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The Empress and I explores a unique alliance between two brilliant women. The book vividly describes how a treasure trove of modern art, now worth billions, was acquired for a relatively modest sum in the 1970s. Its author is a former New York Museum of Modern Art curator who served as an art advisor to the Empress of Iran. She cites numerous personal and previously confidential documents, including reports and extensive communications with artists, art dealers, auction houses and notable museum colleagues.

On the 30th anniversary of Macullo's first built project, a monograph devoted to the leading Swiss studio."Architecture is the first shell out of our body that relates to our senses"."Architecture is the link between the DNA of a place and future". Davide Macullo This new book presents the Swiss studio Davide Macullo Architects. The work of the studio is based on the premise that architecture is the link between the spirit of a place and its future. Emotions are also a key to these designs. The works presented are imbued with the fundamental and universal idea that the specificities of a place connect to psychology and the capacity to perceive and assimilate spaces through the senses and the intellect. The analysis of these themes is expressed in sculptural and articulated forms, generated from the inside out, following the flow of inhabitants. Every building reacts to the place where it is located and appears as though it had grown from that site. It is evident from the architect's initial sketches that meanings, passion and emotions are released into the buildings, producing an evident and daily joy for residents. With an introduction by renowned writer Philip Jodidio, it includes photographs and drawings as well as study sketches. Before founding his eponymous studio, Davide Macullo began his career with Mario Botta, where he was responsible for international projects for over 20 years. 2020 is the 30th anniversary of Macullo's first built project, in Rossa, Switzerland, a house that even then embodied the studio's ethos of drawing from context. Almost three decades and 600 projects later he returned to the same town with the colourful Swisshouse.

A vast catalogue dedicated to Leonardo's entire oeuvre on the occasion of the largest exhibition ever realized on the genius, symbol of Italian art and creativity, on the occasion of Milan Expo 2015.

Marta Gnyp has chosen to interview the most trailblazing names in contemporary art to reflect on the changes occurring today in the artistic canon, practices and the lives of artists, in order to map its evolution and the directions we are headed in. The book is divided in five chapters, each addressing an important process that has been shaping the art world in the recent years. Rewriting the Canon deals with rediscovery and revaluation of several outstanding post-war artists featuring Joan Semmel, Stanley Whitney and Claudette Johnson. In Extending New Media, artists Cory Arcangel and Alex da Corte speak about their artistic practices that critically embrace and reflect on the new technical possibilities. Interviews with Jordon Wolfson and Mohamed Bourouissa in New Approaches to Truth and Morality pose questions about the ethics of art making and the idea of good and bad, among other things. New Classic Art features Claire Tabouret, Adriana Varejao, Daniel Richter and Jenny Saville, four artists that on the one side continue working in the grand art historical tradition, and on the other make this tradition very contemporary. Finally, via fascinating personal interviews, Marta Gnyp speaks with curators, businesspeople and collectors to reflect on the changing art systems and markets: Koyo Kouoh, curator and director of the Zeitz Museum of Contemporary African Art, Pamela Joyner, American businesswoman and art collector, Marion Maneker, President and Editorial Director of Art Media. The list is not finalized yet and a few new names will be added to make it list complete.

A historical and critical profile of the complete creative corpus of the artist. Covers over four decades of Fontanäs creative activity, presented in chronological order. A rigorous examination of over 4000 works carried out in collaboration with the Lucio Fontana Foundation, making this a definitive and essential publication for scholars, collectors, museums and art dealers

