoie, or his wife, Queen Lenora, in their roles as begetters of life and peace.

notorious bad boy of the ‘young British Artists’, damien hirst (b.1965) first catapulted to fame not for his in-your-face-art but for his role as organizer of the Freeze exhibition held in London’s docklands in 1988, which launched the careers of many of his classmates at Goldsmiths college and demonstrated both his entrepreneurial instincts and his knack for self-promotion. Hirst’s provocative, formaldehyde-filled sculpture The Physical Impossibility of Death in the Mind of Someone Living (2) stands as the iconic work of British art in the 1990s. Boldly proclaiming its meaning with a grandiose title, Hirst’s shark-in-a-tank takes up many of the artist’s signature preoccupations: shock, fear, death and time. This and later sculptures featuring

In one half of this bisected glass vitrine, a breeding box acts as a factory for the largescale production of flies. Holes in the dividing wall allow the flies to enter the other side, where a bug zapper awaits. A rotting cow’s head rests below, feeding ground for the maggots produced by those flies that managed to reproduce before dying. A microcosm for the staging of sex and death, A Thousand Years is also a conceptual marvel – a work of art that continuously destroys and replenishes itself.

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The title, Uriel, refers to one of the four Biblical archangels. White Fire I (1) may also relate to spiritual literature. The titles of Newman’s works certainly contribute meaning, and taken broadly they convey – evocatively and not

floating and/or bisected cows, pigs and sheep allude to the seventeenth-century Dutch tradition of the vanitas painting, in which skulls, bones and other memento mori were arranged in allegorical still-life tableaux to convey the fragility of life and the vanity of worldly desires in the face of inevitable death and decay. An earlier tank sculpture, A Thousand Years (1) – which with its resident houseflies, bug zapper and cow’s head presents a microcosm of sex and death – is theoretically capable of sustaining its life cycle forever, chasing after the fantasy of immortality through art. Deploying the vitrine as a device of containment and display in which to stage theatrically the ‘grand themes’ of human existence, Hirst invokes 1970s Minimalist constructions by artists such as Donald Judd (Room xxx), Robert Morris and Sol LeWitt (Room xxx/x and x) in his steel-and-glass sculptures,

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4. Vir Heroicus sublimis 1950–51; oil on cavas 2.42 x 5.42 m / 7ft 11½ in x 17 ft 9¼ in

published essays. The work is very large in scale, and the viewer is meant to stand close, so as to be engulfed in the picture. When Newman first exhibited this painting in a gallery, he posted a statement: ‘The large pictures in this exhibition are meant to be seen from a short distance.’

The title, Latin for ‘Man, Heroic and Sublime’, is a summative visual statement reflecting the stance Newman articulated in his

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Hirst’s iconic sculpture displays a majestic fourteen foot tiger shark in a large glass tank filled with a formaldehyde solution. Suspended in space and time, the shark confronts the viewer with its teeth bared, as if poised for attack, exuding a palpable feeling of menace and providing a visceral encounter with death. 3. Albumin, human, Glycated 1992; oil-based household paint and synthetic polymer on canvas 2.13 m x 2.95m /7 ft x 9 ft 8 in?

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Created using ready-mixed household paint and named after pharmaceutical chemicals, Hirst’s ‘spot’ paintings consist of regimented rows of randomly coloured circles resembling pills. Exploiting the art market, Hirst painted the first five himself, and then relegated the job to assistants, who have completed several hundred canvases – no two alike – under his supervision. 4. Beautiful Kiss my fucking Ass Painting 1996; household gloss paint on canvas Diam: 2.13 m / 7 ft Borrowing an art-making technique from a form of entertainment favoured by children at carnivals, Hirst created his series of ‘spin’ paintings by pouring household paint on to

although they contaminate the purity of industrial Minimalism with explicit and organic content. They also make reference to Jeff Koons’s tank sculptures of the mid-1980s (Room xxx), which place consumer products on fetishistic display. In Hirst’s sculpture, the vitrine functions as both window and barrier: its structure frames and encloses a spatial volume and seduces the viewer with its smooth, shiny surface even as it enforces distance and renders its contents pictorial. Hirst has also acknowledged a debt to Francis Bacon’s paintings (Room xxx and xxx) a source of inspiration evident not only in the artists’ shared obsession with meat, decay and mortality, but also in their use of containment as a compositional device – in Hirst’s case, in vitrines; in Bacon’s, within the cage-like forms that often circumscribe his figurative spasms of paint.

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Hirst’s paintings have little in common with Bacon’s tortured and expressive compositions, however; rather they are generated in response to a specific set of rules, often by assistants and generally in lucrative series. The ‘spot’ paintings (3) –grids of randomly coloured circles in various permutations, named after narcotics and stimulants –allude to Minimalist painting in their geometric forms and repetition, despite the fact that they are all unique and painted by hand. The ‘spin’ paintings (4) appropriate an art-making technique used by children to mock Abstract Expressionist gesturalism. Canvases embedded with elaborate constellations of opalescent butterfly wings recall stained-glass windows and, like the vitrine sculptures, turn literal death into an aesthetic statement neatly displayed, with the brutality of its making excised from view (5).

spinning circular canvases, allowing allude to the beauty and fragility of life. centrifugal force to define their imagery and then framing each work with a dramatic title. 6. for the Love of God The splatters recall the gesturalism of 2007; platinum, diamonds and human teeth Abstract Expressionist painting (Room xxx), H: 17.1 cm / 6¾ in but the compositions are mechanically generated and completely random. Its title inspired by his mother’s exasperated query, ‘For the love of God, what are you 5. devotion going to do next?’, Hirst’s sculpture – 2003; butterfly wings on household gloss encrusted with 8,601 flawless diamonds and paint on canvas; 2.29 x 1.52 m / 8 x 5 ft cast in platinum from an eighteenth-century skull whose original teeth grace its smile – Thousands of iridescent butterfly wings are was the result of his quest to create the collaged on to an oval canvas in a dense, most expensive work of contemporary art radially symmetrical pattern that evokes a ever. It was sold in 2007 for $100 million. stained-glass window, kaleidoscope or sacred mandala. Embedded (or embalmed?) 7. Beautiful inside my head forever in household paint, the dead butterflies 2008

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proscriptively – a sense of seriousness and heroic import.

