The creativity of the most celebrated artists of the modern period has been enriched and expanded by their work in the print medium. Exploiting the potential of such techniques as woodcut, lithography, etching and screenprint, as well as other processes, these artists have added immeasurably to their expressive vocabularies. Many have availed themselves of the expertise offered by master printers in professional workshops and have benefited from the fruits of such collaboration. They have found inspiration in traditional printed formats, such as portfolios and illustrated books, and have used them to explore thematic interests. As a result of these experiences, printmaking has exerted influence on their work in other mediums and has become integral to their creative thinking as a whole. Finally, the fact that prints are made in editions rather than as single impressions has enabled these artists to reach a much broader audience than would otherwise be possible.~This volume includes the work of artists from the late 19th century to the present and demonstrates the imaginative ways in which they used print techniques. The potential of the woodcut was explored by Paul Gauguin and Edvard Munch, and the woodcut later became a major preoccupation of the German Expressionists Ernst Ludwig Kirchner, Emil Nolde and Max Beckmann; lithographed posters were a specialty of Henri de Toulouse-Lautrec; Pablo Picasso and Joan Miró experimented with drypoint, etching, and lithography, among other techniques, in new and original ways; Andy Warhol and Jasper Johns exploited the painterly aspects of lithography and the commercial look of screenprint. The current generation of artists, among them Terry Winters and Kiki Smith, has gravitated to printed art as an essential aspect of their creative practice, with major bodies of work already produced.~Including more than 200 illustrations, this publication is organized as an unfolding historical narrative with a focus on individual artists, each with a succinct text describing his or her relationship to printmaking. Bibliographic references cite the latest scholarship in the field. An index of artists, printers, and publishers reflects the involvement of various partners in the printmaking enterprise. All works reproduced are from The Museum of Modern Art's extraordinary collection of over 50,000 prints, the finest of its kind in the world. With more than 200 prints by such modern masters as Hans Arp, Georg Baselitz, Joseph Beuys, Louise Bourgeois, Georges Braque, Vija Celmins, Paul Cézanne, Chuck Close, Willem de Kooning, Sonia Delaunay-Terk, Marcel Duchamp, Helen Frankenthaler, Lucian Freud, Robert Gober, Natalia Goncharova, Peter