London, 2015. Cm. 29x25, pp. 464, tavv. e ill. a col. e in nero n. t., tela e sovrac.
Art Deco – the style redolent of the flapper girl, the luxury ocean liner, Hollywood film and the skyscraper – came to epitomize the glamour, luxury and hedonism of the Jazz Age. It burst on to the world stage at the 1925 Exposition internationale des art decoratifs et industriels modernes in Paris, and quickly swept across the globe. Its influence was felt everywhere, from the skylines of New York and Shanghai to the design of fashionable eveningwear and plastic radios. Above all, it became the signature style of the pleasure palaces of the age – hotels, cocktail bars, nightclubs and cinemas.
This authoritative publication brings together leading experts to explore the sources, varied forms of expression, distinct visual language and global reach of Art Deco. With its breathtaking illustrations, this lavish volume is the definitive book on what is, arguably, the most popular style of the twentieth century.
London, 2016. Cm. 29x25, pp. 360, tavv. e figg. a col. e in nero n. t., cart. e sovrac.
Catalogo della mostra: Londra, Victoria and Albert Museum, 20166.
The Florentine painter Sandro Botticelli (1445-1510) is one of the greatest artists of all time. Renowned for the iconic Birth of Venus and Primavera, his work has become part of our collective visual memory, influencing product development, fashion design and artists as diverse as Andy Warhol, Dante Gabriel Rossetti, Rene Magritte and Jeff Koons.
But Botticelli''s fame today was by no means a foregone conclusion. Quickly forgotten after his death, he was only rediscovered as an artist in the nineteenth century - and much of what we know of his work has been pieced together from fragmentary evidence; only three of his works are signed or documented. Since then, ''Botticelli'' has been interpreted in many different ways, and has led to many questions. How does a painter acquire international fame? What made Botticelli a pop icon? Why are his works considered timeless? What is it that makes him so ''European'' that his Venus appears on the 10 cent coin? What we can say - safely - is that Botticelli, more than any other Old Master, inspired and continues to inspire modern and contemporary art.
With: Ana Debenetti and Ruben Rebmann and Mary MacMahon and Gabriel Montua.
Serge Diaghilev (1872-1929) was an extraordinarily gifted impresario, curator, director and animator of the arts. He was perfectly at home driving the wave of creative energy that pushed thatrical performance to the cutting edge of cultural activity in the early twentieth century. A roll call of the Ballets Russes' collaborators and circle bears witness to their impact on modernism and later twentieth-century art; Picasso, Stravinsky, Nijinsky, Bakst, Goncharova, Matisse, Chanel, Prokofiev, Man Ray and Cocteau all worked with Diaghilev - and their work is discussed and illustrated here. The beautiful book draws on new research to explore Diaghilev's life, work anc cultural milieu. It pulls together the music, pictures, costumes, archives and art of the Ballets Russes to illustrate Dighilev's working process, accomplishments and society.
London, 2016. Cm. 17x17, pp. 64, figg. a col. n. t., mz. tela.
Catalogo della mostra: Londra, Victoria and Albert Museum, 2016-2017.
This exquisite gift book explores the phenomenon of 'garnitures', or matching sets of ceramic vases. It brings together some of the National Trust's most important sets of garnitures, showing them in their historic context. Many have never been published before – this is an important souvenir of a unique display.
London, 1998. Cm. 28x22, pp. 223, figg. 177 a col. e in nero n. t., br.
David Esterly's first-hand experience of limewood foliage carving gives him unprecedented insight into Gibbon's (1648-1721) methods and techniques. Unique images illustrate these procedures, while spectacular interior photographs show the carving in its setting. Esterly places Gibbons in his historical context, and shows how the carver's invention of his style is linked with the dramatic events of his early life. Tools, workshop practice, materials and finishing are also dealt with in detail, giving the book a special appeal for practitioners as well as for those with interest in seventeenth-century interiors and the decorative arts generally.
London, 2009. Cm. 25x21, pp. 112, tavv. e ill. a col. n. t., cart. e sovrac.
Per quanto abbia rivestito un' importante valenza sociale nell'Europa moderna, la produzione di gioielli durante il Medioevo è ancora un terreno poco battuto dalla storiografia. Il volume ne analizza l'evoluzione stilistica e il suo riflesso sulla storia del costume, attraverso l'illustrazione delle splendide raccolte del Victoria and Albert Museum di Londra.
London, 2007. In-8¡, pp. 224, figg. 165 a col. e in nero n. t., tela e sovrac.
London, 2016. Cm. 31x24, pp. 320, tavv. 279 a col. e in nero n. t., cart.
Catalogo della mostra: Londra, Victoria and Albert Museum, 2016.
The late 1960s were a period of great turbulence and rapid social and political change. You Say You Want a Revolution? examines that moment when youth culture drove an optimistic idealism, motivating people to come together and question established power structures across every area of society. It shows how many of the issues that dominate contemporary discourse - environmentalism, globalization, individualism or mass-communication - have roots that can be traced back to the 1960s.
1960s design culture culminated in an orgy of colour and form: a sensorial overload of Barbarella-style inflatables, plush Verner Panton playrooms and high-tech 2001: Space Odyssey furniture systems. Here, essays on music, politics, the counter-culture, social living, mind-altering experiences, festivals and more chart revolutions across media and culture, illustrated throughout with some of the most iconic images of the time - including the records that provided both the soundtrack and the key means of identification.
The idealism of the period informed such disparate phenomena as the high-tech innovations of Silicon Valley and the environmental movement. Half a century later, we can reassess the genesis of these movements and explore whether the revolutions they started can be considered complete, ongoing or interrupted.