《身体的历史》第一卷主要论述了从文艺复兴到启蒙运动时期身体的历史。全书从宗教、医学、文学、性、体育锻炼等各个角度，向我们展现了“现代”身体出现的过程，认为在这一时期身体经历了一种双重张力：既突出集体的强制性又强调个体的解放。束缚和解放这两种动力混合在一起，赋予现代身体一个合乎规格的清晰轮廓。

Edward Hopper (1882-1967) is considered the first significant American painter in 20th-century art. After decades of patient work, Hopper enjoyed a success and popularity that since the 1950s has continually grown. In canvas after canvas he painted the loneliness of big-city people. Many of Hopper's pictures represent views of streets and roads, rooftops, and abandoned houses, depicted in a brilliant light that strangely belies the melancholy mood of the scenes. Hopper's paintings are marked by striking juxtapositions of colour, and by the clear contours with which the figures are demarcated from their surroundings. His extremely precise focus on the theme of modern men and women in the natural and man-made environment sometimes lends his pictures a mood of eerie disquiet. On the other hand, Hopper's renderings of rocky landscapes in warm brown hues, or his depictions of the seacoast, exude an unusual tranquillity that reveals another, more optimistic side of his character.

In this three-part series Alastair Sooke (Treasures Of Ancient Rome, Pride and Prejudice: Having A Ball) explores the riches and unique legacy of Greek art. Episode One tells the story of Greek art from its surprising, often mysterious origins, travelling from Crete to Santorini, Mycenae to Delphi. Episode Two explores the astonishing development of classical art - the so called 'Greek revolution', asking how did the ancient Greeks get so good, so fast? The final instalment looks in detail at a handful of works that have achieved the status of masterpieces, tracing the complex and fascinating story of western civilisation’s love affair with Greek art, from the Romans to modern times.

美国普利策诗歌奖得主、桂冠诗人马克.斯特兰德在大画家霍珀那里看到一个他似曾相识的世界：“ 常常感到霍珀绘画中的那些场景，是我自己过去经历过的”，总是被“抛置于一个完全由情绪和感觉所主导的虚像空间”，被一股莫名的张力所引导，在画作面前神游，最后却只见“自己与自己相遇” 。为寻求这迷魅所在，他选取霍珀的三十幅画作，从内容叙述和形式几何学上，以诗人的语言进行解读。 “所有那些因霍珀而激发的书写中，没有一部能比马克.斯特兰德这本小书更冷静、更细致入微地描述出我们是如何为画作中的形式元素而感动、而惶然的。” 约翰.厄普代克说。 此译本由全本书店提供翻译校对，有别于先前的杂志版。

这本书的原名是《美学：从古希腊到当代》。十二年前，此书曾以《西方美学简史》的书名，在北京大学出版社出版过。这次再版，根据出版社的建议，定名为《美学史：从古希腊到当代》，理由是，这原本就是一本通史类美学书。这次改版，还校正了不少翻译上的失误。其中有些是我自己在教学过程中发现的，有些是我的学生们给我指出的。特别是李天和朱俐俐两位博士研究生，读得很仔细，发现了不少小问题。能发现老师错误的学生，是好学生，在此感谢她们。在本书这次汉英对照版的出版过程中，蒋文博先生作了许多的努力。他还希望做一些本书的推广工作。我在感谢之余，还想说一句，这的确是一本值得推广的书。近年来参加一些美学和艺术界的会议，常听到一些很有才华的青年学者的发言中，出现西方美学史上的知识性错误。在一些著作和论文中，这种错误也不少。这本书也许会对他们有所帮助。 当然，作为一本世界美学史，这本书有很多缺陷。其一是，这本书毕竟出版几十年了，一些美学上的最新发展还没有能包括进去。其二是，这毕竟还只是一部西方美学的历史。本书作者在“序言”中提到，呼吁出现美学上的国际主义。我很喜欢这个词，不是“全球化”，而是“国际主义”！“全球化”意味着文化间趋同，特别是指在资本力量的作用下“被趋同”，而“国际主义”意味着文化间相互联系，相互起作用。一部美学史，不应该只是西方的美学史，也不应该只是西方对世界的影响史。我们需要一本真正意义上的世界美学史。当然，先要有研究，然后才能写史。在过去一些年里，我所做的事是，读西方的书，研究中国人自己的传统。这样，研究就有了两个知识参照系。在两个参照系中进行研究，这不仅是中国学者，而且是当代一切非西方学者普遍存在的两难境遇，但同时，这也是他们的机遇。这样走下去，知识会一点一点地得到积累。写作一部全球美学通史的时机，在今天也许还不成熟，但这一天总会到来的。