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1. A thousand years 2. the Physical impossibility of death in the 1990; steel, glass, flies, maggots, MDF, Insect- mind of someone Living O-Cutor, cow’s head, sugar, water 1991; tiger shark, glass, steel, formaldehyde L: 4.27 m / 14 ft solution; L: 5.18 m / 17 ft

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extraneous references and to reach a direct means of communicating: ‘Instead of making cathedrals out of Christ, man or “life”, we are making it out of ourselves, out of our own feelings. The image we produce is the self-evident one of revelation, real and concrete, that can be understood by anyone who will look at it without the nostalgic glasses of history.’

In the end, definitive resolutions are unattainable. Meaning is conveyed, but neither by imagery, nor by traditional means of compositional arrangement. In a famous essay, ‘The Sublime is Now’ (1948), Newman claimed: ‘The image … is the self-evident one of revelation, real and concrete.’ The viewer must come to terms with the perceptual experience and with the complex associations that Newman sought to reveal, however hermetically. Newman’s work was profoundly influential on later art. The theoretical foundation on which he developed his artistic vision affected a diverse range of sensibilities, from Colour Field painting (Room xxx) to hard-edge painting (Room xxx) to Minimalism (Room xxx) to Conceptual art (Room xxx).

433 dAmien hirst

208 FoNtaiNebleau tapestries In 1501 the city of Rothenburg, located some sixtyfive kilometres (40 miles) south-east of Würzburg, commissioned Riemenschneider to carve a wooden altarpiece for the altar of the Chapel of the Holy Blood in the Church of St Jacob.The chapel housed an important relic – a drop of Christ’s blood – and drew many pilgrims, so an impressive altarpiece was essential. An indication of the importance of the commission lies in the fact that the contract specified in detail every aspect of the shrine: it was to show the Last Supper in the centre, with figures measuring ‘four feet tall’; the wings were to depict the Entry into Jerusalem and the Agony in the Garden in relief ‘about three fingers deep’, and so on. The elaborate frame for the carved altarpiece was created by a local joiner, Erhard Harschner, with Riemenschneider’s portion slotted into it. The altarpiece as a whole takes the shape of a gigantic monstrance, the vessel used to

now it completely defined the work, which carried no other imagery. A vertical stripe of masking tape and paint runs through the canvas. One indivisible entity, complete and representing nothing other than itself, this painting is emblematic of all to come. Newman had found his authoritative formal idiom. Later, he coined the term ‘zip’ to identify his thin vertical line dissecting a monochromatic field. The zip could be sharp or soft or both, painterly or flat, thick or thin. There might be one or several, organized around symmetry or other balances. The zips delineate Newman’s saturated, expansive fields of colour, and these elements seem to call upon viewers to consider their acts of perception with acute awareness. Do the zips divide or join the fields they define?

2. cathedra An ethereal light blue expanse is punctuated 1951; oil and magna on canvas by two zips: one thicker, one thinner, one 2.44 x 5.44 m / 8 ft x 17 ft 10 in harder-edged, one softer and wavering. Barnett Newman generally focused on a The austerity of Newman’s ‘zip’ paintings specific colour in his work. In 1950–1, many is far from simple or routine. He reduced of his paintings were investigations of red, both form and colour to strip away

rooM 140

207 tilmaN riemeNschNeider: holy blood altarpiece southern Germany was a tremendously creative region in the late fifteenth and early sixteenth centuries. the thriving cities of the area, with their prosperous patricians and merchants, fostered sculpture in particular, and it flourished as an expression of religious piety, technical mastery and aesthetic refinement. one of the most expressive and skilled carvers was tilman riemenschneider.

philosopher, ‘explaining the world of ideas, not the world of the senses’. He looked to theoreticians such as Wilhelm Worringer (1881–1965), who combined philosophy and aesthetics to define the urgent relevance of abstraction. Equally, he studied the natural sciences, particularly botany and ornithology, and published numerous essays. By the mid-1940s Newman’s art reflected these investigations. Forms suggestive of plants, trunks, eggs, seeds and orbs seem to be metaphors for biological or metaphysical origins, or even artistic creation. His work grew more abstract, and in 1948, with For Newman, conventional subject matter and form – the European mimetic tradition – were invalid in Onement I, Newman created a kind of painting that a time of terror and anguish, as was beauty. He saw combined the sparest form with rich resonances. the role of the artist as akin to that of a scientist or He had used vertical bands in previous work, but

Fall 2011

In September 2008, Hirst rewrote the rules of the art market by selling a complete show, Beautiful Inside My Head Forever, at Sotheby’s auction house in London, bypassing his dealers (and their 50 per cent commission) to offer 223 new and recent artworks work directly to collectors. The highly publicized two-day spectacle broke records for a one-artist auction, making international headlines and ultimately grossing $200.7 million.


305 x 225 mm 12 x 8 7/8 inches 128 pp 50 col, 50 b&w illus. Paperback 978 0 7148 6255 2

£ 6.95 UK $ 11.95 US € 9.95 EUR $ 14.95 CAN $ 16.95 AUS Published August 2011 ISBN: 978- 0 7148 62552

9 780714 862552

Leonardo

Agnes Martin

Patricia Emison

Paintings, Writings, Remembrances by Arne Glimcher

• A new addition to the best-selling Colour Library series of introductory books on the great masters and movements in art

290 x 250 mm 11 3/8 x 9 7/8 inches 240 pp 180 col, 20 b&w photographs

• The quintessential Renaissance man, Leonardo di ser Piero da Vinci (1452–1519) was one of history’s greatest painters, draughtsmen and thinkers • His influence on the history of art is immeasurable and his Mona Lisa is the most famous painting in the world • Contains an extensive essay by respected specialist Patricia Emison and 48 fullpage colour plates accompanied by extensive notes and comparative illustrations • Excellent value for money, the Colour Library books are highly regarded for their insight and authority

Patricia Emison is a specialist in Renaissance and Baroque art and Professor of Art History at University of New Hampshire. Her previous publications include The Shaping of Art History: Meditations on a Discipline and The Simple Art: Printed Images in an Age of Magnificence, as well as numerous publications in Renaissance Studies, Art Bulletin and The Burlington Magazine.

