中国古代绘画精妙之极，也丰富之极。本书虽篇幅短小，但暗含画史脉络，深具辞书绵密。作者分二十五题，以轻松的笔法、隽永的文字将画家、绘事做了简切的勾勒，以引领读者登堂入室，亲近富有人格魅力的绘画大师，领略中国绘画的林泉丘壑，感受中国古代的艺术精神。

美术史家、美术评论家、著名书法家黄苗子先生，将他半个多世纪以来与美术界师友的往来见闻落成文字，论及三十余位艺坛精英，包括齐白石、张大千、徐悲鸿、黄宾虹、傅抱石、潘天寿、朱屺瞻、李可染、张光宇、叶浅子等。作者不拘体例地畅谈画家的生平、言行、艺术创作、生活轶闻，文字雅畅，描画了现代中国艺术化、发展、融合、流变中的鲜活面孔，呈现了盛名与巨制背后学期的艺术灵魂。不亲身经历这一历史时世，充分体验其中况味且深谙艺理人，难以记述得如此生动、精到。 　　作者在2000年初版基础上进行了大量修订，重写了有关启功先生一篇以为纪念，并增加有关梁白波女士一篇。插图亦做了精心增补，其中各位师友赠与作者的书画，并大量师友信札，均匀首次与读者见面。

《夹缬》中夹缬是在织物上印花染色的工艺，盛行于唐代，近代以来早已失传成谜。1990年汉声编辑首次在上海看到夹缬印出的“百子图高敲花被”，1997年锲尔不舍追踪至浙江苍南县八岱村的夹缬作坊，采访老师傅，抽丝剥茧探索雕花古版的明渠暗沟，逐步复原一千多年前夹缬印花的全过程。

《李斯特论柏辽兹与舒曼》作者是匈牙利作曲家、钢琴家、指挥家和音乐活动家，浪漫主义音乐的主要代表人物之一。

在西方艺术史上，塞尚（1839-1906）被誉为“现代艺术之父”，他对艺术创作和艺术观念的影响至今不衰。在塞尚之后，艺术的观察方式和作画方法都有了彻底的改变。对我们而言，他的生活和作品之间的关系仍然是一个谜，本书试图从不同角度揭示这一谜底。 约阿基姆•加斯凯（1873-0921）是一位性格奔放的法国作家和诗人。在塞尚晚年，他与画家关系十分密切，两人常常会面，无话不谈。1912年至1913年，根据回忆、信件和他人的文章，加斯凯演绎出三段与塞尚的长篇虚拟对话，涉及塞尚艺术观中最重要的命题和原则，诸如自然、感觉、自然与艺术作品的关系等，成为塞尚研究最价值的一部专著。 本书插图和文件相得益彰，尤其选录了部分塞尚画作中景色的实地照片，时过竟迁，再去拍摄这样的照片已几无可能。这些照片对于研究或者喜爱塞尚的有心人来说，弥足珍贵。

