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Hauruck d'Orange Kati Heck HAURUCK
, Hannibal / Kannibaal , 2020 HARDCOVER, 29 X 24,5 CM 216 PAGINA'S ENGLISH / DUTCH EDITION . ISBN 9789463887458.
The highly original universe of artist Kati Heck As we grow older, we filter out of our perception the details that we have been conditioned to believe are unimportant. It takes an exceptionally talented painter to pierce that veil and capture the essential richness and strangeness of the world. This, it seems to me, is Kati Heck?s gift.? ? Ben Eastham, editor-in-chief of art-agenda Over the years, Kati Heck (b. 1979) has developed a highly personal vision of the everyday. Her works resemble fictitious projections from her own universe, and she uses the diversity that is inherent in painting to create a link with the potential of the imagination. Heck is principally known as a painter, but also seeks expression in other media such as photography, sculpture and performances. Her colourful oeuvre is consistently characterised by irony, drama and a highly original sense of the grotesque. Hauruck, which is being published to accompany Heck?s solo show in Kunstmuseum Den Haag (from 6 June to 8 November 2020), contains some 75 works that were created between 2013 and 2020, as well as a graphic short story written specially for this book. With a textual contribution from Ben Eastham, editor-in-chief of art-agenda. ?If we say painting is a language, then Kati Heck speaks it in all dialects. The twentieth century saw painting analysed and deconstructed until we declared it dead. In her intuitive manner, Kati Heck revives and reconstructs painting into a new form, entirely her own, to create a universe that captivates us. Don?t let her fool you. Kati Heck may appear to be lounging with a cat on her lap, but, as always, in the back of her mind, she is patiently plotting the moment when women, for the benefit of the world, take it over. She is the motherly embodiment of nature vs. nurture. She?ll roast you a chicken, invite you for dinner, and sit across from you with that particular smile of hers, examining the way your teeth come together while you chew. She will join you while you drink yourself under the table and then hold a magnifying glass to the dribble coming off your chin. Heck keeps us on our toes. Her paintings, like her presence, hold us accountable for existing.? ? Makeal Flammini, artist ?This work is characterised by an absurdist view of the world and art. Make acquaintance with her large, figurative paintings and step into the wondrous world of Kati Heck.?
Kati Heck Hauruck d'Orange Kati Heck HAURUCK
, Hannibal / Kannibaal , 2020 HARDCOVER, 29 X 24,5 CM 216 PAGINA'S TWEETALIGE EDITIE ENGELS-NEDERLANDS. .
Met gevoel voor humor en absurditeit ontleedt Kati Heck (1979, D sseldorf) de wereld om zich heen en herschept een geheel eigen universum. Wie probeert een duidelijk verhaal te ontdekken in haar raadselachtig schilderijen, sculpturen, films en collages komt bedrogen uit. Heck biedt geen houvast maar stuurt aan op de verbeeldingskracht. Hauruck d?Orange is haar eerste grote museale solotentoonstelling in Nederland. Het werk van Kati Heck is een virtuoze kakofonie van kleur, beeld en taal. In figuratieve, vaak omvangrijke schilderijen en sculpturen brengt zij twee werelden samen: de ene herkenbaar en te herleiden naar gebeurtenissen en personen uit de dagelijkse omgeving van de kunstenaar, de andere ontregelend of ronduit verontrustend als een koortsachtige droom. Personages worden op theatrale wijze opgevoerd ? poserend of uitbundig verkleed - en ook Heck zelf is een regelmatige passant in haar eigen werk. Steeds verschijnt ze in een andere bijna allegorische gedaante, als haar eigen muze. Van raadselachtig realisme tot cartooneske schetsen De tentoonstelling in GEM brengt meer dan twintig nieuwe en recente werken samen. Heck plaatst ze in een bijzondere enscenering die de bezoeker uitnodigt om niet alleen de ogen te gebruiken, maar ook het lichaam, de herinnering en het onderbewustzijn. Hauruck d?Orange laat goed zien hoe Heck diverse media en beeldtalen naast en door elkaar gebruikt, vol verwijzingen naar zowel de kunstgeschiedenis en literatuur als folklore, populaire cultuur en autobiografie. Van raadselachtig realisme tot cartooneske schetsen: Heck schept een parallelle wereld waarin categorie n en betekenissen vloeibaar zijn. Naast schilderijen, tekeningen, collages en sculpturen presenteert de tentoonstelling de video Der springende Punkt case II: O (2017). Dit tweede deel uit een nog onvoltooide filmtrilogie komt voort uit de Babydetektivclub, een onvaste groep van bevriende makers met wie Heck samenwerkt. De film speelt op humoristische wijze met clich s uit het detective-genre en vertegenwoordigt een bepaalde democratische do it yourself mentaliteit. Dit blijkt ook uit het enorme handgemaakte ?manifest? dat de bezoeker verwelkomt bij binnenkomst in GEM: alles mag en niets is wat het lijkt. Metamorfose Het ?Hauruck? uit de tentoonstellingstitel Hauruck d?Orange is een veelvoorkomend woord in Hecks schilderijen. Het is Duitse spreektaal voor een aansporing: komaan! ?Orange? refereert daarbij natuurlijk aan de nationale kleur van het land waar zij zichzelf met deze tentoonstelling op de kaart zet. In de tentoonstellingsruimte spelen drie andere kleuren de hoofdrol. Samen vormen ze een ?verwassen? versie van de Duitse en Belgische vlag, wat voor Heck verwijst naar het vervagen van identiteit. Het idee van metamorfose ? het overgaan van het een in het ander ? komt vaker terug in haar werk, bijvoorbeeld in tweekoppige wezens of hybride mensfiguren. Kati Heck woont en werkt in Pulle, Belgi . Ze volgde de opleiding schilderen aan de Koninklijke Academie voor Schone Kunsten in Antwerpen. Haar werk was recent onder meer te zien in de Deichtorhallen in Hamburg, CAC Malaga en het M HKA in Antwerpen.
