《人文传统（三）十九世纪以来（全彩插图本）》旨在以全球化的视野探讨和研究世界的文化脉络，呈现“人文”作为一个独立学科的整合之美，内容涵盖了19世纪以来到当今世界，从文学到艺术的各领域文化，为读者描绘了一个精彩纷呈的人文传统世界。《人文传统（三）十九世纪以来（全彩插图本）》英文版由全球顶级教育出版机构教育集团出版。本套丛书自从1992年面世以来，至今已改版六次，是国外诸多大学人文系的教材。

世界数十所大学人文系经典教材 800余幅艺术珍品图像全部自原作拍摄而成 著名教育机构麦格希公司荣誉出品 畅销全球二十余载 外研社全新引进第六版 英文原版 中文注释 人文学科有着悠久的历史。很多大学都设有自己的人文系（Department of Humanities），打 破传统意义上的哲学、艺术、文学、历史等专业限制，提供博采众家之长的通识教育。 《人文传统》系列丛书旨在以全球化的视野探讨和研究世界的文化脉络，呈现“人文”作为一个独立学科的整合之美，内容涵盖了从古到今、从东方到西方、从文学到艺术的各领域文化，为读者描绘了一个精彩纷呈的人文传统世界。 人文传统（二）文艺复兴——启蒙运动（全彩插图本）以一种全球性的视野介绍了自14世纪到18世纪人类社会在思 想、科学、文学、艺术等领域内的进步。作者不仅从传统的西方视角讲述了欧洲社会从封建社会到近代社会的转型与变革，同时记录了亚洲、非洲等地在这一时期的重要发展，著录所及处皆配以精美的彩色插图，同时辅以中文导读和注释，旨在为读者展开了一幅横跨多个世纪的百科全景图。 为方便读者使用，卷首由北京外国语大学英语学院院长孙有中教授撰写中文导读，简述该卷述及历史时期人文世界主要变化及其特征。北京外国语大学王红欣博士和张军博士为每章编写文前导读和文后注释。

BBC新版《文明》，2018倾情奉献，共九集。涵盖六个大陆，三十一个国家，超过五百件艺术品。主讲人历史学家西蒙·沙玛、学者玛丽·比尔德以及戴维·奥卢索加将一起探索人类创造的渴望。此外，“文明节”将通过创新的数字产品和活动，为博物馆的珍宝赋予新的生命力。

任何一部世界史的著作都不可能绕过古希腊，它被誉为西方文明的肇端。古希腊人在历史、哲学、政治、文学、戏剧、雕塑、建筑等诸多方面所获得的成就，对西方世界的文明进程产生了深远的影响，至今仍留有余绪。本书通过国内学者的多角度阐释与国外相关博物馆的专题解读，以及数百幅高质量图片，丰富呈现古希腊文明的多维性。 本书是上海博物馆重点项目“博物馆与世界文明系列”问世的第一卷，该系列旨在从世界博物馆藏展文物和文化遗产的多元视角，诠释与传播人类文明艺术发展的文化脉络；搭建世界博物馆资源共享和文物研究的国际平台，促进世界博物馆之间的文化交流与文化合作。将计划出版十余卷，涵盖古希腊、古罗马、文艺复兴、中世纪、两河流域、古印度、中南美洲等。

《艺术的故事》概括地叙述了从最早的洞窟绘画到当今的实验艺术的发展历程，以阐明艺术史是“各种传统不断迂回、不断改变的历史，每一件作品在这历史中都既回顾过去又导向未来。 继1997年三联版《艺术的故事》后，英国费顿出版社授权广西美术出版社独家出版，也是国内唯一合法授权的版本。

Ways of Seeing is a 1972 BBC four-part television series of 30-minute films created chiefly by writer John Berger and producer Mike Dibb. Berger's scripts were adapted into a book of the same name. The series and book criticize traditional Western cultural aesthetics by raising questions about hidden ideologies in visual images. The series is partially a response to Kenneth Clark's Civilisation series, which represents a more traditionalist view of the Western artistic and cultural canon.

