Antonio López--also known as Antonio López García--is hyper-realism’s greatest living exponent, and one of the finest painters of the past hundred years. Published on the occasion of the artist’s landmark exhibition at the Museo Thyssen-Bornemisza in Madrid, this generous overview constitutes a self-portrait of a genuine icon of contemporary painting. It spans the years from 1953 to the present, placing an emphasis on works made after 1993 (the year of the artist’s last retrospective exhibition in Spain, at the Reina Sofia Museum). These more recent pieces include masterworks such as “View of Madrid from the Vallecas Fire Tower” (1990–2006) and the monumental heads “Day,” “Night” and “Woman, Coslada” (2010). The artist himself has selected the works and structured their presentation here into eight thematic groupings: “Memory,” “Surroundings,” “Madrid,” “Gran Vía,” “Tree,” “Nude,” “Characters” and “Interiors.” Full-color reproductions are complemented by a wealth of archival documentary photographs of the artist at work. Antonio López García was born in Tomelloso, in the heart of Spain, a few months before the outbreak of the Spanish Civil War in 1936. He studied at the School of Art in Madrid in the early 1950s, where he soon proved himself a brilliant student, and quickly became part of a nucleus of realist painters, such as Francisco López Hernández, Amalia Avia and Isabel Quintanilla. López García was the subject of Víctor Erice’s 1992 film El Sol del Membrillo (The Quince Tree of the Sun), which closely chronicles the artist’s attempts to paint a quince tree.

Antonio López (FUNDACION COLEC)

Arts & Photography

López Moreno, Maria

Solana, Guillermo

Viar, Javier

López-García, Antonio

Individual Artists

Fundación Colección-Thyssen Bornemisza

Guide to the Collection. Thyssen-Bornemisza Museum

UNKNOWN

The Art of Cartier is published to coincide with the exhibition of more than 400 pieces from the historic collection of the legendary French jeweler Cartier at the Thyssen-Bornemisza Museum in Madrid. Cartier was founded in Paris in 1847 by Louis-François Cartier, although it was his three grandsons--Jacques, Louis and Pierre--who were responsible for launching the brand name worldwide. Indeed, so successful were they that we can read across from the story of Cartier to the wider history of the twentieth century: a Panther clip brooch bought by Wallis Simpson in 1949; the now-infamous Ruby Suite presented to Elizabeth Taylor by her third husband, Mike Todd, in 1957. The Art of Cartier offers a comprehensive selection of the finest jewels that Cartier has repurchased over the years, in an attempt to assemble a representative collection of the Maison’s production and to show the evolution of its style during the first half of the twentieth century. The items on exhibit range from the great tiaras in the so-called “garland” style of the early twentieth century to Art Deco jewels and others inspired by exotic places (including the famous Tutti Frutti bracelet of diamonds, emeralds, rubies and sapphires all nestled in a frieze of foliage), gold jewelry of the 1930s and 1940s and one-off commissions for leading personalities of the century such as Coco Chanel, María Félix and Grace Kelly. This sumptuous volume includes 950 color photographs and introduces us to one of the world’s finest jewelry collections, allowing us to appreciate the creativity and mastery of Cartier’s designers and artist-jewelers over the course of more than 100 years.

The Art of Cartier

Graphic Design

"Humble and colossal," as his friend Cézanne described him, Camille Pissarro is at once the most important and the least familiar of the leading Impressionist painters. As a mentor to that group, which he helped to convene, Pissarro was responsible for drafting the statutes of the artists’ cooperative that launched the famous Impressionist exhibitions, which were the first to take art outside the academic confines of Paris’ salon exhibitions; he was also the only painter to participate in all eight of those landmark shows, from 1874 to 1886, and was the first painter to develop and sustain the plein air practice for which the Impressionists are famed. This volume presents Pissarro as one of the great pioneers of modern art, appraising his career through five thematic and chronological chapters that offer a tour of his preferred landscapes and cities: "On the Road to Impressionism," "Louveciennes-London-Louveciennes 1869–72," "Pontoise Revisited 1872–82," "Eragny Landscapes 1884–1903" and "City Views." It includes essays by some of the most renowned Pissarro scholars: Richard R. Brettell, who writes on the artist’s involvement with anarchism; Joachim Pissarro (one of the authors of the Pissarro catalogue raisonné) on Monet and Pissarro’s relationship in the 1890s; and Guillermo Solana on the motif of the road in Pissarro. Born on the island of Saint Thomas in the Antilles into a wealthy family of Jewish origin, Camille Pissarro (1830–1903) studied painting in Paris and Venezuela. He met Claude Monet, Auguste Renoir and Alfred Sisley in 1859. Pissarro acted as pater familias not only to the Impressionist group, but also to the major Post-Impressionists, including Georges Seurat, Paul Cézanne, Vincent van Gogh and Paul Gauguin.