KATI HECK : Meister Stuten Stellvertreter
, Tim Van Laere Books, 2016, 2016 50 pages, illustrated, 25.8 21.7 cm hardcover, Dutch/English* new. .
Expocatalogus. Kati Heck (D sseldorf, 1979) is een van oorsprong Duitse schilder en beeldhouwer. Zij huwde met een Belg en woont en werkt in Antwerpen. / Kati Heck (b. D sseldorf, 1979) is a painter and sculptor originally from Germany. She married a Belgian and lives and works in Antwerp.
grandeur et la gr ce: Maillol et Sintenis
, Hirmer, 2024 softcover 144 pag 21 x 2.2 x 21.8 cm Illustrated. Texte en Francais. ISBN 9783777443942.
La grandeur et la gr ce: Maillol et Sintenis Paperback ? 1 mei 2024 Franstalige uitgave Katja Baumhoff (redacteur), Kerstin Richter (redacteur), & 1 meer Alle verschijningsvormen en edities zien Aristide Maillols (1861 ? 1944) ruhig harmonisches Meisterwerk La M diterran e wird im Kontext seines ?uvres und im Zusammenspiel mit dem Werk der angesagtesten deutschen Bildhauerin der Zwanziger Jahre Berlins betrachtet: Ren e Sintenis (1888 ? 1965). Neben gegenseitiger Wertsch tzung und erstaunlich verwandter Projekte verband beide der gemeinsame M zen ? Harry Graf Kessler.Einst f r den unsteten Weltb rger Harry Graf Kessler geschaffen, verzauberte die monumentale Figur Maillols ?La M diterran e? die kulturellen Eliten. Der Band zeichnet anhand ausgew hlter Objekte aus Maillols Oeuvre die Entwicklung und Nachwirkung dieser Skulptur nach und vollf hrt einen kontrastreichen Dialog mit den meist kleinformatigen Tierplastiken, weiblichen Aktfiguren, Radierungen und Grafiken einer der wichtigsten deutschen Bildhauerinnen der klassischen Moderne ? Ren e Sintenis.
Michaelina Wautier 1614-1689 , een eerste monografie.
Antwerpen , BAI, 2018 Gebonden, Hardcover, HB, 300 x 240 mm, 324 pagina's , rijkelijk ge llustreerd in kleur *NL edition. ISBN 9789085867623.