Lavishly illustrated with over 175 black-and-white and color images that range from high to popular culture and from Ancient Greece to contemporary America, Christopher Reed's arresting book reveals the deep linkages between art and homosexuality as we understand those terms. This is the first book to fully explore the interdependence between the identity of the artist and the homosexual. It offers a bold, globe-spanning narrative that draws on artwork from all the important periods in the Western tradition, including classical, Renaissance, and contemporary, with special focus on the modern period. It was in the nineteenth century that the identities of the avant-garde artist and the homosexual took shape, and almost as quickly overlapped. The figures involved--Ingres, Courbet, Wilde, Whitman--are among that era's most iconic artists. The development of twentieth-century art--exemplified in the work of figures like Gertrude Stein, Jasper Johns, David Hockney, and David Wojnarowicz--this book argues is simply not understandable apart from the concurrent development of ideas about sexual identity. This highly readable volume challenges the ideas of many prominent art critics and punctures the platitudes surrounding discussions of both art and sexuality. The book discusses what it means to be an insider and outsider, how sexuality came to define one's fundamental humanity, and what people risk (and gain) in rejecting economic and social conformity. Reed shows that many of the core ideas that define modern thought more generally are nearly indecipherable without an understanding of this pairing. The debates that have surrounded artists and homosexuals in effect capture the dramatic history of the evolution of the modern mind.

"Seeing comes before words. The child looks and recognizes before it can speak.""But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but word can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled."John Berger's "Ways of Seeing" is one of the most stimulating and the most influential books on art in any language. First published in 1972, it was based on the BBC television series about which the "London Sunday Times" critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings ...he will almost certainly change the way you look at pictures." By now he has.

Benjamin's famous "Work of Art" essay sets out his boldest thoughts - on media and on culture in general - in their most realized form, while retaining an edge that gets under the skin of everyone who reads it. In this essay the visual arts of the machine age morph into literature and theory and then back again to images, gestures, and thought.This essay, however, is only the beginning of a vast collection of writings that the editors have assembled to demonstrate what was revolutionary about Benjamin's explorations on media. Long before Marshall McLuhan, Benjamin saw that the way a bullet rips into its victim is exactly the way a movie or pop song lodges in the soul.This book contains the second, and most daring, of the four versions of the "Work of Art" essay - the one that addresses the utopian developments of the modern media. The collection tracks Benjamin's observations on the media as they are revealed in essays on the production and reception of art; on film, radio, and photography; and on the modern transformations of literature and painting. The volume contains some of Benjamin's best-known work alongside fascinating, little-known essays - some appearing for the first time in English. In the context of his passionate engagement with questions of aesthetics, the scope of Benjamin's media theory can be fully appreciated.

One of the most important works of cultural theory ever written, Walter Benjamin's groundbreaking essay explores how the age of mass media means audiences can listen to or see a work of art repeatedly - and what the troubling social and political implications of this are. Throughout history, some books have changed the world. They have transformed the way we see ourselves - and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives - and destroyed them. Now Penguin brings you the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization and helped make us who we are.