Hardback 978 0 7148 5996 5

£ 60.00 $ 100.00 € 75.00 $ 120.00 $ 120.00

• Agnes Martin (1912–2004) considered herself an abstract expressionist, her works being as pure as possible expressions of beauty, innocence, humility, joy, happiness and love • This important book brings together her paintings and drawings, with her writings and lecture notes, which vividly illuminate her art and her understanding of life • Includes facsimiles of previously unpublished writings, notes and letters, conveying the artist’s thoughts in her own handwriting, as well as all her well known essays

UK US EUR CAN AUS

• Arne Glimcher’s illuminating introduction, his reminiscences of visits to Martin at her studio, and their correspondence throughout her career, reveal much about the artist’s way of life and attitude to her work

Published October 2011

Arne Glimcher founded The Pace Gallery in Boston in 1960, moving to New York in 1963, where he rapidly became one of the world’s most influential art dealers. He first met Agnes Martin in 1963 and has represented her ever since, having become a close friend and developed a uniquely intimate understanding of her work. Glimcher is still Chairman of The Pace Gallery.

ISBN: 978- 0 7148 59965

9 780714 859965

Agnes Martin, 1979, photographed by Dorothy Alexander

6

Art

7

Fall 2011


290 x 214 mm 11 3/8 x 8 3/8 inches 464 pp 700 col, 100 b&w illus. Hardback 978 0 7148 6209 5

£ 45.00 UK $ 75.00 US € 69.95 EUR $ 79.95 CAN $ 89.95 AUS Published November 2011 ISBN: 978- 0 7148 62095

9 780714 862095

8

Defining Contemporary Art

Abstract Expressionism

25 Years in 200 Pivotal Artworks Daniel Birnbaum, Cornelia Butler, Suzanne Cotter, Bice Curiger, Okwui Enzwezor, Massimiliano Gioni, Hans Ulrich Obrist, Bob Nickas

Katy Siegel

290 x 250 mm 11 3/8 x 9 7/8 inches 304 pp 240 col, 20 b&w illus.

• A revolutionary history of the past 25 years in art • Features the 200 pivotal artworks of this period selected and explained by 8 international curators who shaped the art of our era

Hardback 978 0 7148 4415 2

• The book’s innovative structure is uniquely suited for telling the story of contemporary art • A vital source for historians and art practitioners, it is also an accessible introduction for anyone eager to understand the art of our time

Daniel Birnbaum is Director of the Moderna Museet in Stockholm. Cornelia Butler is Curator of Drawings at the Museum of Modern Art in New York. Suzanne Cotter is Curator of Exhibitions at the Guggenheim Abu Dhabi. Bice Curiger is Curator at the Kunsthaus Zurich and Editor-in-Chief of Parkett. Okwui Enwezor is Director of the Haus der Kunst in Munich and Adjuct Curator at the International Center of Photography in New York. Massimiliano Gioni is Associate Director and Director of Exhibitions at the New Museum, New York, and Artistic Director at Fondazione Nicola Trussardi, Milan. Bob Nickas is an independent curator based in New York. Hans Ulrich Obrist is Co-Director of Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery, London.

Art

£ 45.00 UK $ 75.00 US € 69.95 EUR $ 79.95 CAN $ 89.95 AUS Published November 2011 ISBN: 978- 0 7148 44152

• Comprehensive survey of the epic and influential movement centred in New York in the decades following the Second World War • Includes a clear and authoritative Survey essay, full-colour plates of over 200 Works accompanied by explanatory captions, and a definitive collection of over 50 key historical Documents, including statements by the artists, exhibition reviews and essential critical texts • Extensive examinations of heroic painters such as Jackson Pollock, Willem de Kooning and Mark Rothko, as well as lesser known but important artists like Lee Krasner and Bradley Walker Tomlin • Traces the roots of Abstract Expressionism in the 1930s, its flourishing in the 1940s and 1950s and its mature achievements in the 1960s and 1970s

Katy Siegel is Professor of Art History at Hunter College in New York and Contributing Editor at Artforum magazine.

9 780714 844152

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Fall 2011


290 x 250 mm 11 3/8 x 9 7/8 inches 160 pp 180 col illus. Paperback 978 0 7148 6079 4

£ 27.95 UK $ 45.00 US € 39.95 EUR $ 59.95 CAN $ 59.95 AUS Published November 2011 ISBN: 978- 0 7148 60794

9 780714 860794

10

Wilhelm Sasnal

Vitamin P2

Survey by Dominic Eichler, Interview by Andzrez Przywara, Focus by Jörg Heiser, Artist’s Choice by Tadeusz Rózewicz, Writings by Wilhelm Sasnal

New Perspectives in Painting Conceived and edited by Phaidon Press

• The first major monograph on the intriguing virtuoso of painting and film

290 x 250 mm 11 3/8 x 9 7/8 inches 352 pp 500 col illus.

• Winner of the 2006 Vincent van Gogh Prize, Wilhelm Sasnal (b.1972) has been celebrated around the world as one of the most exciting painters of his generation • Sasnal’s paintings combine Pop, photorealism and abstraction with a pictorial economy that is unmistakably new • Much sought-after by private collectors, his work is in the permanent collections of major institutions including the Museum für Moderne Kunt in Frankfurt, MuHKA in Antwerp and Tate in London

Dominic Eichler is an art critic, artist, musician and curator based in Berlin. He is Contributing Editor at Frieze and has written for a range of magazines and exhibition catalogues. His books include the poetry collection Written All Over Us (2009). Andrzej Przywara is a curator, art critic and art historian. From 1988 he worked at Foksal Gallery in Warsaw, curating exhibitions by such artists as Luc Tuymans, Franz West and Douglas Gordon. He is currently President of the Foksal Gallery Foundation, which he co-founded in 2001. Jörg Heiser is an art critic and curator based in Berlin. Co-Editor of Frieze, he also writes for a number of German-language newspapers, including Süddeutsche Zeitung, and his books include All of a Sudden: Things that Matter in Contemporary Art (2008).

Art

Hardback 978 0 7148 6160 9

£ 39.95 UK $ 69.95 US € 59.95 EUR $ 75.00 CAN $ 79.95 AUS

• A dynamic overview of the best new contemporary painting from around the world • Features the work of 115 artists working internationally who have been nominated by highly respected critics and curators for their outstanding contributions to recent painting • Over 500 images depict the incredible richness and variety of the medium • Introduction by Barry Schwabsky, London-based writer, Art Critic for The Nation and International Reviews Editor for Artforum • Both a reference book for the art world and an accesible introduction for newcomers to the scene

Published October 2011 ISBN: 978- 0 7148 61609

9 780714 861609

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Fall 2011


270 x 205 mm 10 5/8 x 8 1/8 inches 528 pp 300 col, 300 b&w illus. Hardback 978 0 7148 4598 2

£ 45.00 UK $ 75.00 US € 59.95 EUR $ 79.95 CAN $ 79.95 AUS Published September 2011 ISBN: 978- 0 7148 45982

9 780714 845982

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The Future of Architecture Since 1889

Vitamin Green

Jean-Louis Cohen

Phaidon editors

• The most comprehensive and far-ranging single-volume history of twentiethcentury architecture • Written by a trusted authority in the fields of architecture and urbanism and a prominent writer, critic, curator and teacher

290 x 250 mm 11 3/8 x 9 7/8 inches 352 pp 500 col illus.