Pissarro (FUNDACION COLEC)

PISSARRO, Joachim

Brettell, Richard

History & Criticism

In 1969, the artist Robert Smithson proposed a new interpretation of the work of Paul Cézanne (1839-1906). In Smithson's view, Cézanne's painting had been distorted by the Cubists, reduced to an almost abstract play of forms. In contrast to this formalist simplification, Smithson underlined the need to recover the physical reference in Cézanne's work, his strong link to certain places in Provence. Published on the occasion of a major exhibition on Cézanne, Site/Non-Site celebrates the work of a foundational figure in late nineteenth and early twentieth-century painting who is widely regarded as the father of modern art. The term "site/non-site" evokes a pair of concepts that were coined by Smithson in connection with his own oeuvre and explores the dialectic between outdoor and studio practice, which Cézanne cultivated throughout his career. Landscape is the dominant genre in Cézanne's work, identified with the practice of plein-air painting. But unlike his Impressionist contemporaries, he also attaches decisive importance to a genre characteristic of the studio: still life. This publication includes a chronology of Cézanne's life as well as a text from Guillermo Solana in which he traces the development of Cézanne's style and motifs throughout the artist's career.

Cézanne: Site/Non-Site

Luengo, Paula

Pop Art Myths revisits Pop from a twenty-first-century perspective, bringing together more than 100 works by artists including Andy Warhol, Roy Lichtenstein, Richard Hamilton, Peter Blake, Robert Rauschenberg, Tom Wesselmann, Alex Katz, Mimmo Rotella, Eduardo Arroyo, Vija Celmins, Öyvind Fahlström and Gerhard Richter. The exhibition and catalogue attempt to survey Pop art through the revelation and deconstruction of the myths the artists constructed around themselves and the movement, about its apparent superficiality, and its implied irony and critique (or lack thereof). Also included are texts by art historians Francisco Calvo Serraller and Thomas Crow.

Pop Art Myths

Published on the occasion of the first major retrospective of the work of the great French fashion designer, this volume celebrates a key twentieth-century creator and a living legend in the history of haute couture. The exhibition, devised by Hubert de Givenchy himself and curated by Eloy Martínez de la Pera, provides an exceptional survey of the couturier's creations over nearly half a century, from the opening of the Maison Givenchy in Paris in 1952 to his professional retirement in 1995. A hundred or so of his finest pieces selected from museums and private collections all over the world, many of them never previously shown, establish a dialogue in the Museum's galleries with a group of works belonging to the Thyssen-Bornemisza collections. Hubert de Givenchy (born 1927) was born to an aristocratic family in Beauvais, France. After completing his studies at the École des Beaux-Arts, Givenchy worked for several fashion designers, including the avant-garde Elsa Schiaparelli. In 1952 he opened his own fashion house, his style markedly innovative compared to the conservatism of his contemporaries. He was, at age 25, the youngest couturier of the Parisian fashion scene. Thanks to his elegant, feminine designs, the Givenchy brand soon became synonymous with Parisian chic, and the designer is known for dressing celebrity icons such as Jacqueline Kennedy, Audrey Hepburn and Grace Kelly.

Hubert de Givenchy (FUNDACION COLEC)

de Givency, Hubert

Venet, Philippe

de la Pera, Eloy

Uría, Igor

Fernández, Lourdes

French Fauvist painter Raoul Dufy (1877-1953), with his cheerful watercolors and oils depicting scenes of regattas and horse races, has largely been cast as a painter of luxury and leisure. This book moves away from the traditional interpretation of Dufy as a painter of pleasurable bourgeois pastimes. While not ignoring the undeniable hedonistic nature of his work, it sets out to show the gradual development of his personal style and his constant pursuit of new artistic expressions, highlighting the more introspective and reflective side of his oeuvre. Dufy was among the early 20th-century artists who did the most to combine the "greater" and "lesser" arts; like Gauguin before him, he made decoration the focus of his artistic concerns and succeeded in giving free rein to his decorative imagination.

Raoul Dufy (FUNDACION COLEC)

PEREZ-TIBI, Dora

López-Manzanares, Juan

Krebs, Sophie

Briend christian

This volume offers the most comprehensive overview in print--and the first substantial English-language monograph in decades--on the great 17th-century Spanish painter Zurbarán. It spans his entire career, from his earliest commissions to key works from his mature period, plus works recently rediscovered over the past few years. A contemporary of Velázquez, Zurbarán developed an austere vision that combined exacting realism with a palpable mysticism. Though he was sometimes known as "the Spanish Caravaggio" for his harsh use of chiaroscuro, Zurbarán's particular achievement was his creation of a more austere quietism, and a less foreboding if more melancholy atmosphere--qualities which lent themselves ideally to such genres as still lifes and his portraits of monks and martyrs, and which also ensured his importance for early modernism (especially Cubism). Examining this beloved painter's oeuvre across six themed sections, Zurbarán: A New Perspective includes work by a selection of his most talented pupils, and by his son Juan de Zurbarán, also a superb still-life painter. Francisco Zurbarán (1598-1664) is closely associated with the city of Seville, where he served his apprenticeship, and where his most famous painting, the ca. 1631 "Apotheosis of Saint Thomas Aquinas," now resides, at the Seville Museum. Zurbarán served as court painter to Philip IV, who is said to have revered him as "painter to the king, king of painters."

Zurbarán: A New Perspective

Guía didáctica. Edvard Munch. Arquetipos (Spanish Edition)

Andrés Cristóbal, Ana

Silva Faci, Alejandro

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