In de zomer van 2018 organiseert het MAS in Antwerpen in samenwerking met het Rubenshuis een eerste monografische tentoonstelling over de vergeten kunstenares Michaelina Wautier (1614-1689). Ze werd geboren in Mons maar bouwde haar loopbaan uit in Brussel waar ze rond 1650 actief was. De kunstenares onderhield contacten met het hof van aartshertog Leopold-Wilhelm die vier van haar werken in zijn collectie had. Van haar hand zijn een dertigtal schilderijen en een tekening bekend. Meer dan een derde hiervan is voluit gesigneerd en gedateerd. Michaelina schilderde meesterlijke historiestukken, indringende portretten, ontwapenende genretaferelen en verstilde bloemstukken. Haar veelzijdigheid is zonder meer grensverleggend te noemen. Typisch voor haar oeuvre is de uitdagende thematiek, de virtuoze techniek en het grote formaat. Alle werken zijn ontstaan tussen 1643 en 1659. Haar meesterstuk is ongetwijfeld de De triomf van Bacchus in het Kunsthistorisches Museum in Wenen (doek, 270 x 354 cm, afb. 1). Michaelina Wautier verschijnt hier als een halfnaakte bacchante en kijkt als enige van de aanwezige figuren naar de toeschouwer. Meer dan tien levensgrote figuren trekken in een stoet voorbij. De manier waarop ze de mannelijke naakten heeft weergegeven, laat zien dat ze de kans kreeg om modellen naar het leven te tekenen, uniek voor vrouwen met artistieke ambitie in de vroegmoderne tijd. Een portrait historie met de heilige Agnes en de heilige Dorothea (afb. 2) is nu al een publiekslieveling geworden. Twee blozende meisjes poseren als twee jonge martelaressen in een intieme ruimte. Ze kijken niet naar elkaar maar zijn in gedachten verzonken en communiceren ongezien. Het portret dat ze schilderde van de Italiaanse jezuiet Martino Martini heeft haar reputatie pas goed gevestigd (afb. 3). Het is een imposante figuur die in Chinees kostuum poseert en die voor wat het koloriet en de brede toets betreft aan Venetiaanse voorbeelden doet denken.irolamo)
Van Dyck
, Gallimard, 1998 Hardcover, 141 pages, Francais, 290 x 260 x 20 mm, Illustrations en couleur / n/b, Comme Neuf jaquette illustre . ISBN 9782070116089.
Figure majeure du si cle d'or flamand, anton van dyck (1599-1641) fait son apprentissage chez le peintre hendrik van balen avant d' tre re u ma tre la guilde de saint-luc, anvers, dix-neuf ans. Durant cette m me p riode, il travaille avec rubens, de vingt ans son a n , comme assistant et non comme l ve. cette collaboration enrichira l'art du jeune prodige, dont le talent est d j clatant. Apr s un court s jour en angleterre et un interm de anversois, il part pour l'italie et visite de nombreuses villes, dont g nes, rome et venise. il y tudiera les grands ma tres de la renaissance, notamment titien. Lorsqu'il quitte l'italie, en 1627, il laisse de nombreux portraits, immortalisant ainsi le visage de l'aristocratie g noise. S'ensuit une p riode anversoise durant laquelle il re oit, pendant cinq ans, des commandes tr s importantes de tableaux historiques, tout en continuant r aliser des portraits. en 1629, il peint renaud et arrmide, tableau mythologique destin charles ier, roi d'angleterre. Cette oeuvre assure van dyck la gloire au sein d'une cour dont il deviendra le portraitiste favori. c'est alors que l'artiste s'installe londres. il produira quelque quatre cents tableaux en angleterre, parmi lesquels on compte le c l bre portrait du roi charles ier la chasse. l'influence des portraits de van dyck se fera sentir dans toute l'europe du xviie si cle, se prolongeant jusqu'au xviiie si cle.
Katrien De Blauwer: Blue Bruises
Antwerpen , GALLERY FIFTY ONE, 2025 Illustrated softcover, 120 pages, 21 x 15 cm, ENG. *NEW.
'There are images that speak to you in a low voice, without raising the tone, without clamor. Images that do not try to show everything, but which, through their very modesty, leave a lasting imprint. Katrien De Blauwer?s work belongs to these. The first time I held one of Katrien?s collages in my hands, it felt like opening a private diary where words had been replaced by visual fragments: a hand, a shoulder, a silhouette, a hidden gaze. As if, by cutting, reframing, erasing, she revealed something more accurate than reality itself something truer than the original photograph. Her work evokes the uneasy silence of an Antonioni film, the unspoken tensions that gather in the margins of the image, bodies held in suspension. In her collages there is the hushed, troubled, and sensual atmosphere of 1950s cinema. As in film noir, it is not action that matters, but waiting. Not dialogue, but the glances that are avoided. And women, often fragmented, become ghostly presences ? at once desired and elusive. Katrien does not photograph; she collects. She hunts, she searches, she cuts in silence. And from that silence emerges a language of rare intensity. These are images of absence, of memory, of solitude. Images that impose nothing, yet inhabit you long after you have left them. Above all, they speak of us. This book is a passage. A plunge into a world where intimacy is expressed through suggestion, where the off-screen becomes the true subject. It is not about understanding, but about feeling. About letting oneself be crossed through. About listening to what whispers behind the images. Katrien De Blauwer cuts into the world, and in the gaps she opens, something of ourselves appears.' This FIFTY ONE Publication is released on the occasion of Paris Photo 2025 and the upcoming solo show at Art Antwerp 2025.
PRO ARTE! CUI BONO? Kunst en expertise in laatnegentiende-eeuws Brussel [1860-1914]
, ASP Editions, 2021 softcover, 312 pagina's 17 x 24. ISBN 9789461170781.