土豆和理想国共同打造的“看理想”系列节目之一：陈丹青的以画家之眼观看艺术杰作的《局部》。

Gang of Four Episode 1 of 4 Duration: 1 hour Art writer Waldemar Januszczak explores the revolutionary achievements of the Impressionists. In the first episode, Waldemar delves into the back stories of four of the most influential Impressionists - Pissarro, Monet, Renoir and Bazille - who together laid the foundations of the artistic movement. He finds out what social and cultural influences drove them to their style of painting, how they were united and how ultimately they challenged and changed art forever. Waldemar journeys from the shores of the West Indies, to the progressive city of Paris to the suburbs of South London, where these four artists drew inspiration from the cities and towns in which they lived. Whether it be the infamous spot on the river Seine - La Grenouillere - where Monet and Renoir beautifully captured animated people, iridescent light and undulating water or the minimalist, non-sensationalised illustrations of Pissarro's coarse countryside paintings, Waldemar discovers how the Impressionists broke conventions by depicting every day encounters within the unpredictable and ever changing sights around them. ------ Painting outdoors Episode 2 of 4 Duration: 1 hour Waldemar Januszczak continues his investigation of the Impressionists by taking us outdoors to their most famous locations. Although Impressionist pictures often look sunny and relaxed, achieving this peaceful air was hard work. Trudging through fog, wind and rain, across treacherous coastal rocks and knee-deep snow, Waldemar shows how the famous spontaneity of the Impressionists is thoroughly misleading. This episode visits the French riverside locations that Monet loved to paint, and where Renoir captured the bonhomie of modern life. Waldemar also introduces a number of technical and practical developments of the age which completely revolutionised Impressionist painting - the invention of portable easels; the use of hog's hair in paint brushes; as well as the introduction of the railway through France. And a scientific demonstration in a Swedish snowdrift explains just how right the Impressionists were to paint brightly coloured shadows in their winter scenes, despite being accused of 'hallucinating' at the time. Finally, Januszczak explains Cezanne's part in the Impressionist story from his dark and challenging early work to his first rural landscapes in France, and then his departure from Paris and separation from the Impressionist gang. ------ Painting the People Episode 3 of 4 Duration: 1 hour Waldemar Januszczak continues his investigation of the Impressionists, focusing this time on the people they painted and in particular the subjects of Degas, Caillebotte and the often forgotten Impressionist women artists. The Impressionists are famous for painting landscape but they were just as determined to paint people. Looking closely at one of Impressionism's finest painters, Edgar Degas, Waldemar reveals how he consistently challenged traditions and strove to record real life as it appeared in the city, from sculpting the contorted movements of horses in motion at the Longchamp race course in Paris to encapsulating extravagant 3D viewpoints of the ballet dancers at the Paris Opera. Waldemar also uncovers the intoxicating haziness the pastel produced in Degas' work when visiting his supplier Pastels de Roche. He also reveals the unusual viewpoints and dramatic perspectives of Caillebotte's paintings from the Place de L'Europe and the rebellious and revolutionary art of Morisot, Bracquemond and Cassatt, three impressive female artists who were eagerly embraced by the progressive movement of Impressionism ------ Final Flourish Episode 4 of 4 Duration: 1 hour This episode takes a closer look at the late years of Impressionism, using the last show these artists did together as a starting point. Waldemar looks in considerable depth at the work of Georges Seurat, taking into consideration his academic training at the Beaux-Arts School in Paris and the artists that influenced him, such as Piero della Francesca and Puvis de Chavannes. There is also an insight into the complex but fascinating world of optics and art, and the ways in which the Impressionists were using the new discoveries in light and eyesight to influence their work. A fascinating 'after-image' experiment brings to life the ways in which our own eyes see colour, both in its presence and its absence. Van Gogh's time in Paris, a period very little is known about, is also covered, charting the incredible journey the artist made from his brown and dull canvases to the splendid colour and light that pervaded his work on the cusp of his departure for the South of France. The film finishes with a revisiting of Monet and his later waterlily paintings in the Orangerie in Paris. Waldemar investigates how a bad case of cataracts was responsible for a seismic shift in his colour palette and his brushstrokes. Spending time with an ophthalmologist, he finds out how old age and a fairly common ailment of the eyes caused Impressionism to shift and become radical again at the turn of the century and into the 20th century

