James Gurney, New York Times best-selling author and artist of the Dinotopia series, follows Imaginative Realism with his second art-instruction book, Color and Light: A Guide for the Realist Painter. A researched study on two of art's most fundamental themes, Color and Light bridges the gap between abstract theory and practical knowledge. Beginning with a survey of underappreciated masters who perfected the use of color and light, the book examines how light reveals form, the properties of color and pigments, and the wide variety of atmospheric effects. Gurney cuts though the confusing and contradictory dogma about color, testing it in the light of science and observation. A glossary, pigment index, and bibliography complete what will ultimately become an indispensible tool for any artist. This book is the second in a series based on his blog, gurneyjourney.com. His first in the series, Imaginative Realism, was widely acclaimed in the fantastical art world, and was ranked the #1 Bestseller on the Amazon list for art instruction. "James Gurney's new book, Color and Light, cleverly bridges the gap between artistic observation and scientific explanation. Not only does he eloquently describe all the effects of color and light an artist might encounter, but he thrills us with his striking paintings in the process." --Armand Cabrera, Artist

为艺术品定价，本身就是一门艺术；艺术品的价格，不只是一个数字。 本书是首本从艺术社会学和经济社会学视角研究艺术品定价问题的著作。以大量的定性和定量研究，以及对纽约和阿姆斯特丹数十位艺术品商人的深度访谈为基础，奥拉夫·维尔苏斯在书中揭示：为艺术品这种看似难以确定金钱价值的特殊商品定价，亦有规律可循。 人们往往会对某些艺术品价签上的数字感到惊奇和不解，但比价格更值得探究的是制定它的过程。与其说它与作品本身相关，不如说它体现的是艺术家、画廊老板、拍卖行、收藏家等艺术交易参与者的角色和相互关系，从中可以窥见艺术市场特殊的游戏规则。在这里，艺术品避免按照质量定价，价格的变动不完全受供求关系影响，获取利润也不是艺术品商人的唯一诉求；在这里，简明的市场规律遇上了复杂的社会网络，艺术界守门人和生意人的身份相互融合，商业的逻辑和艺术的逻辑充满张力地并存。只有巧妙地处理好这些关系，才能为艺术品找到一个合适的价格。

Twisted mind: The graphic pattern genius of M. C. Escher From impossible staircases to tesselated birds, Dutch artist M. C. Escher (1898–1972) crafted a unique graphic language of patterns, puzzles, and mathematics. Dense, complex, and structured by intricate principles, his work is at the same time decorative and playful, toying constantly with optic illusions and the limitations of sensory perception. For mathematicians and scientists, Escher is a mastermind. For hippies, he was the pioneer of psychedelic art. Born in Leeuwarden, in the Netherlands in 1898, Escher’s early works focused on nature and landscapes, with regular exhibitions in Holland, and some international recognition. It was on a trip to the Alhambra Palace in Spain in the 1920s, however, that Escher found his niche. Sketching the patterns of the palace’s Moorish architecture, Escher became captivated by the codependency of forms within and next to each other. Working mainly with lithographs and woodcuts, Escher went on to explore the relationships among shapes, figures, and space with a near-obsessive delight. He reveled in quirky vantage points, multiple perspectives, the transition from paper flatness to illusory volume, and intricate mathematical puzzles such as the Möbius strip, a seemingly infinite loop which twists and recoils on itself in a contortion of apparent physical impossibility. This introductory book from TASCHEN Basic Art 2.0 taps into Escher’s brilliant mind with key works from his restless investigation of image and perception. Along the way, you’ll find fish morphing into birds, lizards crawling off the page, masterful reflections, infinite mazes, and some of the most mind-bending images of 20th-century art. About the series: Each book in TASCHEN’s Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

FRENCH-GERMAN PAINTER COUNT BALTHASAR KLOSSOWSKI DE ROLA (1908-2001), KNOWN AS BALTHUS, SHOCKED THE PARISIAN ART WORLD IN 1934 WITH HIS DREAMY, SENSUAL, NEO-CLASSICAL PORTRAITS OF NYMPHETS AT A TIME WHEN SURREALISM AND ABSTRACTION WERE DE RIGUEUR. AS A PROVOCATEUR, BALTHUS WAS OFTEN SCORNED; AS AN ARTIST, HE WAS WIDELY EMBRACED AS A PRODIGY. IN RESPONSE TO CRITICS OF HIS REALIST STYLE, BALTHUS SAID: "THE REAL ISN'T WHAT YOU THINK YOU SEE. ONE CAN BE A REALIST OF THE UNREAL AND A FIGURATIVE PAINTER OF THE INVISIBLE." HIS EROTIC, POETIC PAINTINGS LIVE ON AS EXAMPLES OF THE BEST FIGURATIVE WORK OF THE MODERN ERA.