本书是国内首部关于卡拉瓦乔研究最系统、最权威的著作。《卡拉瓦乔》一书最早由国际顶尖艺术出版机构英国费顿出版社最早推出，因其系统、客观、精到的见解得到了业界肯定，被公认为卡拉瓦乔研究的典范，先后被引入法国、意大利。现由一好阅读引进，作为《费顿经典：时间的回归》系列之一出版，中文版100%保留全书内容，收录了超过200幅博物馆级原图，以及正文之后的索引、年表、图注。作者凯瑟琳·普格利希，是美国意大利巴洛克艺术研究专家，罗格斯大学艺术史教授。普格利希潜心研究20余年，充分运用了最新成果，既对卡拉瓦乔的艺术创作进行了精确解剖，也没有丝毫隐瞒画家的性格缺点，是一本兼具学术研究与传记色彩的综合性著作。 卡拉瓦乔，全名米凯兰杰洛·梅尔西·卡拉瓦乔（1571-1610），是那个时代最富有创新精神的画家。在很多方面，他都打破了原有的艺术套路，比如他拒绝临摹前辈的经典作品，而是直接通过设计模特造型来确定构图和人物；比如他拓展了绘画的主题，把罗马社会的各色人等都记录在了画中；比如他发现了光线的秘密，创造了暗绘这一色彩风格。这些创新对后世产生了巨大影响，譬如伦勃朗等人对明暗对比的重视，以后后来的巴洛克艺术。虽然他死后曾一度被人们遗忘，但经过20世纪末的再发现，卡拉瓦乔成为了时代叛逆者的精神偶像。 书中涵盖了卡拉瓦乔几乎所有的画作，对不同时期的创作特点及代表作做出了客观而独到的点评，对卡拉瓦乔的性向、模特、犯罪和逃亡，包括当时罗马的艺术圈子都有生动的分析描绘，呈现了这位艺术天才狂暴而曲折的一生。译文通达流畅，装帧设计精美、图片印刷优质。 —————————————————— 亚洲对欧洲早期绘画大师的兴趣与日俱增,“一好阅读”推出的三本著作《提香》《安格尔》《卡拉瓦乔》即是明证,这套书被誉为是关于这三位艺术大师的‘最全面的中文版艺术史画册’。——英国金融时报《Financial Times》 在这次一好阅读(Boundless Books)的出版行为当中,刻意绕开了老生常谈的文艺复兴三杰,转 而选择提香、卡拉瓦乔、安格尔这三个分别能够代表16、17、18-19世纪各自时代的“艺术偶像”, 以三个时间节点延伸了时间的纵向。——英国《经济学人》旗下《1843 智生活》中文版 《时间的回归》首辑装帧、印制精美,可以说不惜成本,面世后反响很好,据说还得到费顿出版社 的高度评价,认为比原版印制得还要好。——《艺术市场》 韦罗基奥是达芬奇的老师，他的创作还是单线平涂，刻画形象用色中间是最亮，两边这样逐渐变暗推过去，跟咱们的工笔画是一样的。到了达芬奇，特别是他的素描，光已经出来了；米开朗基罗的光感也有了；但是就是到了卡拉瓦乔，光突然就变的特别神奇---戏剧性的光。——隋建国（中国著名雕塑家） 艺术家有各种各样的：守成的艺术家，开拓性的艺术家，有的艺术家就是勇往直前地跑，有的艺术家就是反动派。卡拉瓦乔就是那个时代最不合时宜的一个反动派。——西川（中国著名诗人） 卡拉瓦乔活的很短。我觉得卡拉瓦乔是特别有意思的人。他本身就是一个极端的天才，酗酒，斗殴，甚至杀人，他的艺术才华和他的残暴疯狂成正比。他成名后，在获得巨大声誉的同时，也被四处追击。艺术史上有这种疯狂的艺术家，都是冒险的艺术家，我觉得卡拉瓦乔是最典型的声名狼藉的艺术家。——汪民安（中国著名哲学家）

Secrets of the Flesh Nude masterworks under the magnifying glass It might seem like the sitters and subjects of art history’s greatest nude paintings have little left to show, but don't be fooled: there is more than meets the eye in these naked masterworks. Rose-Marie and Rainer Hagen guide us into the secrets of the flesh, coupling extended discussions with crisp, enlarged details of 12 iconic works from the canon of art history. Biblical tales of morality or modern portrayals of leisure, works such as Tintoretto’s Susanna and the Elders or Manet’s The Luncheon on the Grass offer diverse visions of natural beauty. Each artwork is presented in reproductions of the highest quality, sourced directly from the original, located in collections of the Louvre, Musée d’Orsay, Uffizi, and many others. From works depicting ultimate feminine grace, like Velázquez’s Rokeby Venus, to Hans Baldung’s mesmerizing image of the body’s decline in The Three Ages of Man and Death, these paintings are unified in their masterful rendering of the bare human form―both in life and beyond. Through this exploration into the covert secrets of nude works, they cease to be two-dimensional and come to full hot-blooded life.

