‎COLLECTIF‎
‎ONE N°1‎

‎Drawings of Peter Paul Rubens, A Critical Catalogue vols; 1-6, - 6-volumes catalogue raisonn of all drawings. * The Drawings of Peter Paul Rubens, A Critical Catalogue, Volume One (1590?1608) 2 vols. * The Drawings of Peter Paul Rubens, A Critical Catalogue, Volume Two (1609?1620) 2 vols. * The Drawings of Peter Paul Rubens, A Critical Catalogue, Volume Three, 1621?1640) 2 vols Part One: Text and Part Two: Plates‎

‎, Brepols - Harvey Miller, 2021-2023-2025 6 vols., 536 pages + 732 + 555 pages, 216 x 280 mm , 260 + 291 colour ill., English, Hardcovers, **NEW. ISBN 9782503595702.‎

‎This is the 6 -volume catalogue raisonn of all drawings considered by the authors to be by Rubens. It covers the years 1590- 1608, Volumes II and III dealing, respectively, with the periods 1609-20 and 1621- 40 and * The Drawings of Peter Paul Rubens, A Critical Catalogue, Volume One (1590?1608) * The Drawings of Peter Paul Rubens, A Critical Catalogue, Volume Two (1609?1620) * The Drawings of Peter Paul Rubens, A Critical Catalogue, Volume Three, 1621?1640 It is the first publication that presents the artist?s entire drawn oeuvre in chronological order, previous such publications containing only selections of drawings. By leafing through the illustrations, this arrangement provides the user with a quick visual impression of the variety of techniques, media, subject and functions of Rubens?s drawings at an one time. Volume I consists of the drawings of the artist?s childhood, apprenticeship and first years as a master in Antwerp to his formative years in Italy, spent mostly in Mantua and Rome, with an excursion to Spain. These are the years primarily devoted to learning and absorbing the art of the past, from sixteenth-century German and Netherlandish prints to the works of the ancient and Italian Renaissance masters. A large number of these drawings consists of copies after the works of other artists, largely executed as part of the artistic training at the time. For the first time, Rubens's copies and their models are not discussed and illustrated as a separate entity but are fully integrated into the rest of his graphic oeuvre, thus showing copies and original compositions created at the same time side by side. The volume contains 204 entries, including several sheets with drawings on recto and verso. Each entry consists of a detailed physical description of the drawing, provenance, exhibition history, full bibliography and a critical, interpretive discussion. In addition, Volume I contains an essay on the history of the scholarship of Rubens?s drawings, a subject that has not been treated before. All drawings by Rubens and the works by other artists he copied as well as a selection of other comparative images are reproduced in color. This is Volume II in the three-volume catalogue raisonn of the drawings by Rubens covering the years 1609?20. The project is a collaboration between Anne-Marie Logan, to whom belong all the Rubens attributions, and Kristin Lohse Belkin. It is the first publication that presents the artist?s entire drawn oeuvre in chronological order, previous such publications containing only selections of drawings. By leafing through the illustrations, this arrangement offers the user a quick visual impression of the variety of techniques, media, subject matter and functions of Rubens?s drawings at any one time. Accordingly, Volume II consists of the drawings from the time of Rubens?s return from Italy and the establishment of his workshop in Antwerp to the completion of his contribution to the furnishing and decoration of the city?s new Jesuit church, today?s St. Charles Borromeo. The decade is characterized by a broad range of genres and iconography: large altarpieces stand next to cabinet-size pictures, book illustrations next to designs for tapestry, sculpture and architectural reliefs; religious, mythological and historical subjects alternate with allegories, portraits, exotic hunts and scenes from country life. Copies after other artists? works that constitute such a large part of Rubens's early years discussed in Volume I have given way to original inventions in pen and ink and, above all, by life studies in chalk of the human body, naked or dressed. The whole spectrum of Rubens's extraordinary creativity, nowhere presented as directly and immediately as in his drawings, is there to be contemplated in all its astonishing diversity. Each entry consists of a detailed physical description of the drawing, provenance, exhibition history, full bibliography and a critical, interpretive discussion. All drawings by Rubens as well as a selection of comparative images are reproduced in color.‎

‎Jan Cox, Living one's art.‎

‎, Stichting Kunstboek, 2008, Hardback, 300x250mm, 336 pages, illustr. *English edition *fine ISBN 9789058562814.‎

‎The Belgian painter Jan Cox (1919-1980) played an important role in the postwar history of art. He was one of teh founders of the group of artists called La Jeune Peinture Belge and he was also closely related to the Cobra movement. In 1956, Cox moved to Boston (USA) where he lived and worked until 1974. Back in Belgium, he was introduced into the art society of 'The Black Panther' Gallery in Antwerp.Jan Cox's first works are mainly abstract, but gradually they got a magical and surrealistic character. The most distinguishing feature however is his choice of mytological and religious themes in combination with the problem of existentialism. ‎