Art After Conceptual Art tracks the various legacies of conceptualist practice over the past three decades. This collection of essays by art historians from Europe and the Americas introduces and develops the idea that conceptual art generated several different, and even contradictory, forms of art practice. Some of these contested commonplace assumptions of what art is; others served to buttress those assumptions. The bulk of the volume features newly written and highly innovative essays challenging standard interpretations of the legacy of conceptualism and discussing the influence of conceptualism's varied practices on art since the 1970s. The essays explore topics as diverse as the interrelationships between conceptualism and institutional critique, neoexpressionist painting and conceptualist paradigms, conceptual art's often-ignored complicity with design and commodity culture, the specific forms of identity politics taken up by the reception of conceptual art, and conceptualism's North/South and East/West dynamics. A few texts that continue to be crucial for critical debates within the fields of conceptual and postconceptual art practice, history, and theory have been reprinted in order to convey the vibrant and ongoing discussion on the status of art after conceptual art. Taken together, the essays will inspire an exploration of the relationship between postconceptualist practices and the beginnings of contemporary art.Distributed for the Generali Foundation, Vienna

有一次，一位妇女在电话里对我说：“埃舍尔先生，我对您的作品完全着了迷，您的版画《蜥蜴》把轮回再生的过程描绘得那么生动。”我答道，“夫人，如果您那样认为，那就那样好了。” 这个狡黠机巧的回答出自著名的荷兰版画艺术家毛里茨？科内利斯？埃舍尔(Maurits Cornelis Escher，1898～1972)之口。他的作品具有复杂的多义性，那些思维单一、草率仓促的阐释往往离题万里、不着边际。 在第一幅计算机生成的三维图像震惊公众之前很久，埃舍尔就是这第三维的大师了。他的石版画《魔镜》早在1946年便已完成。数学家布鲁诺？恩斯特以此作为本书书名，是在强调，埃舍尔的作品永远都会对它的读者产生神奇的魔力。 在长达一年的时间里，恩斯特每周都去拜访埃舍尔，系统地讨论他的全部作品。他们在讨论中所生发出的友谊，使恩斯特能够深入到埃舍尔的生活和他的概念世界之中。恩斯特的记述翔实准确，并经过了艺术家本人的校正。 埃舍尔的作品是无法归类的。单纯从科学、心理学或者美学的角度都无法品味其妙。问题依然：他为什么要创造这些图画？他是怎样构建它们的？他在最终完成作品之前，要做哪些前期工作？他所创造的这些形象之间有什么关联？ 《魔镜(埃舍尔的不可能世界)》基于最可信的第一手资料，以埃舍尔的生平，250幅插图，连同对诸多数学问题的阐释，为诸如此类的种种问题作出了回答。 本书已被译成十余种文字出版。

A look at the boxes designed by M.C. Escher

This is the fabric and textile directory that dressmakers and fashion designers have been waiting for. This book is like having your own personal shopper able to recommend fabrics to suit the effects you want to achieve, show you how the fabric will perform, and recommend ways of using it. Each fabric in the directory is accompanied by photographs presented in a way that makes the properties of the fabric come alive for the viewer, allowing you to really understand how a fabric might behave. "The Fashion Designers Textile Directory" is sure to become essential reading for every designer wanting to communicate their final vision through the appropriate use of fabric.

A fashion history from the 18th to the 20th century Clothes define people. A person's clothing, whether it's a sari, kimono, or business suit, is an essential key to his or her culture, class, personality, or even religion. The Kyoto Costume Institute recognizes the importance of understanding clothing sociologically, historically, and artistically. Founded in 1978, the KCI holds one of the world's most extensive clothing collections and has curated many exhibitions worldwide. With an emphasis on Western women's clothing, the KCI has amassed a wide range of historical garments, underwear, shoes, and fashion accessories dating from the 18th century to the present day. Showcasing a vast selection from the Institute's archives of skilled photographs depicting the clothing expertly displayed and arranged on custom-made mannequins, Fashion History is a fascinating excursion through the last three centuries of clothing trends. The KCI believes that "clothing is an essential manifestation of our very being" and their passion and dedication positively radiate from every page of this book. This special 25th anniversary edition has a chic new format: two volumes packaged in a slipcase.

