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Arnoldsche Art Publishers
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Art Nouveau Knives, Forks and Spoons
Автор: Barbara Grotkamp-Schepers Жанр: История и теория декоративно-прикладного искусства Издательство: Arnoldsche Art Publishers Год: 2000 Страниц: 216 Дата загрузки: 26 марта 20092003-02-16
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Inventory Catalogue of the Deutsches Klingenmuseum Solingen. With the publication of volume l, the Jugendstil cutlery is presented in all its variety. The holdings include over 300 different patterns and provide the reader with a many-faceted survey of the most diverse shapes and designs. Jugendstil cutlery in all its diversity of decorative designs. First of three volumes on cutlery to include 1920-1940s and 1950-190s. Includes all the major designers and manufacturers of the period. Text in English and German.
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Furniture for the Dream King
Автор: Afra Schick Жанр: Мебель Издательство: Arnoldsche Art Publishers Год: 2003 Страниц: 248 Дата загрузки: 15 июня 20092005-10-30
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Anton Possenbacher (1842-1920), cabinet-maker to the Bavarian court in Munich, was head of one of the largest late 19th-century German makers of luxury furnishings. His furniture designs, especially those for King Ludwig II of Bavaria (1871-1886), represent German historicism at its zenith. Possenbacher created almost all the furnishings for the royal apartments at Linderhof, Herrenchiemsee and Neu Schwanstein. Intricately carved and lavishly upholstered in gold brocade and dazzling embroidered pictures, these furnishings are highlights in the sumptuous interiors of Bavarian castles. Made to the specifications of an exacting monarch, these masterpieces of the cabinet-makers craft have lost nothing of their original fascination. Not content with resting on his laurels in Bavaria, Anton Possenbacher also designed for other rulers, such as King Charles I of Romania, for whom he designed an elegant palace library in Bucharest (1887). Possenbacher's clients also included industrialists, merchants and landed gentry, for whose town houses and manors he created entire rooms. This work introduces the full range of furnishings by Anton Possenbacher viewed in their historical context.
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Meiji Ceramics
Автор: Gisela Jahn Жанр: История и теория декоративно-прикладного искусства Издательство: Arnoldsche Art Publishers Год: 2004 Страниц: 208 Дата загрузки: 17 октрября 20092006-05-16
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Pressure exerted by America in 1854 caused Japan to open its doors after 260 years of isolation. Virtually uninhabited receptiveness to everything Western was the driving force behind the modernisation of Japan initiated by the Meiji government, yet it also induced a rapid rediscovery of indigenous cultural values. At early Paris and London international exhibitions, the Japanese decorative and applied arts sparked off the Western fascination with all things Japanese — japonisme. In Japan, on the other hand, new technologies were eagerly adopted — the government realised that increasing production for export would be an excellent means of promoting Japanese economic growth and thus enhancing Japan's status worldwide. Meiji Ceramics represents the first detailed survey of the development of Japanese export porcelain against a highly charged background of political, economic and cultural factors. Stylistic development in Japanese ceramics did not mean one-sided Westernisation; instead, inspiration went both ways, most notably in the impact made by Japanese art on Art Nouveau and, ultimately, the Japanese aesthetic response to it.
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Netsuke: The Trumpf Collection (количество томов: 2)
Автор: Jirka-Schmitz Patrizia Жанр: Arnoldsche Art Publishers Издательство: Arnoldsche Art Publishers Год: 2008 Страниц: 704 Дата загрузки: 15 апреля 20122010-05-06
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Worn by Japanese men as sash toggles, netsuke were attracting the attenrion of The Japanese belt accessories for men known as netsuke aroused great interest in Europe already at the end of the 19th century. Today they have become special, highly-prized collector’s items all over the world. The main subjects are mythical creatures, gods of popular religion, and exotic animals and also depictions of Europeans, particularly Dutchmen, who fascinated the Japanese in the 18th and 19th century. The craftsmanship is of incomparable perfection, and the materials include boxwood, ivory, horn, coral, tortoise-shell and much else. Famous artists like Yoshimura Shûzan (1700–1773) and Ohara Mitsuhiro (1810–1878) created masterpieces which strongly influenced this art form. The two volumes present more than 850 objects from the collection of Anne and Christian Trumpf, one of the most important netsuke collections worldwide, with in-depth commentary and lavish illustrations. The author, Dr. Patrizia Jirka-Schmitz, is a well-known scholar in this field. A new standard work on netsuke – an area of collecting that over the last few years has grown immensely on an international scale.