• Exhaustively illustrated with buildings, projects, plans, drawings, and publications by well-known masters and rediscovered figures

Hardback 978 0 7148 6229 3

• Covers all parts of the globe better than any comparable history of the period • Destined to become the standard reference on this time period for every student of architecture

Jean-Louis Cohen is one of the most authoritative historians of twentieth-century architecture and urbanism. He is the Sheldon H. Solow Professor in the History of Architecture at the Institute of Fine Arts of NYU University. An articulate writer, popular lecturer, commentator for the French media, and leader of research teams, Cohen has received many honors and is the author of numerous books and articles about nearly every aspect of how modernization has affected the built environment.

Architecture

£ 45.00 UK $ 75.00 US € 59.95 EUR $ 79.95 CAN $ 89.95 AUS

• The definitive book on contemporary sustainable design and architecture from around the world • Features over 100 buildings, landscapes and products nominated by an international roster of influential architects and designers, as well as critics, curators and writers • Displays the incredible breadth of techniques, materials, and sites used by designers and architects today to address issues like water quality, pollution and energy consumption • An inspirational overview of sustainable design for newcomers as well as a reference book for design professionals

Published October 2011 ISBN: 978- 0 7148 62293

9 780714 862293

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Fall 2011


Katsura Imperial Villa

Phaidon Atlas of 21st Century World Architecture: Travel edition

Introduction by Arata Isozaki plus essays by Manfred Speidel, Bruno Taut, Walter Gropius, Kenzo Tange and Francesco Dal Co.

280 x 250 mm 11 x 9 7/8 inches 402 pp 197 col, 226 b&w illus. Paperback 978 0 7148 6254 5

£ 29.95 UK $ 49.95 US € 49.95 EUR $ 55.00 CAN $ 59.95 AUS Published August 2011 ISBN: 978- 0 7148 62545

9 780714 862545

14

• A comprehensive and beautifully illustrated study of the Katsura Imperial Villa, Japan, considered the most outstanding example of 17th century Japanese architecture and precursor of modern tendencies

149 x 103 mm 5 7/8 x 4 inches 438 pp 1100 col illus.

• Includes a wealth of photographs, some specially commissioned for the title and others taken from archives, supported by detailed drawings and text from experts such as Walter Gropius and Bruno Taut • An in-depth analysis of a complex that has long been a pilgrimage site for architects around the world, this is an indispensable reference work

Arata Isozaki (b.1931) is one of the most important living Japanese architects today. After spending nine years working as an apprentice for Kenzo Tange, he went on to establish his own firm in 1963. Since then, he has earned a reputation across the globe for his notable buildings in Europe, America and Asia and was awarded the RIBA gold medal in 1986. Manfred Speidel (b.1938) graduated from the University of Stuttgart Department of Architecture in 1965 and is a leading authority on Bruno Taut. Bruno Taut (1880–1938) was a German-born architect and theorist who visited Katsura in the 1930s and was one of the first to champion the complex as a precursor of modern architecture. Walter Gropius (1883–1969) was chairman of Harvard University’s Graduate School of Design from 1937–52 and was a founder of the Bauhaus. Kenzo Tange (1913–2005) was one of Japan’s foremost architects and was the winner of the 1987 Ptitzker Architecture Prize. Francesco Dal Co (b.1945) is Professor of Architectural History at the University Institute of Architecture in Venice.

Architecture

Flexibound 978 0 7148 4878 5

£ 14.95 UK $ 24.95 US € 19.95 EUR $ 29.95 CAN $ 29.95 AUS

• For everyone who enjoys looking at architecture, this portable companion to the comprehensive edition of The Phaidon Atlas of 21st Century World Architecture is an ideal guide for the architectural tourist • Contains a condensed version of the information in the comprehensive edition with additional city maps for identification and location of each building • Features the same buildings and over 50 new projects each illustrated with one image per project. Includes addresses, websites and telephone numbers to facilitate locating and visiting the buildings • Clearly indicates which buildings may be visited either on the exterior only or both on the interior and exterior, and whether an appointment is required

Published September 2011 ISBN: 978- 0 7148 48785

9 780714 848785

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Fall 2011


297 x 297 mm 11 3/4 x 11 3/4 inches 444 pp 1500 col illus. Paperback 978 0 7148 6252 1

£ 29.95 UK $ 49.95 US € 39.95 EUR $ 59.95 CAN $ 59.95 AUS Published August 2011 ISBN: 978- 0 7148 62521

9 780714 862521

NEW IN PAPERBACK

10x10_3

Ronan and Erwan Bouroullec

Curated by Shumon Basar, Mercedes Daguerre, Luis Fernández-Galiano, Bart Goldhoorn, Joseph Grima, Ca

Anniina Koivu

• A global overview of contemporary architecture selected by ten prominent members of the international architecture community • Following on from the successful 10x10 and 10x10_2, features the work of 100 rising stars and a variety of buildings from private houses and apartments to schools, offices and stadia • Features projects that redefine architecture, exploring never-before-used materials and proving that ‘green’ is the new standard in innovative design • A must-have for anyone wanting to keep up to date with the future of architecture

322 x 240 mm 12 3/4 x 9 1/2 inches 304 pp 400 col illus.