像你我一样呼吸：一个世纪的摄影传奇，ISBN：9787807400721，作者：顾铮 著

作者简介： 向京，1968年，生于北京,现工作生活在上海。 个展： 2006年 《你的身体——向京作品2000-2005》·上海·上海美术馆 2005年 《保持沉默——向京作品2003-2005》·北京·大山子艺术区北京季节画廊 2003年 《镜子里的女人》·厦门·欧洲艺术中心 《向京作品》·北京·团成画廊 2001年 《白日梦》雕塑个展·上海·常春藤书园 联展： 2006年 《2006江湖》·纽约·Jack Tilton画廊 2005年 《翻手为云，覆手为雨——TS1当代艺术中心第一回展》·北京·北京TS1(宋庄壹 号)当代艺术中心 《奢时代：雕塑艺术预言——中国当代户外雕塑展》·天津·海逸长州楼盘现场 《雕塑百年》·上海·上海城市雕塑艺术中心 《“多重界定——想象中的社区”当代艺术展》·天津·万科当代水晶城 2004年 《龙族之梦——中国当代艺术展》·都柏林·爱尔兰当代美术馆 -MMAC Art College/Performance Festival '2004·福島/東京·Aizu- Mishima/Tokyo 《目光所及——向京广慈雕塑展》·深圳·何香凝美术馆 《散步》系列展·上海·多伦美术馆 《中国·想象：中国当代雕塑展》·巴黎·杜伊勒里公园 2003年 《NEW ZONE - CHINESE ART》·Warza·Zacheta National Gallery of Art 《向京广慈雕塑展》·澳门·龙环葡韵住宅式博物馆展览馆 《Ⅻ Inner Spaces》multimedia festival·Poznan Poland·CCA Inner Spaces 《不同的选择——生于六十年代》·上海·半岛美术馆 《上海第三届青年雕塑作品邀请展》·上海·南京路世纪广场 《开放的时代——纪念中国美术馆建馆五十周年》·北京·中国美术馆 2002年 《向京·广慈2002——镜像》·上海·无形画廊 2001年 《禁闭》参加“当代中国雕塑的若干标准像”雕塑图片展·上海·上海美术馆 《一杯冰水》《侵袭》参加“大珠小珠落玉盘”雕塑展·上海·无形画廊 《澡堂子》等两件作品参加“中国神话——当代艺术联展”·上海·易典画廊 《一束光线》等四件作品参加“首届精文艺术大展”·上海·精文艺术中心 《我的娃娃》参加“2001年法国秋季沙龙”·巴黎 《禁闭》《这个女人！》参加2001第32届德国艺术节·杜塞尔多夫 2000年 《呵欠之后》参加“中国当代雕塑邀请展”·青岛·青岛雕塑艺术馆 《白日梦Ⅲ》等三件作品参加“上海青年美术作品邀请展”·上海·刘海粟美术馆 《TOY—泳者》参加“第二回青年雕塑家邀请展”·杭州西湖美术馆/深圳雕塑院/ 青岛雕塑艺术馆 《我的娃娃》等九件作品参加“海平线——2000绘画雕塑邀请展”·上海·刘海粟 美术馆 《禁闭》参加“与摩尔对话”雕塑邀请展·广州·广东美术馆 1999年 《白日梦》《不飞的天使》等五件作品参加“世纪末艺术之旅·第二回展”·北京 ·新时空—ART专递空间 《空房间》入选“第九届全国美展”，获优秀奖·北京·中国美术馆 《尽头》参加“第二届中国雕塑年度展”·深圳·何香凝美术馆 《天使的面孔》等三件作品参加“上海师范大学美术系教师油画雕塑作品展”· 上海·上海大学美术学院画廊 《一杯冰水》《侵袭》等五件作品参加“世纪之门1979 -1999中国艺术邀请展”· 成都·成都现代艺术馆……

在线阅读本书 ANDY WARHOL "GIANT" SIZE is a spectacular visual biography of the life and career of Andy Warhol.Weighing in at 15 pounds, this enormous book is packed with 2,000 images and documents, many rare or previously unpublished.Taking its inspiration from Warhol's over-the-top nature, ANDY WARHOL "GIANT" SIZE depicts the major events, people, works and moments in the artist's life told in chronological order by subject.As Warhol almost never threw anything away (from restaurant receipts to postcards), the featured material in the book has been painstakingly compiled.As the publisher of The Andy Warhol Catalogue Raisonn+, Phaidon was granted unprecedented access to an array of public and private image and memorabilia archives and collections, including the Andy Warhol Foundation in New York and the Andy Warhol Museum in Pittsburgh as well as the holdings of many Warhol collaborators, friends, and photographers of the period.The large-format of ANDY WARHOL "GIANT" SIZE enables the reader to explore in detail hundreds of fascinating photographs, letters, personal correspondence, art works, film stills, tickets, receipts, celebrity head shots, notes, press clippings and ephemera all featured in this one of a kind publication. The book also features illuminating texts by insiders Bruno Bischofberger, Ronnie Cutrone, David Dalton, Kenneth Goldsmith, Ivan Karp and Peggy Phelan.What is unique about ANDY WARHOL "GIANT" SIZE is that it provides fascinating insight into the public and private life of Warhol and in many cases also reveals the stories behind his art works.The book provides amazing comparisons between his work and his life that have never been demonstrated visually in such a way before.For example, it not only features Warhol's famous "Mao" series, but also includes ephemera from a 1982 trip to China (his passport, boarding pass, a souvenir from his hotel, etc.) alongside a photo of Warhol standing in front of the Forbidden City in Beijing with an official Mao portrait in the background. This important new publication includes a staggering quantity and array of colorful material including: Warhol's birth certificate, citing Andrew Warhola' was born on 8/6/28 in Pittsburgh; childhood photographs of his family; the magazine tear sheet showing the first article he illustrated for Glamour when he arrived in New York in 1949;numerous photos of Warhol with his mother; artworks for gold shoes he created in the 1950s; a letter from the MOMA dated 1959 in which the Director of the Museum's Collections rejects a work of art Warhol offered them as a gift; photographs of Warhol posing with Edie Sedgwick in a New York fashion shoot; personal letters from Mick Jagger and Liz Taylor; pictures of Warhol in the office working on Interview; pictures of Warhol private views; a series of shots of Warhol in drag; the program from his Memorial Mass on 4/1/87 and his gravestone.ANDY WARHOL "GIANT" SIZE is the only publication available that features Warhol's entire life, work and words in one book.The visual biography offers a behind-the-scenes look at the New York art scene of the 1950s to the 1980s, and provides a new perspective on an artist who continues to be endlessly fascinating to those inside and outside of the art world.