Miniature books, eighteenth-century novels, Tom Thumb weddings, tall tales, and objects of tourism and nostalgia: this diverse group of cultural forms is the subject of On Longing, a fascinating analysis of the ways in which everyday objects are narrated to animate or realize certain versions of the world. Originally published in 1984 (Johns Hopkins University Press), and now available in paperback for the first time, this highly original book draws on insights from semiotics and from psychoanalytic, feminist, and marxist criticism. Addressing the relations of language to experience, the body to scale, and narratives to objects, Susan Stewart looks at the "miniature" as a metaphor for interiority and at the "gigantic" as an exaggeration of aspects of the exterior. In the final part of her essay Stewart examines the ways in which the "souvenir" and the "collection" are objects mediating experience in time and space.

经过长达五年的开发，《塞尔达传说：旷野之息》终于与任天堂Switch主机同步发售。本作回归系列本源，通过精心打造栩栩如生的海拉鲁大陆，为玩家带来不受束缚、自由探索的非线性开放式游戏体验。此外，本作颠覆传统，鼓励尝试与创意的应变式玩法也使游戏极富生命力，令众多爱好者持续研究至今。 本作一经推出即赢得满堂喝彩，荣膺诸多媒体满分评价，摘得多项年度游戏桂冠。不仅吸引拥趸无数，亦成为系列销量最高的作品，一举将《塞尔达传说》系列再次推上游戏产业之巅。 精美插画再现冒险之旅 珍贵草稿揭开设计面纱 十余万字阐释创作理念 大事年表厘清历史沿革 主创自述还原创意历程

来自日本一流美院的动画大师课 东京艺术大学教授、包揽国际大奖的独立动画艺术家 亲笔手绘80余幅可爱插图，魔性开讲！ 动画人必备，动漫美术爱好者也能轻松入门 山村浩二作品曾获昂西动画电影节大奖、提名奥斯卡 神作豆瓣评分高达8.4、B站点击量累计破100万 中央美院、中国美院、清华美院邀他访问交流 全世界艺术名校请他巡回授课 基础知识×作画技法×演变历史×名家评述 随书附赠山村浩二手绘创意玩具书签 📖编辑推荐 山村浩二是在国际舞台上备受瞩目的独立动画艺术家。他坚持以个人手绘的方式制作动画，凭《头山》《乡村医生》《年老的鳄鱼》等代表作品，确立了融合古典与现代的创作路线，作品风格兼具童真、荒诞、幽默与狂想，在动画界屡获大奖。 创作之余，作者亦教授动画课程，广泛地推广动画艺术。山村浩二与中国就有着深厚的渊源：他曾携处女作《水栖》参加1988年的首届上海动画电影节展映；多次受邀担任中国独立动画论坛和相关节展的评委、嘉宾和指导老师；还曾赴清华美院、中国美院等各大艺术院校进行放映交流。本书即由山村浩二的报刊连载专栏和在世界各地开展的高校课程、演讲内容整理而成。 * * * ◎大师动画论：不仅教你怎么做，还要启迪如何想 动画会动的视觉原理、影像中时空的特殊之处、拓展表现形态的多种技法、制作工序与注意事项、动画摄影的视点和规则……追根溯源、由里及表，试图解答“动画是什么？”，在对动画的思考中，重新认识自我和世界。 ◎私人微影史：欧美日名家力作大赏，独立动画爱好者狂喜 华特•迪士尼的功绩、诺曼•麦克拉伦的纠结、尤里•诺尔施泰因的内心表达、皮特•帕恩的超越、手冢治虫的短篇动画……内行点评、句句精华，更有山村作品的构思、制作幕后揭秘，一窥独立艺术家的脑洞和solo心路。 ◎绘本式教材：海量配文插图，将手绘进行到底 作为绘本画家的山村浩二快乐提笔，亲绘插图配文讲解，图文并茂直观了然。中文版复刻了原书的“魔法卷轴”翻动设计，眨眼之间，手翻书动画附体！随书附赠狮子头留影盘书签，动动手制作视觉小玩具，更添互动趣味性。 * * * 山村浩二の动画哲思 “动画”（animation）的词源，是拉丁语的“灵魂”（anima），指为没有灵魂的事物注入生命。 我作为创作者，在心中牢记，制作时不要让动画成为消耗品。尽量坚持亲手绘制，这是我对动画符号化的反抗，也是对保持绘画作品含义多样性的愿望。 现在出现了制作同一类型作品的倾向，这令我感到悲伤。好莱坞在推行大数据分析，旨在制作能够让大多数人满意的娱乐作品。虽然这样做可以保证作品的品质，却日渐将别具一格的、特别的、复杂的作品从社会主流中驱逐了出去。 思考自我性的时候，我总会想起弗兰茨•卡夫卡说过的那句话：“在你与世界的斗争中，站在世界那边罢。”初看这句话的意思是认为世界优先于自己，但是我认为完全相反。我想这句话的意思其实是，在创作中社会性和自我性始终都在反复动摇。 动画有表现与真人电影完全不同的深奥世界的可能性。但是，它所要表现的并非幻想等温和的空想，而是更加活跃地聚焦于内部，是一面强有力的、从某种意味来说有些讨嫌可恨的镜子。 当我们自己试着制作动画时，能通过一帧一帧操作的过程整理心中的混乱，进而引发深层次的思考。当作品完成的时候，会有种将自己的心路历程掏出来的感觉。 📖内容简介 这是一本配有作者亲绘插图的“生动”的动画入门书，整理自日本独立动画艺术家、东京艺术大学教授山村浩二在《月刊•人》和《日本经济新闻晚刊》的连载专栏，以及在世界各地受邀讲课的核心内容。书中既讲解了动画原理、技法、制作流程等基础知识，也从作者本人的独特视角介绍了动画的演变历史及具有代表性的名家名作，希望能带领热爱动画的大家共同踏上创作的瑰丽旅程。