• A comprehensive monograph documenting the entire career of Ronan Bouroullec (b.1971) and his brother Erwan (b.1976) who took the design world by storm with their first joint projects in the late 1990s and have continued to produce exceptional designs ever since

Hardback 978 0 7148 6247 7

• Explores the designers’ work by theme and includes their collaborations with the likes of Cappellini, Vitra and Issey Miyake, covering everything from office furniture to jewellery

£ 45.00 UK $ 75.00 US € 69.95 EUR $ 79.95 CAN $ 89.95 AUS Published November 2011 ISBN: 978- 0 7148 62729

9 780714 862729

290 x 250 mm 11 3/8 x 9 7/8 inches 272 pp 275 col, 75 b&w illus. Paperback 978 0 7148 6317 7

£ 24.95 UK $ 39.95 US € 29.95 EUR $ 45.00 CAN $ 49.95 AUS Published August 2011 ISBN: 978- 0 7148 63177

9 780714 863177

NEW IN PAPERBACK

16

• Features a wealth of previously unpublished images from the designers’ archives, hand-selected by the Bouroullecs, with supporting text from design specialist Anniina Koivu

Anniina Koivu has been editor of Abitare magazine in Italy since 2007. Graduating as an architect from the Helsinki University of Technology she has written for various Abitare publications and compiled the principle essay for designer Pierre Charpin’s first monography. She has acted as both judge and speaker at international design competitions and currently teaches design history and theory at the University of Art & Design in Lausanne.

Alexey Brodovitch Kerry William Purcell • Most comprehensive monograph in print on Alexey Brodovitch’s life and work • Highlights Brodovitch’s major achievements as Art Director of Harper’s Bazaar, his collaboration with Richard Avedon and André Kertész, and his role as educator to a young generation of photographers and designers • Draws on interviews with a wide range of colleagues and collaborators • Includes rare, previously unpublished material from archives and private collections around the world • Reproduces in full the three photography books designed by Brodovitch, including the extremely rare Ballet, and three issues of Portfolio magazine, a much-heralded journal that is now a cult collectable

Architecture/Design

17

Fall 2011


The Family Meal Home cooking with Ferran Adrià Ferran Adrià

290 x 214 mm 11 3/8 x 8 3/8 inches 352 pp c.1,500 col illus. Hardback (UK edition) 978 0 7148 6239 2 ISBN: 978- 0 7148 62392

9 780714 862392

(US edition) 978 0 7148 6253 8

• The first book of home-cooking recipes by Ferran Adrià, the world’s most influential chef • Contains 31 menus and 93 recipes for the simple, tasty dishes that the elBulli staff eat for dinner • Includes step-by-step instructions showing you how to make everyday classics such as guacamole, roast chicken and chocolate cake • Features quick and cost-effective menus to cook for 2, 6, 20 or 75 people

Ferran Adrià (b.1962) is recognized as the best chef in the world. His legendary talent, creativity and gastronomic innovations have inspired chefs and food-lovers around the world for many years, and make elBulli what it is today.

ISBN: 978- 0 7148 62538

9 780714 862538

£ 19.95 UK $ 29.95 US € 24.95 EUR $ 35.00 CAN $ 39.95 AUS Published October 2011

Step-by-step preparation of Spaghetti with Tomato and Basil

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Food/Cook

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Fall 2011


The Silver Spoon New Edition

270 x 180 mm 10 5/8 x 7 1/8 inches 1464 pp 400 col illus. Hardback (UK edition) 978 0 7148 6245 3

• The bestselling bible of authentic Italian cooking, now available in a brandnew edition • The only book on Italian cooking you’ll ever need, containing more than 2,000 simple and traditional recipes fully revised and updated for modern kitchens • Includes 400 stunning new photographs and new recipes from celebrated Italian chefs

ISBN: 978-0714862453

9 780714 862453

(US edition) 978 0 7148 6256 9 ISBN: 978-071486256 9

9 780714 862569

£ 29.95 UK $ 49.95 US € 39.95 EUR $ 59.95 CAN $ 59.95 AUS Published October 2011

More than 1 million copies sold

Clockwise from top left: Pizza Napoletana, Linguine with Genoese Pesto, Fig Tart, Chicken Roulades with Sage 20

Food/Cook

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Fall 2011


270 x 205 mm 10 5/8 x 8 1/8 inches 160 pp 160 col, 50 b&w illus. Paperback 978 0 7148 6251 4

£ 9.95 UK $ 16.95 US € 12.95 EUR $ 17.95 CAN $ 19.95 AUS

Terrine

The Art of French Baking

Stéphane Reynaud

Ginette Mathiot

• More than 80 delicious recipes for meat, fish, vegetable, cheese and sweet terrines

270 x 180 mm 10 5/8 x 7 1/8 inches 368 pp 150 col illus.

• Simple to prepare and visually impressive, terrines are the perfect dish to cook for dinner parties • A delightful selection of versatile recipes ranging from the traditional to the contemporary

Hardback (UK edition) 978 0 7148 6240 8

• By the author of the popular cookbook Pork & Sons, also published by Phaidon

• The definitive collection of authentic French pastry and dessert recipes • From éclairs to soufflés and macaroons to madeleines, when it comes to desserts, no-one does it better than the French • Contains more than 350 simple recipes that anyone can follow at home • Includes details of basic equipment and techniques and information on how to troubleshoot common baking problems

ISBN: 978- 0 7148 62408

Stéphane Reynaud (b.1967) belongs to the third generation of a family of pork devotees. The grandson of a village butcher on the Ardèche plateau in France, where they take their pork very seriously, Stéphane is the owner of Villa 9 Trois in Montreuil, near Paris, a highly-regarded restaurant that specialises in pork.

9 780714 862408

(US edition) 978 0 7148 6257 6

Published August 2011

Ginette Mathiot (1907–1998), Officier de la Legion d’Honneur, was a French food writer. She wrote over 30 books, including the famous Je sais cuisiner, which sold over 6 million copies. She pursued a long career in education, first as a Home Economics teacher, and eventually overseeing the teaching of Home Economics in France.

ISBN: 978- 0 7148 62576

ISBN: 978- 0 7148 62514

9 780714 862576

9 780714 862514

NEW IN PAPERBACK

£ 24.95 UK $ 45.00 US € 39.95 EUR $ 49.95 CAN $ 49.95 AUS Published November 2011

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Food/Cook

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Fall 2011


Hervé Tullet: Doodle Cook 345 x 250 mm 13 5/8 x 9 7/8 inches 48 pp 40 b&w illus. Paperback (UK edition) 978 0 7148 6070 1 ISBN: 978- 0 7148 60701

9 780714 860701

(US edition) 978 0 7148 6227 9

ISBN: 978- 0 7148 62279

9 780714 862279

£ 7.95 UK $ 14.95 US € 9.95 EUR $ 14.95 CAN $ 16.95 AUS

Beatrice Alemagna: Bugs in the Garden

• Welcome to your art-kitchen. Apron on? Then take up your crayons and begin!

175 x 220 mm 6 7/8 x 8 5/8 inches 40 pp 20 col illus.

