Книги издательства SKIRA
The first volume dedicated to the complete works of Russian artist Andrei Sharov. Andrei Sharov is a multidisciplinary artist of international repute enthralled by theatre and dance and is a celebrated designer of costumes and stage sets. He is also a painter of note.
Published in collaboration with the MAK Vienna and “LE STANZE DEL VETRO” on the occasion of the exhibition in Venice, the volume presents over 300 works from the collection of the MAK Austrian Museum of Applied Arts / Contemporary Art in Vienna and private collections. It focuses for the first time on the history of glassmaking in Austria from 1900 to 1937, a period spanning the last decades of the Austro-Hungarian Empire and the First Republic. In fact in the early 20th century a group of young architects, designers, and fine arts and architecture students developed a special interest in the process of glassmaking. Many of them were to win fame as leading figures in Viennese Modernism, such as Josef Hoffmann (1870-1956), Koloman Moser (1868-1918), Joseph Maria Olbrich (1867-1908), Leopold Bauer (1872-1938), Otto Prutscher (1880-1949), Oskar Strnad (1879-1935), Oswald Haerdtl (1899-1959) and Adolf Loos (1870-1933). They paved the way to the first pioneering developments in 20th-century glass production as they worked with the furnaces in order to gain a thorough understanding of the material. The collaboration between architects and designers and the introduction of their innovations to production created the style of Viennese Glass, found in new projects such as the Wiener Werkstatte or the Austrian Werkbund . Edited by Rainald Franz, Curator, MAK Glass and Ceramics Collection, Vienna, the volume includes texts by Rainald Franz, Pasquale Gagliardi, Valerio Terraroli, Christoph Thun-Hohenstein, Andreas Vass.
On the occasion of the celebrations of the 500th anniversary of the death of Leonardo da Vinci, the beautiful Litta Madonna from the collections of the Hermitage. The five-hundred year anniversary of the death of Leonardo finds one of its most significant moments in the return of the Litta Madonna to Milan, where it was painted.Its display at the Poldi Pezzoli Museum, alongside other works from the Litta Collection, brings together a group of precious paintings, drawings and prints by the most talented students and followers of the master that, while shedding light on the production methods of his atelier, also offers the measure of the success of the Leonardesque prototype, reinterpreted in masterpieces by Giovanni Antonio Boltraffio, Marco d’Oggiono, Francesco Napoletano, the Master of the Sforza Altarpiece and other anonymous followers between the late 1400s and the early 1500s. Essays and entries by authoritative scholars on the work of Leonardo and his circle enrich this publication edited by Andrea Di Lorenzo and Pietro C. Marani.