Gala dinner: Salvador Dalí’s surrealist cookbook “Les diners de Gala is uniquely devoted to the pleasures of taste … If you are a disciple of one of those calorie-counters who turn the joys of eating into a form of punishment, close this book at once; it is too lively, too aggressive, and far too impertinent for you.”—Salvador Dalí Food and surrealism make perfect bedfellows: Sex and lobsters, collage and cannibalism, the meeting of a swan and a toothbrush on a pastry case. The opulent dinner parties thrown by Salvador Dalí (1904–1989) and his wife and muse, Gala (1894–1982) were the stuff of legend. Luckily for us, Dalí published a cookbook in 1973, Les diners de Gala, which reveals some of the sensual, imaginative, and exotic elements that made up their notorious gatherings. This reprint features all 136 recipes over 12 chapters, specially illustrated by Dalí, and organized by meal courses, including aphrodisiacs. The illustrations and recipes are accompanied by Dalí’s extravagant musings on subjects such as dinner conversation: “The jaw is our best tool to grasp philosophical knowledge.” All these rich recipes can be cooked at home, although some will require practiced skill and a well-stocked pantry. This is cuisine of the old school, with meals by leading French chefs from such stellar Paris restaurants as Lasserre, La Tour d’Argent, Maxim’s, and Le Train Bleu. Good taste, however voluptuous, never goes out of fashion. In making this exceptionally rare book available to a wide audience, TASCHEN brings an artwork, a practical cookbook, and a multisensory adventure to today’s kitchens.

我，从使用名为“摄影”的装置以来，一直想去呈现的东西，就是人类远古的记忆。那既是个人的记忆，一个文明的记忆，也是人类全体的记忆。 ——杉本博司 杉本博司是我们这个时代最令人尊重的摄影家之一。他的摄影中，艺术、历史、科学与宗教的诠释环环相扣，完美地将东方哲思与西方文化意涵结合在一起。 ——哈苏摄影基金会 日本国宝级摄影师，亚洲当代摄影拍卖纪录保持者，杉本博司文字代表作。将最亘古永恒的事物用最崭新的方式呈现。以生命、时间、历史为核心，书写个人对文明兴衰的解读与想象，探讨这世间的刹那与永恒，蕴含深刻的思考和智识。 书名“直到长出青苔”取自素有“日本诗经”之称的和歌总集《万叶集》。书中收录了杉本博司自1974年以来所有的代表作品，包括“海景系列”、“肖像系列”、“剧场系列”、“建筑系列”、“博物馆系列”、“布景系列”等。分为十六章，每章以一幅杉本的摄影作品和一段问答起兴，延引出艺术家本人通过摄影的方式与历史、哲学、时间、记忆、梦境等主题的互动所获得的洞见，并以及其诗意而禅意的方式娓娓道来，充满东方意境。