A tribute to the master of Urbino on the occasion of the 500th anniversary of his death.The most important exhibition devoted to the painter in 2020.Published in collaboration with the greatest museums in the world, this monograph proposes an original journey backwards, "à rebour", in the universe of Raphael, where his relationship with the ancient and with Rome guides the reader in an unprecedented journey from the artist's death in 1520 to his formative years between Urbino, Città di Castello, Perugia and Siena. The monograph - published on the occasion of the major exhibition in Rome - has a scientific committee of excellence, composed by Matteo Lafranconi, Marzia Faietti, Sylvia Ferino, Alan Brown, Dominique Cordellier, Guido Cornini, Francesco Paolo Di Teodoro, Vincenzo Farinella, Achim Gnann, Barbara Jatta, Alessandro Nova, Nicholas Penny, Mario Scalini, Alessandro Viscogliosi; each member of the committee is the curator of one section of the catalogue which is introduced by his essay and accompanied by the entries of the works.For centuries Raphael (1483-1520) has been recognised as the supreme High Renaissance painter; though he died at 37, Raphael's example as a paragon of classicism dominated the academic tradition of European painting until the mid-19th century.Raphael was born in Urbino where his father, Giovanni Santi, was court painter. He almost certainly began his training there and must have known works by Mantegna, Paolo Uccello and Piero della Francesca from an early age. His earliest paintings were also greatly influenced by Perugino. From 1500 (when he became an independent master) to 1508 he worked throughout central Italy, particularly Florence, where he became a noted portraitist and painter of Madonnas.In 1508, at the age of 25, he was called to the court of Pope Julius II to help with the redecoration of the papal apartments. In Rome he evolved as a portraitist, and became one of the greatest of all history painters.He remained in Rome for the rest of his life and in 1514, on the death of Bramante, he was appointed architect in charge of St Peter's.

A comprehensive survey of the art of the kakemono, classic Japanese paintings on vertical scrolls.Once displayed for the tea ceremony and in the alcove (tokonoma) of traditional houses, the kakemono or kakejiku is a `painted hanging scroll,¿ which, in the variety of its themes, describes changing beauty and the flow of time. Subjects are in fact selected to satisfy the taste of the visitors, and harmony with seasons and events. As with Japanese writing, it should be read from right to left.Verisimilitude being of subordinate importance, what really matters is to convey `the power of the brush.¿ As long as the spirit and the essence of the image can be appreciated, any painting can be enjoyed as a journey into the artist¿s mind.Edited by Matthi Forrer and realized in collaboration with the Fondazione culture e musei of Lugano and the Fondazione Torino Musei, the book presents a selection of 120 kakemono from the important private Perino collection, offering a unique opportunity to discover Japanese painting between the 16th and 19th centuries.Most of the subjects are drawn from nature (flowers, birds and fish), painted realistically in extraordinarily precise detail. They include works of rare beauty by artists such as Maruyama Okyo (1733-1795), who worked in the imperial court and founded Maruyama-Shijo, one of the most prestigious naturalist schools of the period, Kishi Ganku (1749/56-1838/39), famous for his paintings of tigers, and Kusumi Morikage (1620-1690), painter of the Edo period whose works reflect his sympathy for farmers and the poor.

The original works by Andrea Incontri, designer who intertwines codes and aesthetics of fashion and visual arts, digital communication and applied arts.Andrea Incontri delved into his passion for art and illustration when, in 2016, he started creating his now iconic Tipe Umane.Drawn freehand by the designer on his Instagram account on videos and photos of his daily life, they are female figures, which come alive as rapid yet detailed sketches following no preparatory study. Executed by using the entire Instagram color palette, Le Tipe Umane embody Incontri¿s personal representation of a feminine universe. Ladies walking with their dogs or young girls going out for shopping ¿ women of different ages and attitudes, these characters wear an infinite variety of outfits, curated in every detail, that reveal their diverse personali¬ties and show their creator¿s attentive observation of aesthetic and social norms. Referring to Honoré de Balzac¿s Comédie Humaine, Caroline Corbetta coined the term ¿Le Tipe Umane¿ in 2016, when she curated the first show dedicated to Incontri¿s creations at Il Crepaccio in Milan. On that occasion, the designer¿s works were exhibited as digitally printed images.Women constitute the main focus of Incontri¿s exploration of humankind, which ¿ in his vision ¿ is an interlacing of forms, colours and eccentric ornamentation. 2016 saw the arrival of the Tipe Umane (Human Types), an ongoing experiment into the female universe that is composed of unconventional, often playful and eclectic images. They are created as digital drawings and then subsequently come to life as prints on painstakingly hand-embroidered fabric.The book gathers over two hundred Tipe Umane, embroidered and framed with precious fabrics and materials, displayed as an array of the most varied female types ¿ those that can be encountered along the streets or that embody an ideal, originating from both the real world and that of imagination.

