Die Schrecken der sieben Weltmeere
Die Welt der Seeräuber und Piraten in Literatur und Illustrationskunst
Piraten, Seeräuber, Korsaren – wer kennt sie nicht, die säbelrasselnden Abenteurer und Schrecken der sieben Weltmeere? Seit Jahrhunderten spuken sie, ob echt oder erfunden, durch die Welt von Literatur und Kunst: Edward Teach, alias Blackbeard, bekannt für seine blutrünstige Grausamkeit, Henry, genannt Bloody Morgan, dessen versunkene Schätze bis heute der Entdeckung harren, und natürlich Long John Silver, ein Antiheld, wie er im Buche steht und wie ihn Robert Louis Stevenson in der Schatzinsel (1885) so packend geschildert hat.
Der Band Pirate Tales ist eine wahre Schatzkiste von Auszügen aus Romanen und Erzählungen, die von der großen Zeit der Seeräuberei im 16. und 17. Jahrhundert berichten. Den Anfang macht Daniel Defoes Robinson Crusoe (1719), das alles bereit hält, was die Geschichte der Kaperei zu bieten hat: Schiffbruch, Meuterei, verborgene Inseln und sprechende Papageien. Defoes Meisterwerk wurde zum Vorbild für viele Abenteuerromane, nicht zuletzt für Jules Vernes Die geheimnisvolle Insel (1871), das ebenfalls vertreten ist. Dritter im Bunde ist Robert Louis Stevenson mit der Schatzinsel (1885), einem Piraten-Epos, das in keiner Seeräubersammlung fehlen darf, denn hier begegnen wir Billy Bones, der blinde Pew, der holzbeinige Long John Silver und der Schwarze Fleck. Auszüge aus Howard Pyles posthum publizierten Buch der Piraten (1921) runden den Band ab.
Spannend und anschaulich bebildert sind all diese Geschichten aus der Welt der Piraterie mit Werken aus der Schule von Brandywine, die als Wiege der modernen amerikanischen Illustrationskunst gilt, angefangen bei dem Piratenspezialisten Howard Pyle, gefolgt von dessen Schülern Newell Convers Wyeth und Frank Schoonover. Der Band enthält neben Originalwerken aus Privatsammlungen Werke aus der Goldenen Zeit der Illustrationskunst an der Wende vom 19. zum 20. Jahrhundert. Die Auftaktillustrationen zu den einzelnen Geschichten wurden eigens für diesen Band von dem kanadischen Illustrationskünstler Michael Custode gezeichnet.
Eine ausführliche Einleitung aus der Feder des Historikerpaars Robert und Jill May stellt historische Freibeuterpersönlichkeiten und ihren Einfluss auf die im Band enthaltenen Erzählungen vor. Die einzelnen Geschichten werden fachkundig kommentiert, das Leben und Werk der Autoren und Illustratoren im Kontext ihrer Kunst vorgestellt. Mit seiner Mischung aus Geschichte und Geschichten, literarischer Fiktion und Illustrationskunst lässt Das Buch der Piraten uns eintauchen in eine Welt der Abenteuer auf sturmgepeitschter See an der Seite verwegener Seeleute und jeder Gefahr spottender Outlaws.
In her vibrant works, the Brazilian painter Beatriz Milhazes fuses two very different worldviews. Her abstract compositions, which can be seen in a line with modernist masters from Henri Matisse to Bridget Riley, are saturated with the colors and light of her native country. Her paintings are strewn with symbols of everyday life in Brazil, invoking carnival, traditional craftsmanship, and motifs from baroque to pop, all choreographed in an exuberant visual rhythm. The colorful atmosphere has an irresistible exotic allure, but as in the works of Paul Gauguin, we find a broken paradise in which darker, more melancholic tones resonate, both in the promises of tropical life and those of modernist abstraction.