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Passion for Meissen
Автор: Pietsch Ulrich Жанр: Arnoldsche Art Publishers Издательство: Arnoldsche Art Publishers Год: 2011 Страниц: 360 Дата загрузки: 04 июля 20122013-10-30
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This meticulously designed publication focuses on the artistic details of masterpieces of Meissen porcelain.
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Art Nouveau Documents: Modern Applied Arts 1902-1908
Автор: Pudor Heinrich Жанр: Arnoldsche Art Publishers Издательство: Arnoldsche Art Publishers Год: 2013 Страниц: 256 Дата загрузки: 28 марта 20162016-09-10
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Brings together a compedium of Art Nouveau items as puvlished in the magazine Documents of Modern Applied Arts.
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Pavel Tchelitchew: Metamorphoses
Автор: Kuznetsov Alexander Жанр: Arnoldsche Art Publishers Издательство: Arnoldsche Art Publishers Год: 2013 Страниц: 320 Дата загрузки: 20 декабря 20152014-06-15
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Pavel Tchelitchew (1898-1957) is amongst the most fascinating artist personalities of the modern era. After completing his apprenticeship in Moscow and Kiev, at the beginning of the 1920s he worked as a successful stage designer in Berlin, before relocating to Paris in 1923. He was influenced not only by Surrealism, but also by the Russian Symbolism, to which he added elements of Cubism. In the 1940s, now in New York, Tchelitchew dedicated himself to 'inner landscapes' and 'x-ray' portraits of heads and bodies, streaked with glowing veins, arteries and nerve pathways. Tchelitchew experimented continually with new styles, so as to find imagery for transcendent elements, cosmic structures and philosophical concepts. His comprehensive collection of studies, sketches and paintings constitutes an extraordinarily individual contribution to art in the modern era. This publication pays tribute for the first time to the full scope of his work and presents him in the context of contemporary art.
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Netsuke: 112 Meisterwerke
Жанр: Arnoldsche Art Publishers Издательство: Arnoldsche Art Publishers Год: 2012 Страниц: 288 Дата загрузки: 14 июля 20132017-08-24
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Worn by Japanese men as decorative sash toggles, Netsuke were attracting the attention of the Europeans by the late 19th century. Today these delightful art objects are coveted by collectors throughout the world. Netsuke motifs can be mythical beings and insects, molluscs and reptiles, animals that seemed exotic to the Japanese of the Edo and Meiji eras, as well as Dutchmen and other Europeans, Consumate, mastery of the carver's craft in a variety of materials. Among them boxwood, ivory, horn, hornbill, coral, tortoiseshell and lacquer, distinguishes these miniature works of art. The masterpieces created by famous carvers like Yoshimura Shuzan (1700—1773) and Ohara Mitsuhiro (1810—1878) shaped aesthetic developments in this art medium.
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Zeitgeist A Century of Idar-Oberstein Costume Jewellery
Автор: Knerr Anne-Barbara Жанр: Arnoldsche Art Publishers Издательство: Arnoldsche Art Publishers Год: 2010 Страниц: 192 Дата загрузки: 15 июня 20122014-03-16
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From the latter half of the nineteenth century, Idar-Oberstein developed into an important centre of costume jewellery production. Numerous factories, large and small, produced costume jewellery for the world into the 1980s although today this trade has virtually lost its former significance. During that long time span, Idar-Oberstein was one of the four major German jewellery centres along with Pforzheim, Schwabisch Gmund and Hanau. Idar-Oberstein costume jewellery reflects each of the prevailing fashions in turn: Historicism, Jugendstil/Art Nouveau, Art Deco — to 1960s and 1970s Informel and Zero. Innovative handling of simple (inexpensive) materials soon led to an aesthetic that stood on its own merits, independently of 'real' jewellery. Here the Bengel company — with its sophisticated Art Deco jewellery — exemplifies innovative models and business policy. The author was able to study many early documents and photographs in Idar-Oberstein archives as well as pieces of jewellery that, taken together, are highly instructive on the history of costume jewellery. A vivid image of twelve jewellery manufacturers is evoked; proprietors and employees, production conditions, models policy, pieces of jewellery in each period style and worldwide marketing and distribution. Costume jewellery from Idar-Oberstein was not usually marked (stamped) because it was sold through wholesalers; this is what makes attribution to specific makers quite difficult today.