Brussel kenmerkte zich tijdens de late negentiende eeuw door een bruisende kunstsc ne: een divers tentoonstellingswezen, een bloeiende kunstverkoop, de internationaal vermaarde art nouveau en een uitgesproken vernieuwingsdrang. Deze artistieke bedrijvigheid ging gepaard met een massale verslaggeving over kunst in kranten en tijdschriften. Pro Arte! Cui Bono? brengt deze ongeziene schrijfwoede voor het eerst grondig in kaart. Het boek brengt de aanwas van het veelstemmige kunstdiscours in verband met het machtsvacu m in de Brusselse kunstwereld door liberaliserings- en privatiseringstendensen en de tanende almacht van het offici le academisme in de kunst. In een verschralend institutioneel klimaat wedijverde een veelheid aan ontvoogde private spelers om het hoogste en het laatste woord over wat (goede) kunst was of hoorde te zijn. Politieke, institutionele, economische en professionele belangen versmolten in dit getouwtrek. De woekerende pennenstrijd, aangescherpt door bredere maatschappelijke tegenstellingen, bedaarde rond de eeuwwisseling door een herinstitutionalisering van het kunstveld. Met het ontstaan van de kunstgeschiedenis als universitaire discipline en de verwetenschappelijking van de grote staatsmusea gingen officieel opgeleide experts het kunstestablishment domineren. Het pleit om het statuut van kunstkenner was beslecht.
Margaretha van Parma The Emperor's Daughter between Power and Image
, Hannibal Books, 2024 HB, 265 x 215 mm, 240 pages, illustrated in color, ENG edition. ISBN 9789464941333.
The Emperor's Daughter between Power and Image Margaret, Duchess of Parma (1522?1586), an extraordinarily fascinating figure, has slipped through the cracks of history until recently. As the illegitimate daughter of Charles V, she had a rather unusual start in life. In time, however, Margaret became one of the most powerful women in Italy, attracting a lot of attention. In 1559, she was appointed governor-general of the Netherlands. She was also a keen art lover and patron of the arts. This book takes a closer look at the life of Margaret of Parma and the sumptuous court where she lived as a woman-in-power, with all the pomp and circumstance that involved, via fashion, art, music, festivities and the elite pursuit of hunting. It also examines the dangerous political atmosphere of the Low Countries at the time, with the Iconoclasm, the Dutch Revolt, the arrival of the Duke of Alba and the Eighty Years? War. The beautiful drawings from the Brussels Album (1555?56) bring Margaret?s wondrous world to life in an exceptional way. As do more than a hundred artworks ? portraits, paintings and luxury objects ? from the sixteenth century. Authors from different disciplines look at every aspect of Margaret?s life and times, to ensure that the emperor?s daughter finally occupies her rightful place in history. Publication accompanying the exhibition Margaret. The Emperor's Daughter between Power and Image at MOU
Anton Henning: Pink Period
, Tim Van Laere Books 2020, 2020 88 pagina's, 25,5 x 20,5 cm, illustraties in kleur, hardcover, Nederlands - Engels. ISBN 9789464004007.
Tim Van Laere Gallery is pleased to present Pink Period, the third solo exhibition by Anton Henning. Few colors trigger as many contradictory associations and emotions or have as many symbolic meanings in both high as low culture as pink. The same tension and duality can also be found in the works by Anton Henning. If we consider Art History as an ongoing conversation, Anton Henning ( 1964 Berlin, lives and works in Berlin and Manker) proves himself to be a master conversationalist who speaks various different languages. His oeuvre comprises paintings, sculptures, drawings, films, photographs, musical pieces and entire environments. His oeuvre could be read as a contemporary interpretation of the Gesamtkunstwerk. Focussing equally on the search as well as the outcome, he creates a hybrid pictorial event, an anarchy of images liberated from the gravity of the isms in art history. With his motif repertory, material choices, stylistic devices and playful reinventions of the genre types, Henning doesn?t simply quote from art history, but he playfully looks for painterly potential through his own pictorial memory which has remained delitescent, discarding all spatial, temporal, and ideational contexts. He moves between modern enthusiasm and postmodern irony, between hope and melancholy, between naivet and knowledge, empathy and apathy, unity and diversity, totality and fragmentation, purity and ambiguity.
Dirk Braeckman - No Denial, No Explanation
Antwerp, Tim Van Laere, 2023 Hardcover, 88 pages, Illustrated., Quadrilingual: English, Dutch, French, Italian .*New. ISBN 9789464004366.
