The abstract woodcuts by Hans Arp and the poems of Tristan Tzara are among the supreme Dada experiments in bookmaking. This book is an exact facsimile of the French edition, with an English language translation.

Cinema Calendrier Du Coeur Abstrait Maisons

Arts & Photography

Tzara, Tristan

Arp, Hans

History & Criticism

Artists Bookworks

The French Impressionist painters discovered new means for painting light – they used a “solar palette”, the pigments matched to the colours the eyes see. They are the colours of a ray of light. This little book reproduces palettes by several of the plein-air painters, describes the pigments they used, and includes short excerpts by the scientists whose work was the foundation of the new painting – complementary colors, optical mixing, and the pigment-color correspondences. It closes with color swatches of the pigments, provided by the London artists’ colormen, L. Cornelissen &amp; Son. This book will be of interest to art historians, collectors, students, conservators, and museum-goers.

Impressionists' Palettes of Light

Railing, Patricia

Graphic Design

Pigments described by the English chemist, Robert Dossie, the French artists' colourman, Jean Félix Watin, and the London-based pigment maker, Constant de Massoul. 18th century European painting saw the introduction of new pigments to the painters’ palettes, from Prussian Blue to the early synthetics such as Patent Yellow. It was a century rich in pigments, the authors of the treatises listing over 150 pigments that could be bought in the shops in London and Paris.

18th Century Colour Palettes

2 Squares/More About 2 Squares (Russian Edition)

LISSITZKY, El

A facsimile edition of Kazimir Malevich, SUPREMATISM 34 Drawings, was published in 1990 by Artists Bookworks accompanied by an introduction to the drawings by Patricia Railing; it is now out-of-print. This 2014 reprint of Malevich’s little book contains a new translation from the Russian and a new introductory text by Patricia Railing, “Reading the 34 Drawings”. The Russian text and plates were scanned from an original copy and the size of this little book conforms to the lithographed Russian edition of 1920.

Kazimir Malevich: Suprematism: 34 Drawings (1920)

Suprematism: 34 Drawings, Unovis, Vitebsk 1920 (Russian Edition)

Kazmir Malevich

Individual Artists

From Science to Systems of Art

5 X 5 = 25: Russian Avant-Garde Exhibition Moscow 1921 a Catalogue in Facsimile (Spanish Edition)

Collection of 30 texts, 1915-1928, &amp; 3 facsimiles, some in first English translation, plus Nina Kogan on Cubism and Ilya Chashnik on Suprematism. Chronological sections trace Malevich’s analyses of Cubism and Futurism, the Supremus Society of Artists, Suprematism Triumphant, UNOVIS, Theory of Creativity as Artistic Culture, and the Non-Objective World of Sensations. A presentation of sensations from Cézanne to Suprematism is followed by a discussion of how consciousness and the environment influence artistic creativity in P. Railing, Malevich on Creativity.

Malevich Writes: A Theory of Creativity Cubism to Suprematism

Ten 17th century writers described the pigments in use in their countries – England, Sweden, Flanders, France, Spain, and Italy. The theme of their treatises was studio practice and the pigments were discussed as they were set on the palette. Surprisingly, the method was the same – from light to dark, white to black. The 17th century palette was an international palette comprising just over 100 pigments. This book will be of interest to art historians, collectors, students, conservators, and museum-goers.

17th Century Colour Palettes

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