This is the first major exploration of the works of American abstract painter and watercolorist Suzan Frecon (b. 1941), critically acclaimed for her sensitive arrangement of color, form, and texture, and for the philosophical resonance of her art. By restricting herself to nonrepresentational forms, earth-based colors, and, in the case of her watercolors, “found” pieces of paper, Frecon achieves an unequaled sense of balance and openness in her work. The book features ten oil paintings and thirty watercolors dating from the late 1990s to 2007. 
form, color, illumination celebrates the uniqueness of Frecon's painting and articulates how her work distinguishes itself within the history of abstract painting. The authors describe in-depth how her artistic process and materials are an integral part of her focus and aesthetic. Included is an essay revealing the "ethics” of her aesthetics––an argument for abstraction and an attention to truth that is not divorced from social and environmental concerns.

form, color, illumination: Suzan Frecon painting

Arts & Photography

Eckhardt, Sarah

Loock, Ulrich

Helfenstein, Josef

Rinder, Lawrence

Frehner, Matthias

History & Criticism

The Menil Collection

Chefs-d'oeuvre suisses. Collection Christoph Blocher

GIANADDA

China is booming! In the wake of economic liberalization, the nation's art scene has taken flight as well. The Swiss collector Uli Sigg, formerly his country's ambassador to Beijing, has followed the rapid pace of development since the 1980s, compiling along the way the world's largest collection of contemporary Chinese art, comprising more than 1,200 works by some 180 artists. Mahjong, named after the popular and ancient Chinese game of chance, presents more than 200 paintings, drawings, sculptures, photographs, video pieces and installations from Sigg's collection. Alongside them hang such curiosities as vintage Mao posters. In addition to a number of internationally famous works, such as Ai Weiwei's Han vase with Coca-Cola logo, Fang Lijun's bald heads or Xu Bing's "Xinglish" calligraphy, this book also offers readers a unique opportunity to discover tremendously gifted artists still largely unknown outside China.

Mahjong: Contemporary Chinese Art From The Sigg Collection

Boyi, Feng

Reference

Hatje Cantz Publishers

Retrospective, the most comprehensive monograph to date on the work of Franz Gertsch, celebrates the painter's 75th birthday. Since Harald Szeemann's legendary Documenta 5 in 1972, Gertsch has been one of the most significant photorealist or hyperrealist painters in the world. As a participant in three Venice Biennales, most recently in 2003, and the subject of solo shows at institutions including The Museum of Modern Art, New York, Gertsch has received some of the highest honors the art world has to offer. In 2002 the Museum Franz Gertsch opened in Burgdorf, near Bern, Switzerland: it is dedicated to his work--a rare honor for any living artist--and features a wide variety of it. Retrospective collects Gertsch's most important large-format paintings and monumental woodcuts, along with a broad selection of gouaches and watercolors from the late 1960s to the present, and includes a catalogue raisonnª of the paintings.

Franz Gertsch: Retrospective

Schneemann, Peter

Much more than "just" the fur cup: this lavishly illustrated monograph presents the multifaceted work and colorful life of the great artist and Surrealist muse, Meret Oppenheim (1913-1985). Once enmeshed in scandal, known as a mysterious model and a mythical personality, she emerged among the most far-sighted artists of her epoch. Her oeuvre, which includes painting, sculpture, photography, poetry, drawings and design objects, constitutes an important contribution to twentieth-century art. Alongside the legendary Breakfast in Fur, from the collection of The Museum of Modern Art, New York and important pieces from Vienna, Paris and Stockholm, Retrospective: An Enormously Tiny Bit of a Lot includes many never-before seen works from private collections. While Oppenheim's works forbid formal classification, major themes can be distinguished: borders and connections between nature and culture; man and woman; day and night; and, as befits a Surrealist, dream and reality. Here, art historical writing and detailed analyses shed light on gender-specific issues in Oppenheim's work, along with broader concerns and major artistic advances. In addition, previously unpublished fragments of Oppenheim's own writing recollect many of her companions and artistic colleagues, and an illustrated biography completes the picture.

Meret Oppenheim: Retrospective: An Enormously Tiny Bit of a Lot

Baur, Simon

Bhattacharya-Stettler, Therese

Hatje Cantz

The prototypical Pre-Raphaelite artist, Edward Burne-Jones (1833-1898) embodied in his art the glamours of Victorian Romantic painting, harking back to an Arthurian Medieval England of chivalry, virtue, Arcadian delight and dreamy sensuality. "I mean by a picture a beautiful, romantic dream of something that never was, never will be," he once wrote, "in a light better than any light that ever shone-in a land no one can define or remember, only desire." Burne-Jones' fantasies of an ideal Albion offered solace against the onset of the Industrial Revolution, which had increasingly come to determine urban life in Victorian Britain, and which his close friend William Morris had also critiqued in his bestselling poetry book The Earthly Paradise (1868). This volume explores Burne-Jones' vision of an "Earthly Paradise" as expressed in painting cycles such as Perseus, Amor and Psyche, St George and Briar Rose, and his wonderful Arthurian tapestry sequences and book illustrations. It also opens up the artist's more practical efforts to secure this earthly paradise through the domestic crafts, rejuvenating the Victorian interior through Medieval precedents: carpets, textiles, stained glass windows, furniture and other Arts and Crafts objects. In emphasizing the conceptual unity of Burne-Jones' painting cycles and domestic designs, this monograph reveals his vision to be a coherent expression and longing for a finer world.Edward Burne-Jones was educated at Exeter College, Oxford, where he met his future collaborators, the artist-poets William Morris and Dante Gabriel Rossetti, under whose influence he left Oxford without graduating. From his first major exhibition in 1877, Burne-Jones was a hit with the English public; his 1884 painting "King Cophetua and the Beggar Maid" remains a classic expression of the Pre-Raphaelite Brotherhood sensibility. After his death in 1898, Burne-Jones' legacy became most apparent in the decorative arts.

Edward Burne-Jones: The Earthly Paradise

Christian, John

Conrad, Christofer

The princes of Liechtenstein were enthusiastic art lovers From the seventeenth century their collections continued to grow with each generation and because of the individual preferences the main areas of focus demonstrated a great thematic variety The catalogue offers a representative cross section through the immense treasures of the dynasty

Liechtenstein: Die Furstlichen Sammlungen / the Princely Collections (German Edition)

Lawicki, Rainer

Berger, Regula

Hirmer Verlag GmbH

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