Tim Van Laere Gallery presents No Denial, No Explanation, a new solo exhibition by internationally acclaimed artist Dirk Braeckman. Dirk Braeckman is celebrated for his stilled, enigmatic visual language?one that continuously questions, suspends, and redefines the photographic medium. His austere, often monochromatic images oppose the velocity and superficiality of today?s visual overload. They urge the viewer to slow down, to look more attentively, and to embrace ambiguity. For Braeckman, the essence of photography lies not in the moment of capture, but in the entire process?from the initial shot to the final image. With this approach, he engages with photography through a painterly lens, emphasizing the process of image construction. His works are not straightforward reproductions of reality, they are carefully altered, marked, deconstructed, and recomposed by the artist. As a result, the viewer doesn?t just get a glimpse through Braeckman?s lens, but feels his physical presence within each work.
Ben Sledsens : Under The Tree Distant Sea.
, Tim Van Laere Books , 2022 Hardcover, 96 pages, ENG./ NL./FR. edition, 255 x 205 x 15 mm, *NEW, illustrated in colors. ISBN 9789464004182.
Wanneer men het werk van Ben Sledsens bespreekt, wordt het woord utopia vaak in de mond genomen om de wereld te beschrijven die hij in zijn schilderijen weergeeft. Ook de kunstenaar zelf zegt over zijn werken dat ze een utopia voorstellen waarin hij zelf zou willen leven. Als we echter goed kijken naar het oeuvre dat Sledsens in de loop der jaren heeft gecre erd, merk je echter dat zijn wereld niet enkel is opgebouwd uit optimistische verhalen, noch is zijn ?utopia? een suggestie voor een perfecte samenleving. Het is ook geen kritiek of satire; de kunstenaar herbergt geen enkele ambitie om via zijn werken een sociale of politieke boodschap uit te dragen. De wereld die Sledsens in zijn schilderijen weergeeft is dus niet het product van zijn ongenoegen met onze werkelijkheid; zijn utopia is elders ontstaan.
Tal R Home Alone. The exhibition includes a new series of paintings, gouaches and drawings.
Antwerp, Tim Van Laere Books 2020, 2020 Hardcover, 120 pages Illustrated. 25.5x20.5cm. Text in English / Nederlands. Fine! ISBN 9789464004021.
Tal R ( Tel Aviv, Israel. Lives and works in Copenhagen) transforms everything in his environment into art. His works are known for their daring colors and vivid imagery. Tal R works with a variety of techniques and media including painting, drawing, collage, sculpture, installation, print and furniture. Tal R is a keen observer, who takes inspiration from reality as well as his imagination. His work fits within the northern European tradition of Edvard Munch, Asger Jorn, Per Kirkeby and Georg Baselitz. Historical and art-historical references are abundant: threads of expressionism, fauvism and symbolism continue, as well as a nod to traditional Scandinavian art, art nouveau, outsider art and children?s paintings. Tal R?s enigmatic work offers intersections of personal experience and wider history through a visual jigsaw, finely balanced between representation and abstraction, of what the artist has termed ?Kolbojnik,? a Hebrew term for leftovers. His unique vision, self-identification as an outsider and ability to sample the two worlds of his different heritages, has produced an artistic language that constantly questions our surrounding realities. According to Tal R one can easily describe the subject of his works over the phone. In Home Alone Tal shows a series of birds in their cages and a series of still lifes. The titles of the works refer to the literary work of Bruno Schulz. In his Cinnamon Shops, a collection of interlinked stories, the most prosaic elements of everyday life become fantastic, full of mystery, capable of containing and at times revealing the deepest secrets of existence. Each story floats between the realism of his own autobiography and a fantastical fiction. In one of his stories Schulz tells about his father?s collection of a colony of birds in the attic, which served as an inspiration to Tal?s series of birds in their cage. Tal?s birds are delicately balanced between representation and abstraction, with abstract shapes and fields of color. The linings of the cage divide the canvas and provide structure to the stacking of different paint colors. In his series of still lifes, Tal depicts a series of objects that have been carefully arranged on a table top. These objects are as familiar as they are estranged. They are the objects that have been taken from their initial place and lost their name. Just like in Disney Pixar?s Toy Story, where the toys come to live as soon as the door closes, Tal gives these objects new life by painting or drawing them. Many of these objects carry references towards the stories of Schulz, but just like the author Tal?s interest is not so much in the story itself but in a proces of regeneration.
Thuis in de wereld / At home in the world
, Het zoekend hert, 2021, 2021 Softcover, 55 + 53 pagina's, NL / EN , 175 X 115 mm, illustratede / illustraties. ISBN 9789461172600.
kruis
Katrien Vandermarliere (hoofdredacteur), Tom Avermaete, Lieven De Boeck
Reference : 62738
JAARBOEK ARCHITECTUUR VLAANDEREN 2002-2003 : (editie 2004)
, Ministerie van de Vlaamse Gemeenschap, 2004 Hardcover, 224 pag. NL, 310 x 230 x 25 mm, als Nieuw, illustraties / afb. in kleur / z/w. ISBN 9789080778740.