The works by the Vietnamese artist who combines archaic and modern elements in an art form that can be called spiritual and naïveNguyen Thi Mai (1966) is a self-taught artist based in Ho Chi Minh City, Vietnam.She works mainly with acrylic painting and lacquer painting, although she is also experienced with oil on canvas, silk painting and ink painting.Lacquer painting is a traditional Vietnamese art form, with the painting done on wooden boards. However, Nguyen Thi Mai has given this traditional art form a new twist with her own unique technique.It is usual for lacquer paintings to have a glossy finishing. However, with her technique, Mai's lacquer paintings have a matte finishing. Thus the term "unpolished lacquer painting". The matte look has given her lacquer pieces a very subtle and refined look, not found elsewhere on the market. "As a self taught artist, I am very much influenced by the visions I see, the melodies I hear and my deep appreciation for tradition and beauty.Through my art, I advocate, and also seek, balance and harmony. Balance and harmony not only on the canvas, but more importantly, within me. When a pendulum reaches the extremes, it seeks the center. Through balance, we have harmony. Through harmony, we have peace. And through peace, we have happiness."

Born in 1963 in Dharamsala, India, Kesang Lamdark grew up in Switzerland, where helater apprenticed and worked as an interior architect. He went on to study at ParsonsSchool of Design in New York, and he received an MA in Visual Arts at Columbia University. The artist now lives and works in Zurich, Switzerland.Lamdark's plastic sculptures and mirrored lightboxes are evidence of his displaced and multicultural upbringing. His search for an appropriate cultural space ultimately turned inwards, as he came to understand and reconnect with his Tibetan heritagewhile living in the West. Through his Tibetan-Western identity, he is able tounderstand and strike a balance between both cultures. Combining unusualmaterials, from hair to plastic, beer cans to nail polish, Lamdark brings together the unfamiliar and revels in recycling everyday objects into works of art.In 2008, Lamdark presented in the Third Guangzhou Triennial, installing a work titledPink Himalayan Boulder - a 10,000-kilogram rock that he smuggled out of Tibet and encased in melted plastic - at SH Contemporary in Shanghai. He also participated in the annual Dharamshala International Artists' Workshop in 2012 and completed aresidency at the Samuel Dorsky Museum of Art in 2013.

The dominant role of female beauty in sixteenth-century Venice is unique both in the history of the Republic and other parts of the world. One reason for this is the Serenissimäs distinctive political-social structure, which granted women special rights in connection with their dowry and their ability to inherit; another was Venice¿s pivotal role as an international cultural centre. The rise of influential publishing houses attracted renowned poets and humanists such as Pietro Bembo, Sperone Speroni and Lodovico Dolce, who in their writings increasingly focused on women and their vital role for the family and the continuation of humanity as such. The crucial impetus for the visual realisation of this idea came from the Serenissimäs greatest artist: Titian. For him, artistic beauty was identical with female beauty. He was less interested in the canon of exterior beauty than in a women¿s character, in femininity as such. Titian elevates every depiction of a woman into a celebration of womanhood. Published for the exhibition in Vienna and Milan, the book aims to present the female image through the spectrum of possible themes and to compare individual artistic approaches between Titian and other painters of the time. The reader will experience the various aspects of female idealisation.

