Hegel's Vacation, painted by Magritte in 1958, is the focus of attention in this exploration of the imagery, symbolism, and spirit of the Belgian artist's work

MAGRITTE CROWN ART LIB (Crown Art Library)

Arts & Photography

Noël, Bernard

Individual Artists

Crown

Another title from The Crown Art Library, the most useful monographs available on a wide range of significant artists. Each volume is written by an internationally recognized authority and is generously illustrated with full-color reproductions of the artist's paintings and two-color reproductions of sketches and line drawings.

David (Crown Art Library)

Magritte: (CAL) (Crown Art Library)

Three Rivers Press

3 orphans, King, Flor and Niles defend their city against colossal aliens using powerful water guns and organic juice. • Includes 35 + Illustrations. • Fun intermissions with reading tips to become a faster reader.

Juice Kids

Children's Books

Action & Adventure

ALL THINGS BEYOND

Franta: Paintings and works on paper = Franta : peintures et travaux sur papier

Reference

Foreign Language Study & Reference

Mage Publishers

When Le Château de Cène (here translated as The Castle of Communion) first appeared in France in 1969, under the sonorous pseudonym of Urbain d’Orlhac, it created a sensation. Immediately recognised as being among the finest works of French literary eroticism (along with, say, Bataille’s Story of the Eye, or Reage’s Story of O), its author was soon identified: the poet and essayist Bernard Noël, born in 1930. 
The author recounts an intense initiatory sexual quest which occurs on a mysterious remote island. Chosen as the moon’s lover the hero undertakes a Dantesque voyage through sucessive levels of pain and ecstasy. The book’s climax is a beatific rite of sexual purification in the Castle of Communion, which is described in a poetic language at once incantatory, crude and almost mystical. The intensity of the book matches its method of composition: dictated into a tape recorder and finished in only 3 weeks, and written as a partial response to the atrocities of the French authorities in Algeria. 
This edition is postfaced by Noël’s essay The Outrage Against Words, his thoughts on the government’s unsuccessful attempts through the courts to supress the novel for "outraging public morals." He illuminates the intimate connection between writing and censorship in general.

The Castle of Communion (Atlas Press)

Literature & Fiction

Buck, Paul

George, Glenda

History & Criticism

Atlas Pr

Winner of the Robert Fagles Prize for contemporary poetry in translationEléna Rivera's translation of Bernard Noël's The Rest of the Voyage is at once original and remarkably faithful―indeed, its originality lies in the care and music the translator has brought to her commitment to follow Noël's forms as closely as possible. Rivera succeeds beautifully in setting the rhythms of the French original into English. The succession of poems has a fluency that becomes as mesmerizing as any mode of transport, for Rivera is remarkably adept at varying the lines, landing with emphasis or muting the effect as she follows the speed and light of Noël's themes. Those themes are no less than a meditation on the traveler's encounter with landscape in the late twentieth century. Noël takes on distant shots and close-ups, moving too quickly to see particulars or so slowly that objects become abstractions, conveying the smells, tastes, and sounds of each location in wholes and parts, reflexively considering what is invisible to a visitor, and meditating on the ancient theme of the voyage of life with great vividness and freshness. Noël is one of the most distinguished living writers in France. Yet Rivera's is the first translation of his poetry into English, and her work thus remedies an unfortunate weakness in English-language letters." ―Susan Stewart, from the introduction

The Rest of the Voyage: Poems (French Edition)

Rivera, Eléna

Poetry

Graywolf Press

A picture of a pipe is not really a pipe, and a daylight-filled sky can shine over a streetlamp-lit townhouse, and a painting of a window inside a painting of a sitting room can be the window in that sitting room, and a room-sized rock can gaze out of that room at the sea, and, of course, a man is a suit can have a green apple for a face. At least, that is, in the world of Magritte. And who wouldn't want to believe in that world, or at least take pleasure in the ability to recognize parts of it in our own? One of the most charming and beloved of the surrealists, Rena Magritte took a light, witty paintbrush and created a world both familiar and not--but always recognizable in our dreams. His plays on semiotics, identity, the idea of woman, the possibilities inherent in objects, and the idea that everything was not necessarily what it seemed--or what it was supposed to be--are celebrated here in an intelligent retrospective monograph, featuring more than 150 paintings, sculptures, objects, and works on paper. The organization of this catalogue paints Magritte as an innovator, and an artist who has had significant influence on contemporary creators. Accompanying essays, including an introduction by Alain Robbe-Grillet, inventor of the nouveau roman, consider Magritte's influence on modern and contemporary art. Magritte's relationships with his surrealist contemporaries Louis Scutenaire and Andra Breton, and the art dealers Edward James and Alexandre Iolas, are each revealed through individual art historical texts and a selection of unpublished letters. An illustrated chronology is included as well. This catalogue is published in conjunction with an exhibition at the Galerie Nationale du Jeu de Paume in Paris.

Magritte

Magritte, René

Hammacher, Renilde

Goutier, Jean-Michel

NoIl, Bernard

ROUDAUT, Jean

Whitefeld, Sarah

D.A.P./Distributed Art Publishers

Extraits Du Corps

Gallimard Education

Leslie Robert Krims, dit Les Krims, occupe depuis trente ans une place essentielle et singulière dans l'histoire de la photographie américaine. Né en 1943, il étudie les arts plastiques à New York et s'installe définitivement à Buffalo où il enseigne à l'université d'Etat. 
Provocateur, iconoclaste, pourfendeur de l'«American Way of Life» ; Les Krims, véritable mythologue de l'Amérique moderne est aussi un des pionniers de la composition photographique conçue comme un espace théâtral où vrai et faux échangent leurs masques. S'il n'a pas inventé la construction narrative, il en a exploré toutes les facettes et reste avec D. Michals ou J.P. Witkin, le précurseur de la mise en scène photographique, patiemment réfléchie et élaborée, et dont l'influence irrigue la création contemporaine (performances, happenings, installations...). 
Il se fait d'abord remarquer par des séries documentaires satiriques et critiques : The Little people of America (rassemblement de nains), «Deers Layers» (chronique des chasseurs de daims) dans lesquels il détourne les tabous, rites et représentations dominantes de la société de consommation. En 1969, son crucifix composé d'une femme nue affublée du masque de Mickey fait sensation. Progressivement, il délaisse le noir et blanc pour la couleur, s'empare du procédé Polaroïd qu'il retravaille au séchage, multiplie les formats et les dispositifs. Son esthétique hyperréaliste dresse l'implacable réquisitoire d'une société enlaidie par le kitsch et abandonnée à la gadgetisation. S'installe alors une sorte de théâtre de l'absurde à l'ironie cinglante (on pense à ses reconstitutions de scènes de meurtres imaginaires) dans lequel le photographe devient lui-même acteur, parmi des décors d'un foisonnement iconographique vertigineux.

Les Krims: Photo Poche n°104

Krims, Leslie

Actes-sud

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