• An inventive step-by-step doodle book that teaches children to be creative with shapes and colour and in doing so, draw dishes such as ‘Scribble Delight’ and ‘Magic Marmalade’ • Created by the masterchef, Hervé Tullet, each art-recipe is seasoned with humour and served with a dollop of fun • Imaginative but easy-to-follow ‘recipes’ will encourage children 5+ to draw things they never imagined they could • Guaranteed to foster powers of visualization and stretch the imagination

Hervé Tullet was born in 1958. After studying Fine Art, he worked as an Art Director before joining the advertising industry. In 1994 he published his first book for children and has since become one of the world’s most innovative book makers. Known in France as the ‘Prince of pre-school books’, Tullet takes the concept of reading to a new level, teaching young minds to think imaginatively, independently and creatively. A great lover of children’s literature, he is the father of two boys and a girl who never fail to inspire him.

Boardbook case 978 0 7148 6238 5

£ 6.95 UK $ 12.95 US € 9.95 EUR $ 14.95 CAN $ 14.95 AUS Published August 2011

• What happens when the bugs in the blanket venture out into the big, wide garden to find some new friends? • Written and illustrated by Beatrice Alemagna, whose charming style of textures, appliqué and collage has never before been used in children’s books • A simple narrative with lovable characters who have enduring appeal for preschool children around the world

Born in 1973, Beatrice Alemagna made her first picture book at the age of eight and has since published over 20 books with leading international publishers. Her techniques of illustration vary depending on the story of each book, but range from the use of pencil and paint to collage and embroidery. A consummate storyteller, her intimate and imaginative books are completely intertwined works where the words and the pictures meld seamlessly and become one.

ISBN: 978- 0 7148 62385

9 780714 862385

Published September 2011

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by Hans Christian Andersen Prize Winner

Children’s Books

25

Fall 2011


Tomi Ungerer Each book: 205 x 235 mm 8 1/8 x 9 1/4 inches 32 pp 32 col illus. Hardback

£ 6.95 UK $ 12.95 US € 9.95 EUR $ 14.95 CAN $ 14.95 AUS

Christmas Eve at the Mellops’ • It is the day before Christmas the four Mellops brothers all have the same idea – to surprise their family with a Christmas tree

• Meet the Mellops: the world’s most intrepid family of pigs • Three classic picture books by one of the world’s best-loved storytellers, examining themes of adventure, compassion and understanding

• By Christmas Eve the hall is full of trees – and tears – and the Mellops must find a way to share the festive cheer

• Reissued in English to inspire and delight a new generation of children

• A timeless tale that brings the true meaning of Christmas to life

• Each title takes the reader on a different Mellops adventure

Tomi Ungerer (b.1931) is one of the most celebrated children’s storytellers of all time. In 1998, he was awarded the Hans Christian Andersen Award for illustration. Adelaide is the fourth picture book from the Tomi Ungerer collection to be republished by Phaidon Press.

Published September 2011

The Mellops Go Diving For Treasure

by Hans Christian Andersen Prize Winner

Christmas Eve at the Mellops’ 978 0 7148 6250 7 ISBN: 978- 0 7148 62507

• When Mr Mellops discovers a family treasure map he takes his sons on a maritime adventure

9 780714 862507

• Before they find know it, the Mellops are dodging a giant octopus, exploring an undersea wreck and digging for treasure

Mellops Go Diving For Treasure 978 0 7148 6248 4 ISBN: 978- 0 7148 62484

• A pirate story with a meaningful twist that teaches children about the folly of riches and the joy of friendship

9 780714 862484

The Mellops Strike Oil 978 0 7148 6249 1 ISBN: 978- 0 7148 62491 9 780714 862491

The Mellops Strike Oil • While on a family picnic Mr Mellops notices the mountain water has an ‘awful taste, like oil’ • Soon, the intrepid Mellops embark on a quest that takes them to the library, the museum and eventually an oil field! • An hilarious adventure that teaches children about the importance of working together

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Children’s Books

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Fall 2011


Nicholas and the Gang

245 x 210 mm 9 5/8 x 8 1/4 inches 160 pp 160 duotone photographs

Text by René Goscinny, with illustrations by Jean-Jacques Sempé Translated by Anthea Bell

214 x 145 mm 8 3/8 x 5 3/4 inches 120 pp 90 b&w illus. Paperback (UK edition) 978 0 7148 6225 5

ISBN: 978- 0 7148 62255

9 780714 862255

(US edition) 978 0 7148 6226 2

ISBN: 978- 0 7148 62262

9 780714 862262

£ 6.95 UK $ 9.95 US € 9.95 EUR $ 11.95 CAN $ 14.95 AUS

• Nicholas and his friends always find exciting things to do... • The adventures of the world’s best-loved French schoolboy and his friends are now available in paperback to be read, re-read and loved forever • A constant best-seller in France for more than fifty years • One in a series of books, Nicholas and the Gang is regularly used by primary and junior school teachers in countries all over the world, and is perfect for sharing or reading independently

Paperback 978 0 7148 6311 5

£ 16.95 UK $ 24.95 US € 19.95 EUR $ 27.50 CAN $ 29.95 AUS Published August 2011

René Goscinny (1926–77), born in Paris, lived most of his early years in Buenos Aires and New York. He returned to France in the 1950s where he met Jean-Jacques Sempé and together they created the character of Nicholas, the famous schoolboy. He later worked with Alberto Uderzo, on the adventures of Asterix the Gaul and received Césars for his numerous animated cartoons. Jean-Jacques Sempé (b.1932) is one of the world’s most successful illustrators and cartoonists. He is the author of a collection of some thirty albums of his cartoons and graphic novels, all published or to be published by Phaidon.