《号外》是陈丹青老师的节目《局部》番外篇，节目每周二与您见面。节目以纪录片的形式记录了陈丹青老师与他的团队从策划林风眠、尼采等特展，到整个美术馆开幕布展的过程。

"This is a book about making art. Ordinary art. Ordinary art means something like: all art "not" made by Mozart. After all, art is rarely made by Mozart-like people; essentially-statistically speaking-there "aren't" any people like that. Geniuses get made once-a-century or so, yet good art gets made all the time, so to equate the making of art with the workings of genius removes this intimately human activity to a strangely unreachable and unknowable place. For all practical purposes making art can be examined in great detail without ever getting entangled in the very remote problems of genius."--from the Introduction "Art and Fear" explores the way art gets made, the reasons it often "doesn't" get made, and the nature of the difficulties that cause so many artists to give up along the way. The book's co-authors, David Bayles and Ted Orland, are themselves both working artists, grappling daily with the problems of making art in the real world. Their insights and observations, drawn from personal experience, provide an incisive view into the world of art as it is expeienced by artmakers themselves. This is not your typical self-help book. This is a book written by artists, for artists -- it's about what it feels like when artists sit down at their easel or keyboard, in their studio or performance space, trying to do the work they need to do. First published in 1994, "Art and Fear" quickly became an underground classic. Word-of-mouth response alone-now enhanced by internet posting-has placed it among the best-selling books on artmaking and creativity nationally. "Art and Fear" has attracted a remarkably diverse audience, ranging from beginning to accomplished artists in every medium, and including an exceptional concentration among students and teachers. The original Capra Press edition of "Art and Fear" sold 80,000 copies. An excerpt: Today, more than it was however many years ago, art is hard because you have to keep after it so consistently. On so many different fronts. For so little external reward. Artists become veteran artists only by making peace not just with themselves, but with a huge range of issues. You have to find your work...

1947年，《运动中的影响》出版后，如今已经是第8版。全书有440幅配图，其中11幅是彩色图片。本书是对1947年前后现代设计运动的一个详尽的视觉汇编。包括包豪斯和新包豪斯时期很多设计大师的作品，包括马歇?布劳耶（Marcel Breuer）、格罗皮乌斯（Walter Gropius）、奥斯卡?史莱姆（Oskar Schlemmer）和赫伯特?拜耶（Herbert Bayer）等。出现在本书里的艺术家、建筑家、设计师和摄影家都是20世纪现代运动中里程碑式的人物。如阿尔瓦?阿尔托、赫伯特?拜耶、德里弗斯、柯布西耶、格罗皮乌斯、保罗?兰德、怀特等。格罗皮乌斯评价：“本书是将会是设计教育里的先锋。”

《欧洲建筑纲要》这部里程碑式的著作以接触的建筑物为中心，讲述了建筑的故事。自1942年问世以来，《欧洲建筑纲要》这部著作成为有关欧洲建筑最受欢迎的读物之一。佩夫斯纳生前曾多次修订，使此书与时俱新，保持生机。时至今日，它并未随着作者的离世而失色，仍然是学习西方建筑史的经典读物。

德国著名艺术史学家汉斯•贝尔廷撰写的这本书不是严格意义上的艺术史著作，而是一部以艺术史本身为论述对象的文集。20世纪80年代中期，贝尔廷第一次提出了“艺术史终结”的论题，并在之后的很长时间里一直延续着这一思考。本书是国内首次完整授权翻译版，书中作者引领读者重新进入艺术史的历史，细致入微地揭示了艺术史如何成为一个学科的真实进程。贝尔廷在质疑一种已经视自身为典范和标准的艺术史话语的同时，向它为了自身缘故而确立和熟用的时代、地域和风格的划分发出挑战。他激进的、以平等为诉求的艺术史观是以艺术创作本身为基础而展开的，并希望由此建立不同背景的创作者之间真切的、艺术的关联。正是基于这一点，本书对中国当代艺术的实践者而言也许尤为特别：在我们不断更新的艺术史叙述中，这种关联往往在艺术史学科、文化身份和消费的种种不同形态的压力下不断地被丢失。因此，书中每个章节之后由卢迎华和苏伟结合各自当下的工作和观察而针对贝尔廷观点进行的评述与阐发，不仅会引起读者对本土当下状况的反思，同时也揭示出这一讨论的紧迫性和必要性。

安哲罗普洛斯，希腊国宝级电影导演，位于欧洲最后一道大师之堤的电影诗哲。 沉默的长镜头与360度的全景构成了一帧帧辩证而诗意的画面。安哲游走于真实、虚幻与超现实之间，创造出时间在空间之中的流动。他建构出“另一个希腊”的历史，宛如流淌不息的河水，呈现出异彩纷呈的文化景观。 相关评论： 透过镜头，安哲罗普洛斯沉默着注视着事件。这是沉默本身的重量，是安哲罗普洛斯摄像机凝视的强度。它使观者不能从屏幕上逃离出来。这种电影摄制是如此具有个人性，它的唯一特性是返回到摄像机本身。这正好造成了刚强和有力的影像。对于我来说，观看这部影片，我深深地感受到了摄像机带来的欢愉，这是电影术语最彻底的意义。 ——黑泽明 在我还没看安哲罗普洛斯的电影之前，我，一个成长中没有父亲的人，还从来没有想过会在一个树的影像中发现他。 ——杜山•马卡维耶夫 如果有幸能选择自己的死亡，我愿意死在电影拍摄的过程当中。 ——安哲罗普洛斯 希腊人是在抚摩和亲吻那些死石头中长大的。我一直努力把那些神话从至高的位置上降下来，用于表现人民…… ——安哲罗普洛斯

