What is so special about these Classic Modern architecture motifs is that all these photographs are picture postcards. The collection shows world-famous modern architecture motifs from Hamburg and Stuttgart, Cologne and Breslau as well as views of hospital rooms, nightclubs and administration buildings, large-scale housing projects and exhibition pavilions. The lion's share of the credit for the calculated effect made by this visionary architecture is due to the photographers advocating 'the new way of seeing', whose 'camera eye' staged factories and high-rises as radiant cubes and sculpture on a superhuman scale. The picture postcard (introduced to the world on 1 August 1870), launched the image of the 'New Architecture' world-wide, creating in a brief space of time what is probably the largest, albeit for the most part unknown, repository of Modernist photographic art.

Moderne Grueýe: Fotografierte Architektur auf Ansichtskarten 1919-1939 / Modern Greetings: Photographed Architecture On Picture Postcards 1919-1939 (German Edition)

Arts & Photography

Kirsten Baumann

Photography & Video

Arnoldsche Verlagsanstalt

Art and photography have a long and exciting common history, which has not always been free of conflict. In the mid-nineteenth century, photographers delivered painters templates for their work, but at the same time there was quite a rivalry between the

Lichtmaler: Kunst-Photographie um 1900

<ul>
<li>The Humbert Collection, containing approximately 140 vintage photographs collected between 1863/64 in Japan, is an invaluable account of the Edo-to-Meiji period transition, which shaped the West's image of this insular nation</li>
<li>Contains some of the earliest photographs by Felice Beato and Shimooka Renjô</li>
<li>Infrared photographs - a new form of research undertaken by Tokyo University - allow us to read hitherto hidden metadata on the back of the prints</li>
</ul>
Photographs taken in Japan between the late Edo period and early Meiji periods found their way overseas, and played a major role in forming Westerners' image of Japan. Among these collections, the pictures gathered by the Swiss diplomat Aimé Humbert (1819-1900) in the 1860s were crucial in building lasting representations of the island nation: many of these, mainly collected in 1863/64 during a sojourn in Yokohama and Edo, were used as sources for the well-known and largely distributed engravings of his famous book Le Japon illustré, published in Paris in 1870. Belonging to the collection of the MEN, these beautiful and well-preserved photographs are published here for the first time. Presented by Japanese and Swiss scholars before the narrative backdrop of their acquisition and application by foreigners, they offer a striking view of a lost world.

Japan in Early Photographs: The Aimé Humbert Collection at the Museum of Ethnography, Neuchâtel

Tani, Akiyoshi

Mayor, Grégoire

History

Whenever one watches the Us Secretary of State Madeleine Albright on TV, one cannot but notice her extravagant jewellery. Few people realise, however, that the restrained beauty of this jewellery is often invested with an unmistakable message: After the Iraqi press portrayed her as a she met with Iraqi officials. During the difficult Middle East peace talks, a dove of peace adorned her shoulder and watched over the proceedings. Mrs Albright employs her diplomacy, a weapon barred to men. 61 artists from 16 countries responded to the challenge suggested by Helen Drutt from Philadelphia, to create highly individual brooches themed with Albright's strategic use of adornment. The results are a glittering show of jewellery covering a wide spectrum of shapes, materials and meaning. Each artist interpreted the challenge in a different way. While some boldly emphasized thier political meassage, others choose a more oblique presentation.

Brooching it Diplomatically: A Tribute to Madeleine K. Albright

Crafts, Hobbies & Home

Drutt, Helen W.

Antiques & Collectibles

Felt is fashioanble. Since the 1980s, not only couturiers and designers, but artists have become more interested in felt. This publication, for the very first time, provides a thrilling survey of current creative activities which may be based equally on Joseph Beuys as on ethnological It is felt as a medium, or frequently the felting process itself, which dominates the artistic message of many works. Artists such as Inge Evers or Claudia Merx, for instance, develop their image directly from felting techniques. Others may be more interested in the sculptural potential of felt or explore its material characteristics like Erich Koster, who turns fekt into stiff material, from which he saws 'technoid' structures, or Ulrike Hau, who makes weapon-shaped felt objects. There are also artists who are attracted by felt's resemblance to skin and thus its correctedness with the body, for example Celio Braga,w ho considers the body in terms of its vulnerability and frailty. Together with such artistic interpret

Felt/Filz: Art, Crafts and Design/Kunst, Kunsthandwerk und Design

Engineering & Transportation

Thomas, Katharina

Engineering

The unique cultural landscape of southern Africa (Nambia, Zimbabwe, Botswana, Mozambique and South Africa) is a highly dynamic and complex area where old traditions are confronted by explosive social and political upheavals. The resulting contradictions and conflicts stimulate a directions as well as ancient roots. The collection of highly varied essays by knowledgeable experts on Africa ranges from historical and political problems to questions of artistic production and of how to deal with culture and nature in the face of industrialisation and globalisation. Art is one of the major subjects, and the contemporary artistic activities, including photography. The publication presents a picture of a vigorously alive southern Africa, contradicting common western Cliches which regard the region as having no art and solely being riddled with problems of post-apartheid, crime and AIDS.