Het Jaarboek Architectuur Vlaanderen verscheen in 2004 voor de zesde maal, en voor het eerst als uitgave van het Vlaams Architectuurinstituut. Het Jaarboek biedt een tweejaarlijks overzicht van de recente ontwikkelingen in de architectuur in Vlaanderen. De editie 2004 stelt een selectie van 15 gebouwen voor aan de hand van heldere projectbeschrijvingen en uitgebreid beeldmateriaal. Het boek wordt aangevuld met een aantal artikels rondom thema?s die via de ingezonden projecten naar boven kwamen drijven. Zo bespreekt Akos Morav nszky aan de hand van het Brugse Concertgebouw de vorming van identiteit als het resultaat van een veelzijdige en complexe historische constructie. Wouter Davidts biedt een confronterende doorlichting van de culturele infrastructuur in Vlaanderen van de laatste 10 jaar. William Mann gaat in op stedelijk wonen met landelijke kwaliteit of de relativiteit van dichtheid, en Tom Avermaete voert een pleidooi voor het architectuurontwerp als een vorm van (stads)onderzoek. Traditioneel bevat het boek verder een overzicht van publicaties, tentoonstellingen, lezingen, wedstrijden en architectuurprijzen. Door dit alles is het jaarboek een waardevolle bron van informatie en vormt het een aanzet voor de ontwikkeling van het architectuurdebat in Vlaanderen.
Studie van een jonge vrouw Een bijzondere blik in het atelier van Michaelina Wautier (1604-1689)
Antwerp, Phoebus Focus XIX, 2020 Paperback, 102 pages, 21,1 x 14,1 x 1,1 cm. Illustrated. Text in NL. ISBN 9789082746761.
Phoebus Focus 19 - Studie van een jonge vrouw Een bijzondere blik in het atelier van Michaelina Wautier (1604-1689)
Study of a Young Woman An exceptional glimpse into Michaelina Wautiers studio (1604-1689)
Antwerp, Phoebus Focus XIX, 2020 Paperback, 102 pages, 21,1 x 14,1 x 1,1 cm. Illustrated. Text in NL. ISBN 9789082746778.
Phoebus Focus 19 - Study of a Young Woman An exceptional glimpse into Michaelina Wautier's studio (1604-1689)
Netherlandish and French Paintings 1400?1480 Critical Catalogue
, Imhof verlag, 2024 hardcover, Size 24 30 cm, 608 pages, 497 colour and 142 b/w illustrations, English text. ISBN 9783731913191.
Netherlandish and French Paintings 1400?1480 Critical Catalogue The Berlin Gem ldegalerie houses an internationally outstanding collection of early Netherlandish and French paintings. This scholarly catalogue is dedicated to the works of the pioneer generation, i.e. those artists who began their career in or before the second third of the fifteenth century. In 52 entries, 69 individual paintings are discussed. All the important masters of the period are represented, many of them with major works ? such as the Madonna in the Church by Jan van Eyck, the Miraflores Altarpiece by Rogier van der Weyden, the donor panel of tienne Chevalier by Jean Fouquet, the only known painting by the early Dutch master Albert van Ouwater or the Montforte Altarpiece by Hugo van der Goes. The individual entries are based on art-historical and technological investigations and were written in an interdisciplinary collaboration. This richly illustrated publication presents a wealth of new insights into both the well-known works, and panels that had received less attention in former times.
Katrin Kogman-Appel, Elisheva Baumgarten, Elisabeth Hollender, Ephraim Shoham-Steiner (eds)
Reference : 63153
Perception and Awareness: Artefacts and Imageries in Medieval European Jewish Cultures
, Brepols, 2024 Paperback, 360 pages, Size:216 x 280 mm, Illustrations:57 b/w, 65 col., 1 tables b/w., Language: English. ISBN 9782503583945.
