Once described as "the most beautiful painter's drawings in existence," Georges Seurat's mysterious and luminous works on paper played a crucial role in his short, vibrant career. This comprehensive publication surveys the artist's entire oeuvre, from his academic training and the emergence of his unique methods to the studies made for his monumental canvases. Accompanying the first exhibition in almost 25 years to focus exclusively on Seurat's drawings, this volume presents approximately 130 works, primarily the artist's incomparable conté drawings along with a small selection of oil sketches and paintings. In an effort to bridge the seemingly opposite goals of description and evocation, Seurat masses dark and light tones to abstract figures, exploits medium and paper to amplify radiating light, and engages with the Parisian metropolis, revealing urban types, the industrial suburbs and nineteenth-century entertainment. Though Seurat is perhaps best known as the inventor of Pointillism, this volume demonstrates his tremendous achievement as a draftsman and his fundamental importance to the art of the twentieth century. It includes carefully selected details of the work, as well as reproductions from pages of Seurat's sketchbooks, which have never before been published. Texts by Jodi Hauptman, Karl Buchberg, Hubert Damisch, Bridget Riley, Richard Shiff and Richard Thomson address specific aspects of Seurat's techniques, materials, and subject matter. They are rounded out by a chronology, a selected bibliography and a detailed checklist.

Georges Seurat: The Drawings

Richard Shiff

Jodi Hauptman

Karl Buchberg

Hubert Damisch

BRIDGET RILEY

Richard Thomson

Reference

The Museum of Modern Art, New York

Log 40 assembles a wide-ranging collection of thoughtful essays on some of the most urgent questions and debates in architecture today, bringing them into dialogue with those of architecture s recent past. The legacy and current status of architectural images are considered from radically different vantages, in Brett Steele s anecdotal discourse on Zaha Hadid s 1983 painting The World (89 Degrees), John May s exacting dissection of architecture after imaging, and Hana Gründler s exploration of the ethical implications of drawing borderlines. The issue features commentary by two contemporary architects on contemporary buildings: V. Mitch McEwen on David Adjaye s National Museum of African American History and Culture in Washington, DC, and Elisabetta Terragni on OMA s Fondazione Prada in Milan. Other highlights include an excerpt from Noah s Ark, the new collection of Hubert Damisch s singular writings on architecture; a lively response by Mark Foster Gage to Michael Meredith s recent Log essay on indifference; and a sampling of new domestic objects designed by architects. In this issue: Trisha Brown travels toward a wall, David Buege remembers Christopher Risher Jr., Hubert Damisch floats a theory of architecture, Cynthia Davidson reads Keith Krumwiede s Atlas, Cynthia Deng &amp; Elif Erez chase a tin can through Mexico City, Mark Foster Gage raises an objection to indifference, Hana Gründler limns the borders of ethics, Pablo Martínez Capdevila arbitrates the Radicals vs. Tendenza, John May processes images in real time, V. Mitch McEwen visits David Adjaye s NMAAHC, Matthew Soules appraises transhumanist vacancy, Brett Steele steps into Zaha Hadid s World, and Elisabetta Terragni reflects on the Fondazione Prada. Plus: Alfini, Besler &amp; Sons, Ania Jaworska, Jimenez Lai/Bureau Spectacular, MOS, Norman Kelley, Sam Jacob Studio, Thing Thing, and their wares. And observations on public art and preservation in Brooklyn . . .

Log 40

Trisha Brown

JOHN MAY

Brett Steele

Norman Kelley

Jimenez Lai

Mark Foster Gage

Sam Jacob

V. Mitch McEwen

David Buege

Hana Gründler

Elisabetta Terragni

Ania Jaworska

Matthew Soules

Pablo Martínez Capdevila

Anyone Corporation

Hubert Damisch writes about the James' ability to photograph the ancient capital, with its intense modernity and bustling population, as if it were an archeological site. Nearly always empty of human presence, his photographs of the Porte Saint-Denis, the Boulevard Saint-Martin or the Opéra Bastille focus on the city itself. Damisch, a native Parisian, walks us through what James has seen. We see the quartiers that haunted André Breton and the Surrealists, the Passage de l'Opéra made famous by Aragon, the narrow streets so dear to Walter Benjamin and places which for Damisch himself hold strong childhood memories of the German Occupation. In forty-four tritone reproductions, some immediately identifiable as Parisian and others not, James reveals the immense force concealed within this city. In English and French.

Paris: Photographs by Geoffrey James (English and French Edition)

Arts & Photography

Photography & Video

Cultural Services, Canadian Embassy, Paris

Américanisme et modernité: L'idéal américain dans l'architecture (Histoire et théorie de l'art) (French Edition)

Jean-Louis Cohen

Ecole des hautes x

Foreign Language Study & Reference

Flammarion

" Si les infinitifs " mourir ", " aimer ", " bouger ", " sourire ", etc., sont des vnements, c'est parce qu'il y a en eux une part que leur accomplissement ne suffit pas raliser, un devenir en lui-mme qui ne cesse la fois de nous attendre et de nous prcder comme une troisime personne de l'infinitif, une quatrime personne du singulier. "

Gilles deleuze, un album (CATALOGUES DU M.N.A.M)

Centre Georges Pompidou Service Commercial, France

Juicio de Paris (Spanish Edition)

Politics & Social Sciences

Philosophy

Siglo XXI Editores Mexico

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Books by Hubert Damisch