In seeking this balance, Milhazes developed a special transfer technique in the late eighties, painting her motifs onto plastic sheets, gluing these to the canvas and letting them dry, and then peeling away the plastic once dry so that the paint remains on the canvas. This method allows the artist to layer surface upon surface and to achieve an iridescence somewhere between radiant aura and shimmering melancholy. Since her breakthrough in the early 1990s, Milhazes has extended the scope of her work to other media, producing screen prints, collages made of chocolate and candy wrappers, sculptures such as giant mobiles made of carnival decorations, site-specific projects that transform building façades into stained glass windows, and experiments with body and rhythm in collaboration with her sister Marcia’s ballet ensemble.
In the imaginations of young and old alike, the word “pirate” resonates with spine-tingling fear and swashbuckling adventure. Over centuries, our cultural landscape has been populated by a host of famous real and fictional figures immortalized in literature and art: Edward Teach, also known as Blackbeard, with his fearsome reputation for cruelty; Henry ‘Bloody’ Morgan, whose treasure is still sought today; and of course Long John Silver, the archetypal anti-hero of Robert Louis Stevenson’s Treasure Island (1885).
Pirate Tales gathers a treasure trove of excerpts from literary works inspired by the historical pirates of the 16th and 17th centuries. The edition begins with Daniel Defoe’s Robinson Crusoe (1719), a book containing all the trappings of pirate lore – shipwrecks, mutineers, undiscovered islands, and talking parrots – and one which influenced hundreds of works of adventure fiction, not least Jules Verne’s The Mysterious Island (1871). The third nerve-jangling novel is Treasure Island, without which no book on pirates would be complete, thanks to its unforgettable additions to the pirate canon: Blind Pew, Billy Bones, the black spot, wooden legs and Long John Silver. Extracts from Howard Pyle’s posthumously published Book of Pirates (1921) round off the edition.
The tales are enlivened by arresting illustrations at every turn, including those by artists from the Brandywine School such as Pyle, the undisputed father of pirate illustration, and his students N. C. Wyeth and Frank Schoonover. This edition features a number of original artworks by these illustrators, drawn from private collections, as well as contributions by other artists from illustration’s so-called “Golden Age” of the late 19th and early 20th century. Scene-setting vignettes for each story were executed by the illustrator Michael Custode.
Martin Luther’s revolutionary publication
Martin Luther’s Bible, first printed in 1534, was not only a milestone for the printing press, but also a momentous event in world history. A UNESCO world heritage masterpiece, Luther’s translation from Hebrew and ancient Greek into German made the Bible accessible to laypeople and gave printed reference to a whole new branch of Christian faith: Protestantism.
In this meticulous two-volume reprint, TASCHEN presents a complete facsimile of the Luther Bible. Based on a precious copy of the original and printed in color, it reveals the multilayered splendor of this publication, showcasing the meticulous script, elaborate initials, and exquisite color woodcuts from the workshop of Lucas Cranach.
In an accompanying booklet, Stephan Füssel, director of the Institute for Book Sciences at the Johannes Gutenberg University in Mainz, adds his expertise to the publication with detailed descriptions of the illustrations, as well as an introduction exploring Luther’s life and the seismic significance of his bible.
Bettina Is Back
35 years of daring, defiant photography
Since her first photographs in the late ’70s, Bettina Rheims has defied the predictable. From her series on Pigalle strippers (1980) to her cycle on the life of Jesus in I.N.R.I. (1998), from Chanel commercials to Gender Studies (2011), her work has shaken up traditional codes of representation and pushed restlessly at the breaking point between two great human preoccupations: beauty and imperfection.
This Rheims retrospective showcases more than 300 photographs from 35 years of daring, often defiant photography. Personally selected and assembled by Rheims, the collection brings together renowned series such as Chambre close, Héroïnes, and Rose, c’est Paris. Spanning commercial work and artistic series, the retrospective impresses with each turn of the page, as much for the strength of each image as for the thrilling variety of Rheims’s subjects and aesthetics. With equal attention to anonymous subjects cast in the street as to global celebrities including Kate Moss, Madonna, Monica Bellucci, Claudia Schiffer, and Naomi Campbell, the book showcases Rheims’s particular interest in female fragility and strength, and of the magic encounter between model and artist which disrupts codes of so-called eroticism to build up a new image system for womanhood.