Summary What did the world look like for Jews living in medieval Europe? How did they perceive and make use of the elements of their daily life, from items on the street to religious iconography within holy spaces ? in particular synagogues and at the exterior of churches ? and profane elements from the home? And how did they experience the visual and material cultures of their non-Jewish neighbours? These questions form the core of this volume, which explores pre-modern Jewish approaches to images and material objects from a variety of perspectives. From clothing to manuscripts, and from lighting devices to the understanding of the invisible, the chapters gathered together in this multifaceted volume combine analyses of images and artefacts together with in-depth analyses of texts to offer fresh insights into the visual cultures that informed the world of European Jews in the Middle Ages. TABLE OF CONTENTS Preface and Acknowledgements List of Illustrations Introduction Elisheva Baumgarten, Elisabeth Hollender, Katrin Kogman-Appel, and Ephraim Shoham-Steiner Part One: The Perception of the Visual, the Material, and the Tangible in Shared Public Spaces 1. The Writing on the Wall ? A Mahzor, a Bimah, and a Privilege. A Look at Social Processes in the 13th-Century Jewish Community of Cologne Ephraim Shoham-Steiner 2. Illuminations: Lights, Identities, and the Society of Spectacle in the Late Middle Ages Eleazar Gutwirth 3. Materialization of Memoria Memory and Remembrance of Benefactors in Building Inscriptions in Medieval Ashkenaz Rainer Josef Barzen 4. Differing Perceptions of Church Garments and Worship Implements in the Writings and Thought of the Tosafists Ephraim Kanarfogel 5. Not Black and White Clothes and Difference in Medieval Ashkenaz Elisheva Baumgarten Part Two: Utilizing the Faculties of Visual Means 6. Jewish Chivalry in Late Medieval Illuminated Manuscripts Sara Offenberg 7. The Handling of Diagrams in Medieval Scientific Manuscript Transmission The Sefer ha-mar?im le-Eqlides and its First Proposition Sabine Arndt 8. Non-Verbal Aspects of Astrolabe Knowledge (Fifteenth- to Eighteenth-Century Hebrew Manuscripts) Josefina Rodr guez-Arribas 9. Artifacts that Desire Medieval Perspectives Kalman P. Bland (OBM) 10.The Agency of Images The Temple Vessels in Hebrew Bibles from Roussillon (c. 1300) Katrin Kogman-Appel 11.Visualizing the Invisible: Portrayals of Elijah the Prophet in Fifteenth-Century Ashkenazi Haggadot Chana Shaham-Rosby 12.Visualizing Divine Communication in Medieval Jewish Art Shulamit Laderman Index About the Authors
Premodern Jewish Books, their Makers and Readers in an Era of Media Change
, Brepols, 2024 Hardback, 464 pages, Size:216 x 280 mm, Illustrations:106 col., Language: English. ISBN 9782503604633.
Summary This volume brings together studies about books as artefacts within transitional zones. The history of the book from the handwritten to the printed medium is understood as a process marked by innovation and social change, but also by disorientation and bewilderment. The journey of a book from production to use was determined by a complex set of factors: communication among authors, makers of books, patrons, and readership; the emergence of publishers; and decisions to be made concerning production and publication. These factors underwent tremendous changes during the fifteenth and sixteenth centuries owing to the spread of printing and the rise of Humanism in Europe. Particular focus is put on the physical evidence of books, both handwritten and printed, and what it can tell us about a book's production and its reception. TABLE OF CONTENTS Introduction Katrin Kogman-Appel and Ilona Steimann Part One: Media Change Chapter 1: Changes in Bookmaking: Joel ben Simeon's Manuscripts in the Transition from Customized to Mass Production? Rodica?Herlo-Lukowski Chapter 2: Joel ben Simeon in Transition Evelyn M. Cohen Chapter 3: Jewish Books between Portugal to the Early Sefardi Diaspora.? D bora Marques de Matos Chapter 4: The Emergence of the Printing Self: Egodocuments and Micro-Egodocuments in Jewish Paratexts from Manuscript to Print Avriel Bar-Levav Chapter 5: From Manuscript to Print and Back Again. Two Case Studies in Late Sixteenth-Century Jewish Book Culture Pavel Sl dek Chapter 6: Lishmah Qedushat Sefer Torah or the Impossibility of Printing a Kosher Torah Scroll from Rabbinic Perspectives Annett Martini Part Two: The Craft of Editing Chapter 7: The 1514 'Grace after Meals and Sabbath Hymns and Qiddush' and the Experimental Beginnings of Woodcut Illustrations in Prague Sarit Shalev-Eyni Chapter 8: Hayyim Shahor and Jewish Life in Sixteenth-Century Ashkenaz Lucia Raspe Chapter 9: Of Roots and Signs: Printing Ashkenazi Responsa in Sixteenth-Century Venice Tamara Morsel-Eisenberg Part Three: Reading Chapter 10: The Masorete and His Readers: A Relationship Obscured Now Rediscovered Dalia-Ruth Halperin Chapter 11: Early Hebrew Printing and the Quality of Reading: A Praxeological Study Hanna Liss Chapter 12: Hegemonies of Reading. Layout, Materiality, and Authorship in Early Hebrew Prints Federico Dal Bo ? Part Four: Confiscation and Destruction Chapter 14: Burning the Talmud. Before and After Print David Stern Chapter 15: The Bookless Talmud and the Talmud Book: The Loss of Books in the Medieval and Early Modern World? Yakov Z. Mayer ? Part Five: Christian Collections Chapter 16: A Medieval Hebrew Psalter with Latin Glosses (MS Paris, BnF h breu 113) and Its Cambridge Connection ? Judith Olszowy-Schlanger Chapter 17: A Forced Journey between Two Faiths. The Hebrew Manuscripts of the University of Vienna Ilona Steimann? Chapter 18: 'Ben Hacane Liber qui dicitur Pelia'. Egidio da Viterbo's Kabbalistic Excerpts Saverio Campanini? Chapter 19: Alfonso de Zamora and Hebrew Manuscripts on Grammar and Exegesis in Sixteenth-Century Spain Javier del Barco Chapter 20: On the Beginnings of Christian Hebraist Bibliography in the Sixteenth Century Maximilian de Moli re Manuscript Index General Index
As it is Done, 57 Contemplations
, MER Paper Kunsthalle, Gebonden, Hardcover 24X16cm, 144 pages met prachtige illustraties. ISBN 9789490693787.