当我们翻开这本《意大利文艺复兴艺术》时，立刻会感觉到画面的人物都用神奇的眼光注视着我们：他们似乎在邀请我们去倾听他们时代的故事、去赞美他们的伟大创造。他们的眼神虽然各异，但似乎流露出一种自信，一种先前的时代未曾有过的自信。他们之前的中世纪艺术家从来没有意识到自己属于一个叫“中世纪”的时代，而哥特式艺术家从来没有想过，他们的艺术是一种哥特式风格。从14世纪开始，意大利人率先自觉地意识到他们正在创造一个崭新的时代，一个他们自称为古典文化“再生”的时代。19世纪的历史学家把这个时代命名为“文艺复兴时代”。

平装 20世纪初，在引人注目的巴黎画坛上有一位独具艺术物质和风貌的女画家，她以自己特有的艺术才华和天赋，以独有的画作创造充分表现了当时巴黎女生特有的时尚和风雅，引起了巴黎画坛的特别关注。这就是——玛丽·罗兰珊。本书收录了巴黎女画家罗兰珊的绘画作品，每图附名称，尺寸，年代等，供读者赏析！

编辑推荐：本书为《世界油画家之林》系列丛书之一。欣赏莫兰迪的绘画世界，首先就会被他的色彩—更确切地说，是色调—吸引。他几乎从来不用鲜亮的颜色：在他的画面上，每一个色块都是灰暗的中间色。然而，这些孤立看来都毫无神气的颜色，经他的巧妙摆弄，不但不脏，不闷，反而熠熠生辉，显得高雅精致，浑然天成。

《杜尚》以艺术家的生活经历、艺术风格和艺术思想的成熟为线索、在记叙、说明和剖析大量生活照片、作品和手稿的基础上，通过丰富的史料，从家庭关系、日常生活、情感纠葛和艺术发展规律等方面全方位记录了艺术家的成长历程，为读者讲述了艺术家是怎样被世俗社会认同的，对于正确理解现代艺术品也有启迪作用。换个角度讲，只有让艺术家从神圣的艺术殿堂里走入到我们普通人的生活之中，才能使读者认识到杜尚不仅是位伟大的艺术家，而且是一个具有喜怒哀乐、七情六欲这些常人特征的活生生的人。