Model, photographer, muse, the first female war correspondent to report the horrors of the concentration camps liberated by American troops, and twentieth-century icon. Lee Miller was all this and much more. She went through life with passion and determination and life repaid her with love and friends, but also with pain and posthumous, or at least tardy, acknowledgement. Through approximately 140 photographs by Lee Miller and Man Ray, some objects d'art and video documents, loaned by Lee Miller Archives and Fondazione Marconi, Lee Miller. Man Ray. Fashion - Love - War intends to do justice to this woman as beautiful as she was clever and talented, taking her out of Man Ray's overpowering shadow, to reveal a deep but complicated relationship more objectively: Man Ray, first her teacher, then lover, and in the end friend. Published on the occasion of the exhibition in Venice, the volume pays suitable homage to Lee Miller, pioneer of surrealism in photography, placing her on a par with Man Ray, whose work tended to overshadow her both during her lifetime and after. The heart of the project lies the relationship between Lee Miller and Man Ray - which blossomed in Paris in 1929 and ended in 1932 - with a focus on their lives, careers and relationships at that time; it also documents the effect they both had on each other and how it inspired their work, including the photographic solarisation technique Man Ray adopted to the point that shots by Miller were erroneously attributed to Ray. The volume also presents portraits by Man Ray of friends and important protagonists of the artistic period: Max Ernst, Pablo Picasso, Giorgio de Chirico, Jean Cocteau, Salvador Dalí and surrealist shots of Lee Miller in which he seeks to investigate and reveal her soul and torments.

As a young artist, Manzur experimented with Expressionism and abstraction, but he eventually found his true passion for figurative painting. He was inspired by multiple sources including Spanish Baroque artists such as Velázquez, Zurbarán and Sánchez Cotán; 19th-century American Realists like William Harnett and John F. Peto; and Italian Renaissance artists, with whom he shares the love for the human figure. Early in his career, he developed a personal style characterized by a masterful draftsmanship, a dramatic almost theatrical use of light and color, and the juxtaposition of volumes and transparencies. His subject matter has varied over the years. From still-lives to religious characters, from portraiture to equine representations, his paintings depict staged scenes that combine reality and fantasy in an oneiric atmosphere. Most recently, his series Obra Negra focuses on three main themes: the ghostly horse, the bull and the woman in red. These monumental canvases, in which he uses a sort of assemblage to attain volume, result in compelling images that are, by far, his most magnificent to date.

Magdalena Abakanowicz (1930) today is revered for her uncompromising, individualistic vision developed in her native Poland under the hostile eyes of the repressive Communist regime that was in power for most of her adult life. She has personally witnessed the worst of humanity¿s instinct for destructive behavior and has made art that unflinchingly presents the human condition. She had, by the 1960s, gained the beginning of an international reputation as a sculptor in soft materials with the creation of monumental environments called Abakans. Always alert to build on her personal independent vision, she has created large groups of human figures out of old burlap sacks and resin. Her 80 backward-seated figures and 50 standing figures have attracted widespread attention and evoked provocative cultural and political associations wherever they have been shown. At the Venice Biennial of 1980, her ambitious exhibition in the Polish Pavilion caused a sensation among critics and the general public. Her retrospective moved to America from the Musée d¿Art Moderne de la Ville de Paris to be shown in seven important museums. Since then the level and variety of her work has been nothing short of astonishing.She changed sculpture from ¿object to look at¿ into ¿space to experience¿. Monumental, powerful compositions in bronze or stone, iron or concrete have been created for specific locations¿the Gori Collection in Italy, the Olympic Park in Seoul (Korea), the Israel Museum in Jerusalem, Vilnius (Lithuania), and Chicagös Grant Park¿and are permanently installed as environments accessible to people.She has transformed the casting process into a way of building individual bodies with personal expression. Her largest group of figures (the environment in Chicago) consists of 106 headless shells in walking movement, made of material that resembles tree bark or rags from a mummy. She has also worked with tree trunks that she has armed with metal (War Games) and built multi-figurative compositions out of welded stainless steel (King Artur¿s Court).