Een bloemlezing van pijnlijke banaliteiten. Een beeldverhaal zonder begin en eind. Getekend en geschreven door Katrin Lohmann, actrice en maakster. Graphic short-stories portraying people beyond revolt. An anthology of distressing trivialities. Sketched by Katrin Lohmann.
Friedrich Kunath : New Ballads
, Tim Van Laere Books, 2021, 2021 80 pagina's, illustraties in kleur, 25,5 x 20,5 cm, hardcover, Duits/Engels/Frans. ISBN 9789464004083.
The universe of Friedrich Kunath is carefully balanced around dichotomies. His paintings address the greater questions in life, bringing viewers into a disruptive state of searching for meaning in life while realizing the ridiculousness of this quest. The artist?s personal journey from East to West Berlin and on to his new-found home in Los Angeles presented him with a wide variety of source material ranging from the canon of art history and German philosophy to the idiom of kitsch and the make-believe world of Hollywood and LA. Many of these materials are impacted by two poles ? the culture of wisdom and pop culture ? to the point of obsession and even, at times, systematization. Dealing with such universal themes of human existence as love, loss, optimism, vulnerability and melancholy, he employs a variety of media, from painting, sculpture, drawing, video and photography to expansive installations, all provided with a tragicomic pathos and dreams of possibilities. In almost every work, there is a tangible realization that the world is a spectacle of unfulfilled dreams in which the rawness of life is fled through the parallel universe of pop culture.
LE REPOS ET L'OUBLI. Essais
Paris Méridiens Klincksieck 1987 in 8 (20,5x14) 1 volume broché, 197 pages. Collection Constantes. Bel exemplaire
Très bon
MICHA L BORREMANS The Acrobat.
, David Zwirner , 2022 PB, 178 x 114 mm, 64 page, ENG edition, illustrated with coloured illustrations. ISBN 9781644230831.
Recalling classical painting, both through technical mastery and choice in subject matter, Borremans's depictions of the surprising and the bizarre invites a second look. Uncanny scenes of figures looking at blurred acrobatic displays, hooded subjects rendered in Rembrandt-esque lighting, or solemn portraits demonstrate Borremans's unique vision. In this recent body of work, Borremans continues to draw the viewer in closer with his intimately scaled paintings of mysterious figures in peculiar arenas. Accessible yet full of rich detail, this pocket-size book features fifteen masterful works offering a mystifying narrative. An illuminating text by Katya Tylevich mines the scenes Borremans sets, conjuring the multidimensionality of the works' emotional power and their unique place in the lineage of art history.
Micha l Borremans: The Monkey
, David Zwirner Books , 2024 softcover, . ISBN 9781644231463.
Presenting the Belgian artist Micha l Borremans?s newest group of psychologically charged paintings, this catalogue highlights his exceptional technical skill, interest in figuration, and innovative approach to mise-en-sc ne. ?Everything is a self-portrait. And now I have been painting monkeys. . . . It?s like making a movie.? ?Micha l Borremans, Interview magazine As a pendant to his acclaimed catalogue The Acrobat, The Monkey showcases seventeen paintings that reveal his interest in exploring surface and artifice. Borremans portrays mysterious sitters?including the titular monkeys, which are glazed toy figurines?and depicts enigmatic scenes that simultaneously invite viewers in and keep them at bay. Katya Tylevich?s insightful commentary delves into the depths of Borremans?s compositions, connecting the themes and motifs in The Monkey to those present in previous bodies of work. Tylevich delves into the complex emotional and art-historical registers at play in the artist?s new paintings and maps the trajectory of his practice, observing other instances of repetition and fabulation across his practice. The publication, featuring this essay alongside beautifully illustrated images of the new paintings, serves as the ideal complement to the artist?s 2024 exhibition at David Zwirner, London