Diane Arbus redefined the concerns and the range of the art she practiced. Her bold subject matter and photographic approach have established her preeminence in the world of the visual arts. Her gift for rendering strange those things we consider most familiar, and uncovering the familiar within the exotic, enlarges our understanding of ourselves. Diane Arbus Revelations affords the first opportunity to explore the origins, scope, and aspirations of what is a wholly original force in photography. Arbus’s frank treatment of her subjects and her faith in the intrinsic power of the medium have produced a body of work that is often shocking in its purity, in its steadfast celebration of things as they are. Presenting many of her lesser-known or previously unpublished photographs in the context of the iconic images reveals a subtle yet persistent view of the world. The book reproduces two hundred full-page duotones of Diane Arbus photographs spanning her entire career, many of them never before seen. It also includes an essay, “The Question of Belief,” by Sandra S. Phillips, senior curator of photography at the San Francisco Museum of Modern Art, and “In the Darkroom,” a discussion of Arbus’s printing techniques by Neil Selkirk, the only person authorized to print her photographs since her death. A 104-page Chronology by Elisabeth Sussman, guest curator of the San Francisco Museum of Modern Art show, and Doon Arbus, the artist’s eldest daughter, illustrated by more than three hundred additional images and composed mainly of previously unpublished excerpts from the artist’s letters, notebooks, and other writings, amounts to a kind of autobiography. An Afterword by Doon Arbus precedes biographical entries on the photographer’s friends and colleagues by Jeff L. Rosenheim, associate curator of photographs at The Metropolitan Museum of Art. These texts help illuminate the meaning of Diane Arbus’s controversial and astonishing vision.

《马奈:画我所见》简介：“画我所见，”马奈如是说。就如此简单吗？这位《草地上的午餐》、左拉、马拉梅、克列孟梭以及贝特·莫里索等名人肖像画的作者，这位画过许多小咖啡馆和划船者的画家，戏称自己是“静物画界的圣弗朗索瓦”。那么，他果真是现代画家中的第一人吗？抑或如波德莱尔所述，是表现艺术“衰败的第一人”？从《奥林匹亚》到《女神游乐场的酒吧间》，弗朗索瓦丝·加香娓娓道出了这位爱大海、爱女人但更爱绘画的地道巴黎人的一生。

梅兰芳背倚着很大的传统文化，而他的技艺却令人在微小之处琢磨再三，然而看完戏再一寻思，发现京剧及梅兰芳所体现的那大的文化越发厚实悠远。梅兰芳的能戏多于三百出，但每出戏能“卖”的地方只有少数几个点；等你在点上反复寻思，忽然发现梅兰芳几乎无处不在。梅兰芳的处处不太容易琢磨，许多遥远而分支的路上都有其身影；到了他的中晚年，他艺术的特征才逐渐彰显出来，而他一旦走进历史，又在诸多前路上给纷繁的今人以启迪。

我猜许多人对中国近现代绘画没多少了解，他们当然听过齐白石、徐悲鸿、黄宾虹、张大千的名字，可是对这些名字代表的风格、经历、成就以及恩怨就茫然无所知了。我觉得，对这一部分读者来说，《画坛点将录》可以当成一本“画坛八卦录”来看。因为作者对近现代名家非常了解，又放言无忌，所以我们就有幸读到这样的话———“我看到的刘海粟的文章百分之九十都是假话”。当年，陈传席的这一系列品评初在《江苏画刊》等杂志上发表时，曾引起轩然大波，现在所有文章汇集成书，揭露的丑事就更集中了：张大千是造假冠军，刘海粟曾入“文化汉奸”之列，溥心畲的双料博士学位都是编出来的……我相信，多数人读完了这书，对大部分“绘画大师”的崇拜就幻灭了。

"Diane Arbus was no a theorist but an artist. Her concern was not to buttress philosophical positions but to make pictures. She loved photography for the miracles it performs each day by accident, and respected it for the precise intentional tool that it could be, given talent, intelligence, dedication and discipline. Her pictures are concerned with private rather than social realities, with psychological rather than visual coherence, with the prototypical and mythic rather than the topical and temporal. Her real subject is no less than the unique interior lives of those she photographed."--John Szarkowski, 1972, Director, Department of Photography, The Museum of Modern Art "I have never seen pictured like them before, and I am sure I will never see their equal again. They are the product of something beyond the camera, the result of a long, complex and intensely human process. No one can go into the street tomorrow and take a Diane Arbus photograph. That would be merely adjusting a lens and pressing a button. What made her pictures great was everything that happened before she pressed the button."--Douglas Davis, Newsweek, 1984 "Diane Arbus is one of our legends, her monograph a pivotal classic that changed the direction of photography in America. She captures the complexity and the art in reality. The quality that defines her work and separates it from almost all other photography is her ability to empathize on a level far beyond language."--Nan Goldin, Bookforum, 1995