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Bengel Art Deco Schmuck
Жанр: Arnoldsche Art Publishers Издательство: Arnoldsche Art Publishers Год: 2013 Страниц: 216 Дата загрузки: 27 августа 20152014-06-18
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Arnoldsche published «Art Deco Jewelry, Jakob Bengel, Idar-Oberstein» in 2002. Until then entirely unknown, the costume-jewellery maker Jakob Bengel was thus introduced to the annals of jewellery history. The discovery of this Art Deco collection, that is unique in 1930s European jewellery, focused public attention on the business (est 1873). Comprising a factory, with a villa for the proprietor and housing for the workforce, it had been preserved in its building, replete with machinery and tools as a relic of 1870s boom era costume jewellery. Turned into a cultural monument through the establishment of a foundation in 2001, today it makes 130 years of costume jewellery history come alive and is being successfully transformed into a centre for contemporary art jewellery. Rotating exhibitions, 'artists in residence' and studios for young artists in jewellery link tradition and future at a unique place.
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The Modern Style: Art Nouveau 1899-1905
Жанр: Arnoldsche Art Publishers Издательство: Arnoldsche Art Publishers Год: 2008 Страниц: 448 Дата загрузки: 20 декабря 20102011-04-25
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Features over 2500 objects such as metal, ceramics, glass, furniture and jewelry from the Art Nouvea movement that were included in leading internation al specialist journals. All of these journals have been combined in to this one volume with illustrations and information on designers and makers, making this an indispensable reference.
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MING: Porcelain for a Globalised Trade
Автор: Strober Eva Жанр: Arnoldsche Art Publishers Издательство: Arnoldsche Art Publishers Год: 2013 Страниц: 240 Дата загрузки: 23 декабря 20152015-10-20
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The Ming Dynasty (1368 1644) is regarded as one of the most glorious in Chinese history especially in regards to porcelain. Ming denotes the finest and most precious porcelain, which regularly achieves astronomical prices at auctions. The Ming vase is a popular cliche even for those who are not familiar with the history of Chinese ceramics. This publication unveils the Ming myth, by presenting the internationally recognised collection of Chinese ceramics at the Dutch Ceramics Museum Princessehof. It comprises spectacular items of the highest quality, which were created exclusively for the Chinese imperial court. The rich and varied inventory of Chinese export ceramics for the Southeast Asian market, primarily from the former Dutch colony of Indonesia, is presented here in context for the first time. The founding of the Dutch East India Company VOC1602 also finally opened up the European market for Ming porcelain. Most significantly the blue and white Kraak porcelain, which was an exotic decorative luxury in wealthy households and features prominently in Dutch still lifes of that era.
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Christian Dior and Germany: 1947–1957
Автор: Adelheid Rasche Жанр: Высокая мода Издательство: Arnoldsche Art Publishers Год: 2007 Страниц: 270 Дата загрузки: 25 мая 20102008-12-30
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Christian Dior pulled off a coup that would revolutionise the international fashion scene when he showed his first collection on 12 February 1947. Thus was the 'New Look' born, which made his Paris fashion house world-famous overnight. Today Dior's early collections symbolise the rebirth of Paris haute couture after 1945. Within only a few years Christian Dior rose to rule over a flourishing luxury empire and was celebrated throughout the world as the monarch of fashion until his sudden death in October 1957. His twenty-two haute couture collections — including the celebrated A and H as well as Tulip lines — comprising some three thousand models, represent a design legacy that, more than any other, wrote 20th-century fashion history. This superlative publication marks two anniversaries: it is published sixty years after the first Christian Dior collection was launched and fifty years after his untimely death. For the first time the links between Christian Dior and Germany in the founder years of Maison Dior (1947-1957) are focused on. Twenty original, for the most part unpublished Dior models from German museums are shown, including the fabulous Marlene Dietrich Collection in Berlin. The twenty-four Dior fashion jewellery sets made in Pforzheim presented here are astonishingly fine and richly diverse. This sumptuously illustrated book contains an extensive annotated catalogue as well as essays by five distinguished fashion and jewellery specialists, on the fashion jewellery made under a licensing agreement in Germany for Dior, the early Dior fashion shows in Germany, Christian Dior's sole post-war visit to Germany as well as the reception of Dior fashions as echoed in German-language journals and magazines of that time.