ISBN: 978- 0 7148 63115

9 780714 863115

NEW IN PAPERBACK

Published September 2011

250 x 250 mm 9 7/8 x 9 7/8 inches 144 pp 101 col photographs Paperback 978 0 7148 6314 6

£ 19.95 UK $ 29.95 US € 24.95 EUR $ 35.00 CAN $ 39.95 AUS Published August 2011 ISBN: 978- 0 7148 63146

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Children’s Books

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Elliott Erwitt: Museum Watching Text by Elliott Erwitt • An entertaining collection of images of people photographed unawares in museums by the dedicated people-watcher and legendary photographer Elliott Erwitt • An affectionate, wry album of gentle humour and visual puns, accompanied by the photographer’s own text • The photographs delight in the ritual of looking at fine art, featuring photographs from museums around the globe, from the Louvre to the Villa Borghese and beyond • Includes work spanning Erwitt’s career from the late 1950s to the present and images typical of this popular photographer’s work, clearly displaying the wit and charm that mark out his photography

Steve McCurry: The Path to Buddha A Tibetan Pilgrimage Introduction by Robert Thurman • An intimate photographic portrait of Tibetans and Buddhism by award-winning photojournalist Steve McCurry • McCurry captures fleeting, rarely seen moments of rural and city life in Tibet • Rich colour photographs show monks in animated discussion, meditation and study, and follow the devout believers on their arduous journeys to prayer • Explores landscapes, portraits, religious rituals and everyday life • Divided into five parts, the two main chapters are devoted to the religious and lay Buddhists on their pilgrimages to holy sites, interspersed with three sections of portraits of Tibetans

Fall 2011


300 x 225 mm 11 7/8 x 8 7/8 inches 368 pp 300 col, 150 b&w photographs Hardback 978 0 7148 4840 2

£ 49.95 UK $ 75.00 US € 69.95 EUR $ 79.95 CAN $ 99.95 AUS Published October 2011

Questions Without Answers

Guy Bourdin

The World in Pictures by the Photographers of VII VII, with an introduction by David Friend

Alison Gingeras

156 x 136 mm 6 1/8 x 5 3/8 inches 128 pp 30 col, 26 b&w photographs

• A powerful visual history of the world from the end of the Cold War to the present day, by the photographers at groundbreaking photo agency VII • Features a startlingly wide variety of work; from coverage of the war in Iraq and the events of 9/11 to an exploration of Hurricane Katrina’s aftermath, from portraits of our most significant cultural figures to dispatches from the current economic crisis • The VII photographers are leaders in their field and include eminent figures such as Christopher Morris, John Stanmeyer and Alexandra Boulat, alongside exciting emerging photojournalists such as Joachim Ladefoged and Marcus Bleasdale • A moving and compelling record of conflict – environmental, social and political, both violent and non-violent – through photo-stories from around the world • An introduction by David Friend, former director of photography at Life magazine, provides a context for the work and a commentary on world events in the 21st century

Hardback 978 0 7148 6258 3

£ 7.95 UK $ 12.95 US € 9.95 EUR $ 14.95 CAN $ 14.95 AUS Published August 2011 ISBN: 978- 0 7148 62583

ISBN: 978- 0 7148 48402

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VII derives its name from the number of founding photo-journalists who, in September 2001, formed this collectively owned photo agency. Responsible for creating and relaying to the world many of the images that define the turbulent opening years of the 21st century, VII documents the changes and development of society and culture worldwide. David Friend is Vanity Fair’s editor of Creative Development and served as Life magazine’s director of photography during the 1990s. An Emmy and Peabody award-winning producer, he is the author of Watching the World Change: The Stories Behind the Images of 9/11 (2006).

Photography

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• An introduction to the groundbreaking work of Guy Bourdin (1928–91), a great innovator in the field of fashion photography • Bourdin’s high glamour and seductive, often surreal, work revolutionized the genre of fashion photography • Introductory essay by Alison Gingeras provides a fresh perspective on Bourdin’s life and work, including his considerable influence on the world of commercial and fine art photography • Documents the development of Bourdin’s photography through a chronological sequence of 55 images • Introduces lesser-known and previously unpublished images alongside famous classics such as his campaigns for Charles Jourdan and Dior, and his work for French Vogue

Alison Gingeras is an international curator and writer based in Paris. She held the post of Curator of Contemporary Art Exhibitions and Collections at the Centre Pompidou, Paris (1999 to 2004) and was a member of the curatorial team at the Solomon R. Guggenheim Museum, New York from 1995 to 1999. She is on the editorial committee of TateEtc. magazine and has written dozens of exhibition catalogue texts and essays on contemporary artists.

Fall 2011


195 x 140 mm 7 5/8 x 5 1/2 inches 560 pp 227 col, 332 b&w illus. Paperback 978 0 7148 6318 4

£ 16.95 UK $ 24.95 US € 19.95 EUR $ 27.50 CAN $ 35.00 AUS Published October 2011

Halston

Citizen Cannes

Edited by Steven Bluttal, with text by Patricia Mears

The Man behind the Cannes Film Festival Gilles Jacob

• A visual anthology of the life and legacy of Halston (1932–90), a name that became synonymous with American style

234 x 156 mm 9 1/4 x 6 1/8 inches 384 pp 42 b&w photographs

• Includes previously unpublished catwalk shots, rare archival photographs by Warhol, behind-the-scenes images of fashion shows and parties, sketches and specially commissioned photographs of the collections • Spans his career in Chicago in the late 1950s to being named ‘the premier fashion designer of all America’ by Newsweek

Steven Bluttal is an independent curator, archivist and photography editor based in New York. He is also the editor of Andy Warhol “Giant” Size. Patricia Mears is Director and Research Curator at The Museum at the Fashion Institute of Technology. She is the author of Madame Grès: Sphinx of Fashion and American Beauty: Aesthetics and Innovation in Fashion.

ISBN: 978- 0 7148 63184

Hardback 978 0 7148 6190 6

£ 19.95 UK $ 29.95 US € 24.95 EUR $ 35.00 CAN $ 39.95 AUS Published June 2011 ISBN: 978- 0 7148 61906

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• The autobiography of the mastermind behind the world’s most prestigious film festival • A great raconteur, Gilles Jacob regales us with stories and encounters with Sharon Stone, Woody Allen, Clint Eastwood and many others • This is a must-read for film buffs, and for anyone fascinated by larger-than-life personalities

Gilles Jacob was born in Paris in 1930. Renowned film critic and enthusiast, he was elected General Delegate in 1978, and President of the prestigious Cannes Film Festival in 2000. He has also written for Les Nouvelles littéraires, L’Express and Le Masque et la plume. He is the author of the essay Le Cinéma moderne (1964), the novel Un jour, une mouette (1964), the anthology Les Visiteurs de Cannes (1992), and the collection of his photographs in Livre d’Or (2010).

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• Steps behind the scenes at the Cannes Film Festival

Fashion

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Fall 2011


The Pot Book

290 x 250 mm 11 3/8 x 9 7/8 inches 240 pp 224 col, 64 b&w illus.