内容紹介 モリスのロマンスあふれる装飾の庭 ウィリアム・モリスはイギリス・ヴィクトリア朝期、産業革命により大量生産された商品があふれる中、手仕事の美しさに目を向け、美しい書籍やインテリア製品を生み出しました。 本書は、彼のデザインに注目し、パターンやテキスタイル、書籍の装丁、エディトリアル・デザイン作品を約250点収録したモリス・デザインの決定版です。 内容（「BOOK」データベースより） モダン・デザインの父、モリスの壁紙やテキスタイル、その他挿絵本などのデザイン作品を約250点収録。

Behind the Mask The intrigue, drama, and covert messages hidden in the faces of powerful men and women Byzantine empresses, French revolutionaries, and Spanish generals: history’s most impressive figures stare boldly out of the canvases in this collection of formidable paintings. Each individual represented in these images radiates with strength and splendor; be they an aristocratic widow in mourning, a murdered politician, or a jovial group of Ukrainian rebels. Authors Rose-Marie and Rainer Hagen tease out the stories and secrets of 13 masterpieces by artists including Goya, Titian, Velázquez, and Ilya Repin. Regal, holy, and wise, the men and women in these works will inspire you with their conquests and resilience. TASCHEN reproduces these masterworks in stunning quality, working in collaboration with esteemed art collections all over the world, including in Brussels, St. Petersburg, New York, and Naples. Combining astute analysis with magnified painting details, this book is a unique historical investigation in tribute to the movers and shakers of the past.

-书籍简介- 捷克艺术家和“新艺术运动”大师阿尔冯斯·慕夏 (1860-1939)使用其颇具个人色彩的艺术风格，定义了“世纪末”的轮廓。在那些令人触景生情的色彩——桃红 金黄、赭石和橄榄绿的阴影下，他所描绘的这些引人入胜的图案——鲜花和曼妙的女性，成为“美好时代”的艺术典范。 慕夏的艺术实践涉猎甚广，包括插图、海报、明信片和当时的广告设计。其中，他为法国电影和舞台剧女演员莎拉·伯恩哈特设计的那些鲜明的海报尤为著名。除了这些美妙的装饰性艺术实践，慕夏始终怀揣着强烈的政治理念。在他创作的“斯拉夫史诗”这一里程碑式的作品之中，慕夏表现出他对泛斯拉夫主义的忠实拥护。他坚定地认为，捷克与斯洛伐克民族应该从奥匈帝国中脱离出来，从而实现政治上的独立自主。 本书与慕夏基金会共同编著，将展示并介绍这位艺术家所有艺术实践中最为重要的一些作品，包括图案装饰、书籍插图、海报、 照片和巨幅画作等。 ----------------------------------------------- -系列简介- 1985年， Basic art系列的首部著作《毕加索》问世，开启了德国TASCHEN出版公司的艺术出版历程。此后的30余年中， Basic art系列始终坚持以简洁、精练的笔法勾勒艺术家们的世界，内容不断充裕，培养了众多忠实读者，成为多年居销量榜首的经典艺术书系。 时至今日，此系列已出版图书近200种，更有多达20种的各国语言版本在世界范围内发行，具有极高的口碑和影响力。 ----------------------------------------------- -封面简介- 《遐想》( Reverie)，局部图，1898年 彩色版画,72.7cm×55.2cm ----------------------------------------------- -封底简介- 慕夏在他位于圣宠谷街区的工作室里，巴黎，约1899年。