Welcome to Heimat
An enchanted trip through Bavaria with Ellen von Unwerth
Ellen von Unwerth’s puckish humor pervades the pages of Heimat, an enchanted tour around Bavaria. The renowned fashion and music photographer revisits her childhood homeland to shoot a posse of gorgeous girls out for fun and adventure amid the region’s undulating fields; age-old traditions; and deep, mysterious forests.
As they happily discard their dirndls and run riot across the countryside, von Unwerth’s heroines demonstrate the attributes and attractions of the region, whether munching on pretzels, striding out across pristine pastures, or seducing lederhosen-clad farmhands (and each other). Blending old-world charm with a rebellious edge and a sly subversion of traditional gender roles, Heimat bursts with fresh, provocative eroticism, tied up with wit, laced with an abiding love for a proud and beautiful region.
Explore centuries of timeless textiles from the Musée de l’Impression sur Étoffes
In the far east of France, close to the German and Swiss borders, lies the historic city of Mulhouse. During the early 19th century, it became one of the leading centres of textile manufacture in the country. Today it is home to the Musée de l’Impression sur Étoffes, a museum dedicated entirely to the history of fabric printing from the 17th century right up to the present day.
Few are the serious fashion designers who have not come to visit this astonishing temple to textiles. This book, however, gives you the key to those vaults, presenting on its broad pages perfectly captured images of its collections that span four different continents – recounting a fascinating artistic and technological adventure across the world, from its origins in India to the most contemporary creations.
Across two volumes, you’ll discover nine luxuriantly illustrated chapters that being to glorious life a chronological and thematic overview of the Musée’s unprecedented retrospective of the art of printed fabrics. And that journey begins in India, with the first volume devoted to the far east origins of the designs that made these prints famous, and how they came over to the factories of Europe. You’ll also find here stories and images detailing artistic innovations such as toile de Jouy and the development of new colour ranges.
In the second volume, the reader can look back at the incredible inventiveness of manufacturers and their designers throughout the nineteenth and twentieth centuries. Explore eye-catching cashmere motifs and the intense passion for nature and flowers that emerged under the Second Empire, before the artistic avant-gardes and modernity profoundly evolved the artistic creation of textile prints.
With nearly 900 pieces reproduced here to the highest possible standard, you will journey through the extraordinary tapestry of motifs and colours, that make this book such a peerless source of inspiration for textile enthusiasts of all kinds.
From Edouard Manet’s portrait of naturalist writer Émile Zola sitting among his Japanese art finds to Van Gogh’s meticulous copies of the Hiroshige prints he devotedly collected, 19th-century pioneers of European modernism made no secret of their love of Japanese art. In all its sensuality, freedom, and effervescence, the woodblock print is single-handedly credited with the wave of japonaiserie that first enthralled France and, later, all of Europe—but often remains misunderstood as an “exotic” artifact that helped inspire Western creativity.
The fact is that the Japanese woodblock print is a phenomenon of which there exists no Western equivalent. Some of the most disruptive ideas in modern art—including, as Karl Marx put it, that “all that is solid melts into air”—were invented in Japan in the 1700s and expressed like never before in the designs of such masters as Hokusai, Utamaro, and Hiroshige in the early 19th century.
This volume lifts the veil on a much-loved but little-understood art form by presenting the most exceptional Japanese woodblock prints in their historical context. Ranging from the 17th-century development of decadent ukiyo-e, or “pictures of the floating world,” to the decline and later resurgence of prints in the early 20th century, the images collected in this edition make up a record not only of a unique genre in art history, but also of the shifting mores and cultural development of Japan.
We discover the four pillars of the woodblock print—beauties, actors, landscapes, and bird-and-flower compositions—alongside depictions of sumo wrestlers, kabuki actors, or enticing courtesans—rock stars who populated the “floating world” and whose fan bases fueled the frenzied production of woodblock prints. We delve into the horrifying and the obscure in prints where demons, ghosts, and otherworldly creatures torment the living—stunning images that continue to influence Japanese manga, film, and video games to this day. We witness how, in their incredible breadth, from everyday scenes to erotica, the martial to the mythological, these works are united by the technical mastery and infallible eye of their creators and how, with tremendous ingenuity and tongue-in-cheek wit, publishers and artists alike fought to circumvent government censorship.