‎Posture Editions ?One way or another‎

‎, Posture Editions, PB, 195 x 130 mm, 168 pages, EN-NL edition. ISBN 9789491262487.‎

‎One way or another is the title of the very first Posture Pockets and the guide to the exhibition of the same name that took place in the S.M.A.K. in Ghent (30.10-28.11.2021). The independent publisher ? Posture Editions ? was founded in 2011 and has since published 47 artist?s books in A4 format. In this first issue of this parallel series in novel format, all the Posture artists? books from the past ten years are presented chronologically and juxtaposed with that artist?s work exhibited at the S.M.A.K. In addition to the cover and an inside page, the paperback also contains a text fragment from the published essay, poem or interview. The text fragments testify to the wealth of thoughts put forward by the authors. They are texts that not only deal with the artists? oeuvres, but can often be read as autonomous works of art. One way or another ends with a biography in images: photographs taken during work sessions with artists, book presentations, exhibitions and book fairs, as an ode to the beautiful collaborations with artists, gallerists, curators, writers and readers. Both the book and the exhibition in the S.M.A.K. follow the logic of a timeline, so that the book can be read in the order of the exhibition and the exhibition is built up according to the logic of the book. Realised with the support of Cultuur Gent.‎

‎Drawings of Peter Paul Rubens, A Critical Catalogue, Volume Two (1609?1620) Part One: Text and Part Two: Images‎

‎, Brepols - Harvey Miller, 2023 2 vols; Part One: Text and Part Two: Images, 732 pages; Size:216 x 280 mm, Illustrations:291 col. Language(s):English. ISBN 9782503599533.‎

‎This is Volume II in the three-volume catalogue raisonn of the drawings by Rubens covering the years 1609?20. The project is a collaboration between Anne-Marie Logan, to whom belong all the Rubens attributions, and Kristin Lohse Belkin. It is the first publication that presents the artist?s entire drawn oeuvre in chronological order, previous such publications containing only selections of drawings. By leafing through the illustrations, this arrangement offers the user a quick visual impression of the variety of techniques, media, subject matter and functions of Rubens?s drawings at any one time. Accordingly, Volume II consists of the drawings from the time of Rubens?s return from Italy and the establishment of his workshop in Antwerp to the completion of his contribution to the furnishing and decoration of the city?s new Jesuit church, today?s St. Charles Borromeo. The decade is characterized by a broad range of genres and iconography: large altarpieces stand next to cabinet-size pictures, book illustrations next to designs for tapestry, sculpture and architectural reliefs; religious, mythological and historical subjects alternate with allegories, portraits, exotic hunts and scenes from country life. Copies after other artists? works that constitute such a large part of Rubens?s early years discussed in Volume I have given way to original inventions in pen and ink and, above all, by life studies in chalk of the human body, naked or dressed. The whole spectrum of Rubens?s extraordinary creativity, nowhere presented as directly and immediately as in his drawings, is there to be contemplated in all its astonishing diversity. Each entry consists of a detailed physical description of the drawing, provenance, exhibition history, full bibliography and a critical, interpretive discussion. All drawings by Rubens as well as a selection of comparative images are reproduced in color.‎

‎One Man Show‎

‎P.o.l 2002 in8. 2002. Broché. 238 pages. Les Ãcrivains sont-ils bêtesÂ? La question Ãtait posÃe par Roger Nimier. Par Ãcho un jeune auteur Nicolas Fargues lui rÃpond. Oui les Ãcrivains sont bêtes. Et en plus ils sont pleutres arrogants conformistes bourgeois rancuniers j'en passe. Le hÃros de One man Show est l'un d'eux. Christophe Hostier Ãcrivain à la mode a dÃcidà de quitter Paris pour Grenoble. Il pense ainsi être sorti du cercle des mondanitÃs et des tentations libertines offertes par le milieu des lettres pour mieux s'occuper de sa femme Estelle une agrÃgÃe encore trÃs immature et possessive et de leurs deux jeunes enfants assez bruyants. Mais la vanità fatalità du sentiment plus forte que tout vient titiller notre hÃros lorsqu'on lui propose une Ãmission littÃraire sur Paris "oà il pourra tout dire"†Avec son cortÃge hilarant d'Ãditeurs aux cheveux cendrÃs de producteurs mÃgalos de ratÃs sublimes de parvenus grotesques d'attachÃes de presse en mal d'amour d'auteurs renommÃs parlant notes de frais One Man show est une dÃlicieuse satire du monde merveilleux des lettres et de la tÃlÃvision. Lucide amer parfois revanchard Nicolas Fargues tient son roman de bout en bout grâce à un sens aigu de la drôlerie. --Denis Gombert Très Bon Etat‎