Edmund de Waal

290 x 214 mm 11 3/8 x 8 3/8 inches 320 pp 300 col illus. Hardback 978 0 7148 4799 3

£ 29.95 UK $ 49.95 US € 39.95 EUR $ 59.95 CAN $ 59.95 AUS Published October 2011 ISBN: 978- 0 7148 47993

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• The most comprehensive and accessible A to Z overview of ceramics from all periods in print • Charts the myriad purposes of ceramics from functionality to display to ritual • Authoratitive texts give a clear insight into the techniques involved in both creation and decoration • Including the mass-produced as well as the bespoke, The Pot Book explores the prominence of ceramics in our everyday lives and those of our predecessors

Paperback 978 0 7148 6319 1

£ 24.95 UK $ 39.95 US € 29.95 EUR $ 45.00 CAN $ 49.95 AUS Published August 2011

• Beautifully illustrated, with 300 colour photographs showing pots and their usage

ISBN: 978- 0 7148 63191

Edmund de Waal apprenticed as a potter in Canterbury, before studying in Japan and Cambridge. Today his porcelain is in thirty international museum collections: most recently he has created major installations for the V&A and Tate Britain. He is working on exhibitions for museums in the UK and America and on commissions for private clients. Edmund has also written widely on art and ceramics. In June 2010 his The Hare with Amber Eyes was published by Chatto and Windus, winning the Costa Biography Award and New Writer of the Year at the Galaxy Book Awards. Edmund has also written widely on art and ceramics and his titles include 20th Century Ceramics, Timeless Beauty: Traditional Japanese Art from the Jeffrey Montgomery Collection, Bernard Leach and New Ceramic Design.

9 780714 863191

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250 x 290 mm 9 7/8 x 11 3/8 inches 176 pp 80 col, 5 b&w illus. Paperback 978 0 7148 6320 7

£ 19.95 UK $ 29.95 US € 24.95 EUR $ 35.00 CAN $ 39.95 AUS Published August 2011 ISBN: 978- 0 7148 63207

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Decorative Arts

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The Aesthetic Movement Lionel Lambourne • Propelled by the works and ideas of William Morris, JM Whistler, Oscar Wilde and Aubrey Beardsley among others, the Aesthetic Movement placed beauty above all else • An authoritative examination of the movement, which touched every sphere of the fine and decorative arts in late 19th-century England • Charts the transformation of architecture and interior design, as heavy Victorian forms were replaced by lighter, fresher, Japanese-inspired shapes • Also covers the graphic arts, where innovative methods and a new approach to form revitalized illustration and design

Mapping the Silk Road and Beyond 2,000 Years of Exploring the East Kenneth Nebenzahl • An unprecedented collection of maps showcasing the pioneering discoveries of Capt. James Cook, Sir Francis Drake, Magellan and Zheng He • Documents the discovery and mapping of Asia and its trade routes, including the Silk Road • Spans 2,000 years of cartographic history, including 40 maps never before published for the general public • An indispensable research volume, the book includes a bibliography, chronology and glossary of key cartographic terms

Fall 2011


Wallpaper* City Guides 160 x 108 mm 6 1/4 x 4 1/4 inches 128 pp 100 col illus. Paperback

£ 5.95 UK $ 9.95 US € 8.95 EUR $ 11.95 CAN $ 12.95 AUS

Amsterdam Update 978 0 7148 6277 4

London Update 978 0 7148 6283 5

Bangkok Update 978 0 7148 6278 1

Los Angeles Update 978 0 7148 6328 3

Barcelona Update 978 0 7148 6279 8

Madrid Update 978 0 7148 6271 2

Berlin Update 978 0 7148 6280 4

Manchester 978 0 7148 6295 8

• Ideal for the weekend tourist, the business traveller, or even those enjoying an extended stay

Brasilia 978 0 7148 6262 0

Melbourne Update 978 0 7148 6272 9

• Pocket-sized, discreet and easy to use so that you don’t feel like a tourist, and frequently updated to keep you ahead of the pack

Budapest Update 978 0 7148 6265 1

Miami Update 978 0 7148 6330 6

Buenos Aires Update 978 0 7148 6281 1

Milan Update 978 0 7148 6329 0

Cannes/Nice 978 0 7148 6294 1

Moscow Update 978 0 7148 6304 7

Cape Town Update 978 0 7148 6266 8

Mumbai Update 978 0 7148 6305 4

Chicago Update 978 0 7148 6299 6

Munich Update 978 0 7148 6306 1

Cologne/Dusseldorf 978 0 7148 6293 4

New York Update 978 0 7148 6284 2

Copenhagen Update 978 0 7148 6267 5

Paris Update 978 0 7148 6285 9

Dallas/Fort Worth 978 0 7148 6260 6

Perth 978 0 7148 6263 7

Dublin Update 978 0 7148 6300 9

Rio de Janeiro Update 978 0 7148 6286 6

• Tightly edited and ruthlessly researched, for the discerning traveller who wants a true taste of the best a city has to offer • Rigorously selected, the guides include the ultimate places to visit and discover the best of design, art and architecture, to sleep, eat, drink, shop, exercise and relax, selected with all the usual design awareness of the experts at Wallpaper* magazine

Wallpaper* City Guides are compiled by the magazine’s travel experts, both by in-house editors, and correspondents who actually live in the highlighted cities, providing up-to-the-minute information.

Edinburgh Update 978 0 7148 6301 6 Havana Update 978 0 7148 6268 2 Hong Kong Update 978 0 7148 6282 8 Istanbul Update 978 0 7148 6269 9

San Francisco Update 978 0 7148 6288 0

Seattle 978 0 7148 6296 5

Las Vegas Update 978 0 7148 6303 0

Singapore Update 978 0 7148 6289 7

Lisbon Update 978 0 7148 6270 5

Travel

Salzburg 978 0 7148 6261 3

São Paulo Update 978 0 7148 6273 6

Kyoto Update 978 0 7148 6302 3

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Rome Update 978 0 7148 6287 3

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Fall 2011

St Petersburg Update 978 0 7148 6274 3 Stockholm Update 978 0 7148 6290 3 Strasbourg 978 0 7148 6297 2 Sydney Update 978 0 7148 6291 0 Taipei 978 0 7148 6264 4 Tokyo Update 978 0 7148 6327 6 Toronto Update 978 0 7148 6275 0 Vancouver Update 978 0 7148 6307 8 Venice Update 978 0 7148 6276 7 Vienna Update 978 0 7148 6292 7 Zurich Update 978 0 7148 6308 5


Phaidon Fall 2011