Halley, Damien Hirst, David Hockney, Edward Hopper, Vasily Kandinsky, Anish Kapoor, William Kentridge, Fernand Léger, Sol LeWitt, Elizabeth Murray, Bruce Nauman, Barnett Newman, Emily Nolde, Chris Ofili, Sigmar Polke, Martin Puryear, Robert Rauschenberg, Odilon Redon, Gerhard Richter, Dieter Roth, Susan Rothenberg, Kurt Schwitters, Shahzia Sikander, Kiki Smith, Frank Stella, Richard Tuttle and Kara Walker Essay by Deborah Wye. Clothbound, 9.5 x 11 in./240 pgs / 275 color 20 BW0 duotone 0 ~ Item D20148
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我是一个对视觉体验要求极高的人,很多印刷品,看着照片就能解决的事儿,非要做成一本厚书,无非就是为了抬高价格。但这本的装帧处理,绝对对得起它所承载的内容。纸张的选择非常考究,不是那种反光的铜版纸,而是带有轻微肌理感的哑光纸张,这使得画面细节在不失真的情况下,呈现出一种近乎于原作的温润感。装订处极为扎实,即便是反复翻阅,也不担心散架。更让我惊喜的是,书中对“跨媒介影响”那一块的处理。作者没有局限于单一的画种,而是巧妙地引入了音乐、建筑乃至早期电影的剪辑手法来类比说明某一特定时期视觉艺术的风格共性。这种宏观的、网状的知识结构构建方式,极大地拓展了我的思维边界。读完后,我感觉自己不再是孤立地去看一幅画,而是能将其置入一个更庞大、更动态的文化场域中去审视。这本书的价值,不在于提供了标准答案,而在于它为读者提供了一套高效、多维度的思考工具,让你自己去提问、去探索。
评分说实话,刚开始我抱着相当大的怀疑态度,毕竟市面上的艺术鉴赏类书籍,十有八九都是徒有其表的花架子,内容空洞,充斥着一些人云亦云的陈词滥调。但这本书,它像一块未经雕琢的璞玉,需要你静下心来才能体会到它的光芒。它最打动我的地方,在于它跳脱了传统艺术史的叙事框架,转而从“物质性”的角度切入——探讨媒介本身是如何塑造艺术表达的。读到关于摄影早期银版技术对绘画构图冲击的那一节,我简直拍案叫绝。作者没有简单地赞美或批判,而是冷静地分析了光影捕捉的物理限制如何反过来催生了印象派对瞬间感和笔触表现的极致追求。这种层层剥茧的分析,逻辑严密得像是一部精密的机械结构图。而且,它的语言风格非常克制,不滥用形容词,每一个论断都有坚实的基础支撑,绝不含糊其辞。我尤其欣赏它对“非主流”艺术家的挖掘,那些被教科书快速带过的人物,在这里获得了应有的关注和深入的解读。这本书成功地将学术的严谨性与阅读的愉悦性做到了一个微妙的平衡点,让一个非专业人士也能从中汲取到真正有价值的养分,而不是被一堆晦涩的专业术语绕晕。
评分这家伙的眼光真是毒辣,拿到手的时候,那种沉甸甸的质感就让人心头一热。封面设计简洁到近乎挑衅,但每一个线条的切割都透着一股不容置疑的艺术品位。我原本以为这会是一本晦涩难懂的学院派论著,结果翻开扉页,立刻就被一种扑面而来的生机抓住了。它没有用那些故作高深的术语来吓唬人,反而像是老朋友在咖啡馆里跟你娓娓道来大师们的秘密。特别是关于十九世纪末期版画技法演变的那一章,作者对炭笔和腐蚀法的细腻描述,简直让人想立刻去画室里试试手。他不仅仅是在罗列事实,更是在构建一个历史的场景,让你仿佛能闻到松节油的味道,听到刻刀刮擦金属板时发出的那种独有的沙沙声。这本书的排版简直是教科书级别的享受,留白恰到好处,图片的选择更是别出心裁,那些高分辨率的局部特写,让你能清晰地分辨出墨水的渗透层次,这是任何线上资料都无法比拟的实体体验。我花了整整一个下午,只是对着其中一幅日本浮世绘的色彩过渡图发呆,那种对细节的尊重,让人不得不佩服作者和编辑团队的匠心。这本书,与其说是一本艺术读物,不如说是一次深度的视觉沉浸之旅,它彻底刷新了我对“精装”这个词的定义。
评分我对这类主题的书籍向来是来者不拒,但常常失望而归。这本给我的感觉是,作者显然是那种在工作室里待了半辈子的老行家,他对创作过程的理解,不是基于二手资料的转述,而是深入骨髓的体悟。最让我感到震撼的是,书中对不同时代工坊操作规范的细致描摹。比如,欧洲文艺复兴时期油画颜料的研磨,需要用到哪种石材作为研磨盘,以及磨制过程中对温度湿度的控制,这些细节,在外行人看来或许枯燥,但对于真正想了解艺术“生产线”的人来说,简直是无价之宝。书中对不同画种的“衰变”过程的探讨也十分精妙,不仅仅是颜料褪色那么简单,还涉及到了底层底漆的应力变化如何导致画面龟裂。这种跨学科的视角——结合了化学、物理学和美学的观察——使得整本书的厚度不再仅仅是纸张的堆砌,而是知识的密度。阅读它的时候,我总感觉自己像个学徒,坐在大师的侧后方,屏息凝神地观察每一次下笔、每一次调色。它没有给我“高高在上”的俯视感,而是提供了一个可以“并肩而立”的视角,去重新审视那些被过度神圣化的艺术杰作。
评分老实讲,这本册子在我的书架上已经躺了两个月,我一直拖着没开始“正经”地读,总觉得这种题材的书适合在长假里细细品味。结果一旦翻开,就彻底停不下来了。它最像我的胃口的地方,在于它对“市场”和“艺术”之间微妙关系的探讨。作者大胆地将艺术创作的商业逻辑暴露在阳光下,探讨了赞助人制度如何影响了作品的主题倾向,以及新兴中产阶级崛起后,对“可收藏性”的偏好是如何驱动了风格的转变。这种社会学视角的介入,让原本孤立的艺术作品重新回到了人类活动的脉络中,变得更加鲜活和可理解。书中的案例分析总是选取得非常巧妙,比如对比了某个时期两个竞争对手在同一主题下的不同处理方式,然后深挖其背后的经济动因和个人际遇。文字流畅中带着一种洞悉世事的犀利,读起来酣畅淋漓,完全没有传统艺术史那种拖沓和说教的弊病。它不是在教你如何“欣赏”,而是在教你如何“理解”艺术是如何在复杂的人类社会系统中运作的。
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