The First World War mangled faces, blew away limbs, and ruined nerves. Ten million dead, twenty million severe casualties, and eight million people with permanent disabilities - modern war inflicted pain and suffering with unsparing, mechanical efficiency. However, such horror was not the entire story. People also rebuilt their lives, their communities, and their bodies. From the ashes of war rose beauty, eroticism, and the promise of utopia. Ana Carden-Coyne investigates the cultures of resilience and the institutions of reconstruction in Britain, Australia, and the United States. Immersed in efforts to heal the consequences of violence and triumph over adversity, reconstruction inspired politicians, professionals, and individuals to transform themselves and their societies. Bodies were not to remain locked away as tortured memories. Instead, they became the subjects of outspoken debate, the objects of rehabilitation, and commodities of desire in global industries. Governments, physicians, beauty and body therapists, monument designers and visual artists looked to classicism and modernism as the tools for rebuilding civilization and its citizens. What better response to loss of life, limb, and mind than a body reconstructed?

精选凡•高最具代表性的75幅以花园为主体的作品，其中58张全彩图 分章节介绍凡•高艺术生涯的每一个重要阶段以花园为主体的经典画作 书信摘选揭露你所不知的名作背后的故事及创作过程，更进一步了解凡•高 文森特•凡•高（Vincent van Gogh）（1853-1890）是一位油画家和素描大师。他创作了无数令人难忘的素描画和油画。这些画作多以乡村和城镇为背景，包括乡村的马路、树林、果园；城市的街道；小镇的公园以及城郊的花园。《凡•高的花园》为读者介绍了凡•高的作品中以花园为主体的佳作。 在凡•高艺术生涯的各个阶段，我们都可以找到关于花园题材的作品，有的是在乡村环境中，有的是在城市环境中。无论生活在乡村、小镇，抑或城市里，凡•高对他周围的环境异常敏感。对于他来说，每个地方都会发出独特的环境之声：“似乎每样东西都在说话，每样东西都充满了特性。” 凡•高关于花园题材的绘画作品远没有他的风景画、肖像画、静物写生作品知名度大。但是，通过研究他的花园画作，我们也能够对这位家喻户晓的画家的辉煌成就有全新的见解。 《凡•高的花园》每个章节分别介绍凡•高艺术生涯的一个重要阶段： 早期在荷兰的绘画技法发展（1881—1885）； 沉浸于巴黎的国际化生活方式（1886—1888）； 对普罗旺斯乡间的探索（1888—1890）； 以及后来回归法国北部，在欧韦度过自己短暂生命的最后两个月（1890 年）。 在他生活过的每个地方，凡•高因各种原因而深深迷恋当地的花园，创作了大量具有独创性的绘画和油画作品。 相信阅览这本《凡•高的花园》，您会从画作以及背景介绍更加的了解这位伟大画家的内心世界，感受他创作时的非凡心境。 编辑推荐 相信《星夜》、《向日葵》、《有乌鸦的麦田》这几幅作品大家都看过，没错，这都是出自荷兰后现代画家凡•高之手！凡•高是后印象主义的先驱，他的作品深深地影响了二十世纪艺术，尤其是野兽派与表现主义。 短短10年艺术生涯中，凡•高创作了2000多幅画作，其中有很多关于花园和公园的：90多幅油画和近60幅绘画，以及他在给别人的书信上绘制的无数素描。埃弗特•范•尤特（Evert van Uitert）是研究凡•高作品的一位知名的权威人士，他曾说：“当凡•高居住在一个城市里的时候，他的美术作品中反复出现着关于花园和公园的题材。” 毫无疑问，尽管他的很多花园油画作品都具有一种装饰性品质，而且代表了凡•高的一些最平静的创作，但是他却避免让它们变成仅仅是迷人风光的美丽图景。这点也反映在他所有最优秀的画作中。这是由他的独特思维和诗人般感性的原创性和敏锐性决定的。 凡•高，一个在世37年的匆匆过客，曾将耳轮割掉送给妓女的“疯子”，却在艺术史上留下了永久的丰碑。独特的艺术风格和承上启下的艺术成就使他与塞尚、高更等一道被誉为现代艺术的开拓者。《凡•高的花园》收录其完整的代表作75幅，以及创作背景的介绍。 《凡•高的花园》每个章节分别介绍凡•高艺术生涯的一个重要阶段，包括：早期在荷兰的绘画技法发展（1881—1885）；沉浸于巴黎的国际化生活方式（1886—1888）；对普罗旺斯乡间的探索（1888—1890）；以及后来回归法国北部，在欧韦度过自己短暂生命的最后两个月（1890 年）。