《电影批评（第二版）》是电影理论集锦，电影批评入门书。

《纽约时报》《泰晤士报》《伦敦书评》《经济学人》《华尔街日报》惊叹赞赏 美国国家图书奖获得者 耶鲁大学荣休教授 彼得•盖伊 五卷本心理分析史学巨著《布尔乔亚经验》之开篇鸿制 一部布尔乔亚少妇的感官日记，引领我们返回现代社会精神困境的起点 解读亲密信件，阐释画作，分析梦境，追寻心理线索，历史学巨擘彼得•盖伊用前未有的视角探究现代社会秩序与商业文化源头的19世纪，展现出一幅构建于人类基本经验下的全景式时代画卷。 彼得•盖伊尽情引用梅贝尔•托德——这位布尔乔亚少妇大胆、详尽、毫不隐晦的情爱日记，捕捉她对于感官享乐的渴望和对情爱的需求：性知识的获得、性启蒙的困惑、与丈夫和情人的关系、生育的焦灼……在彼得•盖伊看来，性与爱是所有经验的起点，是对时代变迁的最原始反映。托德无微不至记录下的19世纪布尔乔亚的性本能表达，实则是拉开了现代社会变革的伟大序幕。

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。

面对当代艺术，一百个人，会有一百种解读。 策展人奥布里斯特自20世纪80年代起，就开始有意识地采访接触到的艺术家，并记录下来，至今已经积累了近2000小时的录音素材。谈笑中，他本书收录的是他与19位（组）当代重要艺术家和建筑师的对话，其中包括大卫·霍克尼、吉尔伯特和乔治双人组、格哈德·里希特、路易丝·布尔乔亚、雷姆·库哈斯、奥斯卡·尼迈耶、扎哈·哈迪德，等等。他们都是（或生前曾是）当代艺术界举足轻重的人物，如被誉为“英国艺术教父”的大卫·霍克尼，当代重要的女性主义艺术家路易丝·布尔乔亚，“行为艺术之母”玛丽娜·阿布拉莫维奇，建筑风格独特又备受争议的建筑师雷姆·库哈斯、扎哈·哈迪德，曾参与修建巴西新首都巴西利亚的奥斯卡·尼迈耶，等等。 在轻松的谈话中，艺术家与建筑师阐述了自己创作中面对的个人及社会问题，具体作品的创作思路，未来的创作计划，乃至对年轻艺术家的建议，等等。通过此书，我们得以看到他们的灵感来源，了解背后的创作故事。 本书的写作方式，受到文艺复兴时期艺术史家乔尔乔·瓦萨里《名人传》的启发，没有区分艺术家和建筑师，而是将这些同代人视作历史人物进行记录。而事实上，当代艺术家和建筑师早已突破学科的藩篱，在多个领域进行着跨界实践。无论从写作方式还是内容来看，这本书都“很当代”！ 19篇对话，19位（组）艺术家，浓缩了当代艺术的19种面貌，折射出当代艺术的丰富形态。我们亦可以通过艺术家之眼，审视我们生活的时代。

本書由一篇引言與十九篇小品文所構成，作者談論繪畫、電影、人物，以及個人對於色彩的種種思考與回憶。作者旁徵博引，援引哲學家語錄、詩作、神話故事，並論及歷史、社會文化現象，說明各種顏色的意涵。此外，也提及從童年回憶到晚年罹病等種種個人經歷。 就文體而言，本書是以散文寫作，然而文中有詩，而整體的用字與意境頗具詩意與想像力，令人讚嘆，像一道單色光芒通過稜鏡之後，散發出繽紛色彩。本書寫作方式並非闡明一項論點，而是將和每種顏色的相關知識與回憶，累積成一個篇章。