This edition compiles the finest extant impressions from museums and private collections across the globe, accompanied by descriptions to guide us through this frantic period in Japanese art history.
The paintings of Albert Oehlen live by audacious strategies, by questioning the image and the rules of abstraction, and by an openness and beauty often reached through the unlikeliest of means.
In this expansive monograph, we meet the full range of Oehlen’s artistic thoughts and approaches: paintings that integrate mirrors, paintings that are executed strictly in primary colors or only in gray, heavily pixelated paintings produced with the help of one of the first personal computers. We find collaged fragments of garish poster ads on canvases that transforming screaming slogans into abstract elements, charcoal drawings the size of a wall, finger paintings, and paintings in which black treelike silhouettes contort themselves into a lexicon of abstract forms. Throughout, Oehlen transforms the conceptual into the compositional, at once invigorating and challenging the viewer.
Revising and updating TASCHEN’s previous Collector’s Edition, this revelatory survey explores Oehlen’s trajectory from his early days up to the present. It features more than 400 paintings as well as insightful commentaries and interviews, covering Oehlen’s different work stages and approaches. Roberto Ohrt’s essay takes us back to the special vibe of the early 1980s where Oehlen worked alongside Kippenberger, Büttner, and others, part of a scene that painted quickly and close to the pulse of time. Oehlen discusses his computer paintings with John Corbett, and follows up on his more recent work, his thoughts on art, and his day in the studio in a lengthy conversation with Alexander Klar. Together with a collection of shorter texts and statements, this brings us close to the ideas of an artist who has been dubbed “the most resourceful abstract painter alive.”
In the architecture of Richard Neutra (1892–1970), inside and outside find their perfect modernist harmony. As the Californian sun glints off sleek building surfaces, vast glass panel walls allow panoramic views over mountains, gardens, palm trees, and pools.
Neutra moved to the United States from his native Vienna in 1923 and settled in Los Angeles. He displayed his affinity with architectural settings early on with the Lovell House, set on a landscaped hill with views of the Pacific Ocean and Santa Monica Mountains. Later projects such as the Kaufmann House and Nesbitt House would continue this blend of art, landscape, and living comfort, with Neutra’s clients often receiving detailed questionnaires to define their precise needs.
This richly illustrated architect introduction presents the defining projects of Neutra’s career. As crisp structures nestle amid natural wonders, we celebrate a particularly holistic brand of modernism which incorporated the ragged lines and changing colors of nature as much as the pared down geometries of the International Style.
From the towering Sagrada Família to the shimmering, textured facade of Casa Batlló and the enchanting landscape of Park Güell, it’s easy to see why Antoni Gaudí (1852–1926) gained the epithet “God’s architect”. With fluid forms and mathematical precision, his work extols the wonder of natural creation: columns soar like tree trunks, window frames curve like flowering branches, and ceramic tiling shimmers like scaly, reptilian skin.
With this outstanding attention to natural detail, his inspirations from both neo-Gothic and Orientalist aesthetics, and a lifelong commitment to Catalan identity, Gaudí created a unique brand of the Modernista movement which transformed, and defines, Barcelona’s cityscape.
With seven of Gaudí’s projects listed as UNESCO World Heritage Sites, this book introduces the architect’s extraordinary vision and unique legacy, exploring the influences and the details which allow his buildings to impress, inspire, and amaze, one century after their construction.
Maria Antonietta Crippa is currently professor “straordinario” of History of Architecture at the Politecnico University in Milan, at the DiAP (Department of Architecture and Planning of the School of Architecture). Since the early 1980s, she has published widely on architecture and town planning.
Peter Gössel runs an agency for museum and exhibition design. For TASCHEN he published monographs on Julius Shulman, R. M. Schindler, John Lautner and Richard Neutra as well as several architecture titles in the Basic Art Series.
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