Serving as both an introduction to fifteenth-century Italian painting and as a text on how to interpret social history from the style of pictures in a given historical period, this new edition to Baxandall's pre-eminent scholarly volume examines early Renaissance painting, and explains how the style of painting in any society reflects the visual skills and habits that evolve out of daily life. Renaissance painting, for example, mirrors the experience of such activities as preaching, dancing, and gauging barrels. The volume includes discussions of a wide variety of painters, including Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Masaccio, Luca Signorelli, Boccaccio, and countless others. Baxandall also defines and illustrates sixteen concepts used by a contemporary critic of painting, thereby assembling the basic equipment needed to explore fifteenth-century art. This new second edition includes an appendix that lists the original Latin and Italian texts referred to throughout the book, providing the reader with all the relevant, authentic sources. It also contains an updated bibliography and a new reproduction of a recently restored painting which replaces the original.

作为一个杰出的艺评家，约翰•罗斯金（John Ruskin，1819—1900）自己也进行艺术创作。罗斯金从艺术的功用目的出发，将诗歌、绘画、建筑、雕刻视为本质相通的艺术，他对“细节”的关注使他可以像面对文字一样面对视觉艺术的形式构成要素，在肯定“形象思维”的基础上，罗斯金发现了视觉艺术形式要素的语言特征，又由于罗斯金对视觉艺术浪漫主义特征的强调，他开始关注视觉艺术形式要素自身的“表现”功能，意识到了视觉艺术形式“语言”的独立价值。本书主要介绍了自西方油画发展起时，线条、光线与色彩这三种油画中必备元素的发展过程，通过具体的论述及对具体画作的描述，从绘画的三种基本元素反映出西方油画的发展史。

本书是一个印象派手册，也是一本展览史话。从近20年全世界范围内以印象派为主题的展览中，选出其中32个，以展览为线索，呈现印象派的全景。 印象派划分了一个时代。它从巴黎出发，向世界辐射，成为国际化的风格；它以对“大自然的光色变化”的真实表现，上承巴比松画派，连接着现实主义与浪漫主义的情怀，下启后印象派，乃至发端整个现代主义运动。印象派史无前例的技法所呈现出的独特面貌，不仅仅与艺术史自身形式演变的动力有关， 更是时代精神的表征。 他们积极回应工业文明所带来的挑战，描绘规划过的巴黎街道，蒸汽氤氲的火车站，深夜电灯下的波西米亚人；他们拥抱全新的审美趣味，从摄影中借鉴构图，从服饰与时尚中提炼趋势，从日本风格和东方审美中获取灵感；他们体味现代的生活方式，咖啡馆与酒吧、剧院与包厢都成了他们热衷描绘的场景，还有花园与河畔那些泛着韵味的光和色和享受生活的男女。

在熙熙攘攘的现代爱尔兰街头，是否还能重温凯尔特薄暮的传说与梦幻？ 土豆、小矮妖和吉尼斯黑啤怎样串起爱尔兰五千年的曲折历史？ 本书萃取爱尔兰社会最具代表性的元素和最有趣的瞬间，将它的风土人情追溯到传奇的时刻或独特的民俗传统。 纵横于神话、历史、语言学、文学之间，深度挖掘爱 尔兰人的身世和内心。 首次从第一手古代资料出发，引介中国读者闻所未闻的信息。 腰封 土豆岛寻觅美食，在竖琴与大河之舞的故乡探访失落的凯尔经秘密 诠释凯尔特爱尔兰文化最权威读本 还原真实神秘的古代爱尔兰 《百年孤独》译者范晔 北外爱尔兰研究中心主任王展鹏教授 联合推荐