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Jugendstil aus Nürnberg
Автор: Claus Pese Жанр: История и теория декоративно-прикладного искусства Издательство: Arnoldsche Art Publishers Год: 2007 Страниц: 312 Дата загрузки: 28 марта 20102009-05-25
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Die Publikation liefert eine erste umfassende Übersicht über die Entwicklung des Jugendstils in der führenden Industriestadt Bayerns um 1900. Über 250 Objekte aus den verschiedensten Bereichen der angewandten Kunst führen dabei das international bedeutende Spektrum des Jugendstils aus Nürnberg vor Augen. Der Jugendstil, der aus Nürnberg kam, ist in den verwendeten Materialien vielfältig und in seinen Dekoren vielseitig. Zwar bildet das metallbearbeitende Kunsthandwerk den Schwerpunkt, doch gibt es dabei neben dem künstlerischen Zinnguss auch Bronzeguss, Kupfer und Silbertreibarbeiten, Elfenbein und Holzschnitzerei, Schmuck, Textilien und Keramik. Die sogenannten artistischen «Fayencen» der Firma Johann von Schwarz gehören zum Besten, was an Kunstkeramik des Jugendstils in Deutschland hergestellt wurde. In fünf einleitenden Kapiteln werden die Voraussetzungen für die Entstehung des damals neuen Stilwollens analysiert. Es zeigt sich dabei, dass Einflüsse von außen ebenso wichtig waren wie die «typisch deutsche» Organisation des Ausbildungswesens und des Erschließens von Absatzmärkten. Letzteres hat auch internationale gestalterische Einflüsse, vor allem aus Großbritannien, möglich gemacht. 18 umfassende Firmenmonografien zeigen die Vielfältigkeit der Erzeugnisse des Nürnberger Jugendstils. Darüber hinaus werden Gegenstände vieler international bekannter Entwerfer – weltweit begehrte Objekte für Sammler und Museen – zum ersten Mal publiziert – ein unbedingtes Muss für jeden Jugendstil-Liebhaber!
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Art Nouveau Jewellery from Pforzheim (English, German)
Автор: Fritz Falk Жанр: Ювелирное искусство Издательство: Arnoldsche Art Publishers Год: 2009 Страниц: 328 Дата загрузки: 14 апреля 20132013-03-16
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Around 1900 the Pforzheim jewellery-making industry, which had been established since 1767, underwent an upturn to flourish as never before. The participation of Pforzheim businesses in the 1900 Paris World Exhibition and the thorough assimilation of a variety of influences from abroad – including the figurative French Art Nouveau style – ensured that Pforzheim Art Nouveau jewellery developed confidently towards aesthetic autonomy. Collaboration between the jewellery industry and professors at the Pforzheim School for the Applied Arts as well as sharp eyes for new developments outside the jewellery capital shaped Pforzheim jewellery creations around 1900. Other fecund sources of colla-boration were the Darmstadt Mathildenhöhe artists and Wiener Werkstätte. The author has discovered hitherto unpublished contemporary source material and has been able to draw on hundreds of extant original pieces of jewellery – brooches, pendants, collars, hatpins and hair combs that are now in museums, private collections and on the art market – to make a choice selection for this book. Thus a living picture emerges of the diverse formal and technical — possibilities that gave rise to the design, craftsmanship and industrial manufacture characteristic of Pforzheim Art Nouveau jewellery.
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Art Deco Jewellery and Accessories: A New Style for a New World (English, German)
Автор: Cornelie Holzach Жанр: Ювелирное искусство Издательство: Arnoldsche Art Publishers Год: 2008 Страниц: 160 Дата загрузки: 26 марта 20112010-05-06
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The end of the First World War left much of Europe faced with an entirely new political and social situation: absolute monarchy was consigned to the dustbin of history and essays in democracy were the order of the day. The changed conditions and the new way of life associated with them required new forms of expression in — music, dance, architecture and painting – and of course also in design. There France had led the field since the ground-breaking 1925 Exposition International des Arts Décoratifs et Industriels Modernes in Paris. Germany had not even been invited to that world exhibition – the effects of the Great War that had only ended a few years previously were still being felt. All great jewellery-designers were strongly committed to the Art Déco style, which featured astringent sophistication in design and choice of materials: jewellers such as Cartier, Boucheron, René Lalique, Georges Fouquet and designers such as Jean Desprès and René Boivin. From about 1928, this canon of forms occurs both in the work of Naum Slutzky at the Bauhaus and the German jewellery industry as represented by Theodor Fahrner Nachf. Gustav Brändle in Pforzheim and Jakob Bengel in Idar-Oberstein.
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