《大自然的艺术》以人类对地球各个大洲的探索为线索，精彩呈现历史中最著名的探险与发现，描绘出博物学的发展轨迹。 本书汇集了300年间世界上最伟大的博物学画家梅里安、巴特拉姆、埃雷特、鲍尔兄弟、奥杜邦、古尔德、雷杜德等人的杰作。这些画作均藏于国际顶尖的自然科学研究机构——伦敦自然历史博物馆，仅有博物馆工作人员、研究学者能有幸细致观察、欣赏这些画作。现在，这些引人入胜的精美画作都汇集到《大自然的艺术》一书中，呈现在我们面前。

继《造物有灵且美》《美物抵心》之后，日本轮岛漆艺家赤木明登带来散文集《无名的道路》，再次对“美”发问。 很少有人像赤木明登一样，在人生盛年隐居小岛，单调做漆三十年。这黄金的三十年让赤木明登有足够的时间与自我对话，思索人与世界的关系、活着的意义、人最需要的是什么，以及美是什么，手中器物又承载着什么。 《无名的道路》正是赤木明登的生活美学和造物哲思的精华。 他在松田正平、汉斯•梅姆林、阿尔弗雷德•沃利斯、马克•罗斯科、石元泰博、角尾三郎的作品中看见线条、质感、诗情、童真、细腻，一步步延展对美的感悟。 他在海边最常见的圆石、屋前旺盛的树木、春日大社前流淌的溪水、祭祀时熊熊燃烧的火把里看见生命的循环，慢慢调整生活的姿态。 到最后，一切又重新归于“造物”。对赤木而言，安静上漆，认真做物，这就是活着。 如何生活，如何体会美，如何找到自己，赤木明登在这本书中一点一点做出回答。它是一份参考，是一份提示，却不是标准答案。这条探寻的道路没有名字，应由每一个你与内心的自我对话，迈开脚步走下去。

《当代艺术危机与具象表现绘画》乃第一本讨论当代西方艺术危机和具象表现绘画的研究著作，是艺术家和哲学家合作研究的成果。本书首次较为全面地介绍了自贾克梅第以来至今天的具象表现画派其作品和探索，并力图通过对法国具象表现画派的研究，勾出二十一世纪绘画的新方向。全书共有四部份∶“艺术与哲学的对话”摘自两位作者长达十几万字的通信，展现当代艺术哲学和绘画所碰到的种种问题；“具象表现绘画研究”勾划具象表现绘画精神之本质，探讨其对未来绘画方向的重要性；“画家介绍”走进从具象表现绘画重要先驱和奠基者以至第二代画家们的艺术世界；“画家作品选”收录了28位具象表现画家共162件代表作品，全部均以彩色印制。 谨向所有关怀现代艺术发展的读者推荐本书。

★英国皇家植物园邱园&美国史密森尼国家自然历史博物馆权威制作 ★特别献礼达尔文《物种起源》出版150周年、邱园建立250周年 ★珍藏全球84位植物绘画大师的136幅杰作，一本书领略当代植物绘画艺术的最高成就 ★一座珍贵的纸上博物馆，艺术与科学完美结合，呈现植物进化之美 ★一座可以挂起来的家庭美术馆，随书附赠4幅10寸可装裱植物插画，博物爱好者和艺术爱好者珍藏首选 . 为庆祝《物种起源》出版150周年以及邱园建立250周年，世界两大权威机构联合出版了这份珍贵礼物——《植物进化的艺术》。全书结合数百幅惊艳的大师级绘画和国际最新的植物分类知识（APG分类法），向大众展示了植物进化的历程。从古老的植物化石到最新的DNA测序技术，从林奈、达尔文到APG分类系统，从科学到历史、文化和艺术，讲述植物不为人知的生存智慧和进化奇迹。 以艺术的眼光发现美，以科学的视角认识世界。 建议与高分纪录片《植物王国》（Kingdom of Plants）搭配阅读体验更佳。