Tracing the Rainbow: Art and Life in Southern Africa

Eisenhofer, Stefan

History & Criticism

In 1932 Antonio Seguso and his sons Archimede and Ernesto joined forces with Napoleone Barovier and Luigi 'Olimpio' Ferro to found Vetretia Artistica Barovier &amp; C.; the name of the firm was changed to Seguso Vetri D'Arte in 1937. The turbulent era of the company's history - marred by some severe economic downturns - ended in 1973 when it was taken over by Maurizio Albarelli. On entering the firm in 1945, Flavio Poli turned the program around to make it fresh and contemporary. Thus Seguso Vetri D'Arte became the leading glass factory on Murano. Flavio Poli's designs chimed perfectly with the 1950s and '60s zeitgeist. We are indebted indeed to Marc Heiremans for devoting years of hard work at various Murano sites to tracking down almost all the Seguso archive material: an incredible treasure trove which he has been evaluating, working up and subjecting to meticulous scholarly treatment. The fruits of his labors are presented in this book, which is essentially a catalogue of works.

Seguso Vetri d'Arte: Glass Objects from Murano (1932-1973)

Heiremans, Marc

Collections, Catalogs & Exhibitions

This book is part of the series of comprehensive handbooks on Murano glass. This time, Marc Heiremans discusses the masterly glass-working techniques of Murano. With the establishment of a glass museum at Murano in the late 19th century and the exhibition of had the opportunity to thorougly investigate almost forgotten techniques and revive them. The magnificent objects produced by superior glass-blowers in 20th century Murano are based on a few already existing methods like 'Zanfirico' 'a Canne', 'a Murrine' and 'Tessere', as well as modifications on the hot or colled surface with chemicals. During the 1950s and 60s, these techniques - adapted to new forms, - brought about and impressive renaissance. This publication shows contemporary photographs, original drawing and dazzling colour shots of these defining subjects of Murano's glass-making techniques, which made the brilliant glass-blowers glass-making techniques, which made the brilliant glass-blowers of the tiny island internationally fa

Murano Glass (1910-1970) Theme and Variations

This is the first publication to provide an extensive survey of the arts of New Britain, part of Papua New Guinea. The major focus is on the arts of the Baining, Sulka, Nakanai, who in connection with cult festivities and secret societies have produced an astonishing collection. From the head masks used in ritual dances and the stone sculptures of the Inuit secret society to the bold paintings of the Nakanai, the illustrated objects help to explain why it was the art of this region that ideally expressed Surrealist conceptions. Max Ernst and Paul Klee in their sculptures and paintings indeed found related solutions. Through their adaptations of New Britain art, its abstractional and fantastic have become artistic ways of expression familiar to a wide audience. This is only one reason for the fascination of confronting these originals, of which the background - world view, values and questions of artistic activity - and historical context is explained and discussed with photographs and texts.

Form Colour Inspiration: Oceanic Art from New Britain

The more than 3,500 items in this unique private collection of cutlery, illustrated with 450 large colour plates, present the expert and the amateur with an outstanding survey of the changing shapes of eating implements from the palaeolithic to the twentieth century. The complete collection is divided into three parts:- Part 1 covers cutlery from prehistoric times to the seventeenth/eighteenth century. Part 2 unites 'table-ware' from the eighteenth century to the classicist period, which means cutlery laid out to 'cover' the table (as in cover charge), an extension of its earlier derivation from French 'coutelier', a cutter. Part 3 shows cutlery from the Historicism of the Neue Sachlichkeit period, and focuses on Art Nouveau or Jugendstil with its sheer endless/innumerable ideas for new shapes and designs by well-known artists and manufacturers. The very skilful displays of cutlery arranged by the author and collector, are illustrated in large format and natural size on 450 colour plates of superb

Historische Bestecke: Formenwandel von der Altsteinzeit bis zur Moderne / Historic Cutlery: Changes in Form from the Early Stone Age to the Mid-20th Century (German and English Edition)

Amme, Jochen

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