NL_Doormat: Hintergrundfarbe des Newsletter Banners unten in der Doormat. Mit # eingeben z.B. #1405BE

NL_Doormat: Verlinkung zur Newsletter Seite

Über uns

À propos de nous

Zahlung und Lieferung

Paiement et livraison

Nachhaltigkeit

Durabilité

Open Access

Datenschutz

Protection des données

Karriere

Carrière

Impressum

Mentions légales

LEXIA

LEXIA Arbeitsrecht

Was ist LEXIA?

C'est quoi LEXIA ?

LEXIA Familienrecht

Zeitschriften

Revues

recht

Pflegerecht

ZBJV

forumpoenale

ZStrR

Anwaltsrevue

Revue de l'avocat

RSAS

FamPra.ch

ASYL

Life Science Recht

BlAR

Sachbuch

Livres spécialisés

LOKI

Semaphor

Fokusthemen

Thèmes principaux

Thema

Recht studieren

Arbeitsrecht

Droit du travail

Studium

Études

Familienrecht

Droit de la famille

Sozialversicherungsrecht

Droit des assurances sociales

Strafrecht

Droit pénal

Publikationen

Publications

Literatur

Onlinemodule LEXIA

Modules en ligne LEXIA

Bücher

Livres

Buchreihen

Collections

Datenbanken

recht.ch

Studienliteratur

Littérature pour les études

Services

Dienstleistungen für

Corporate Books

Publishing Lösungen

Aktuelles

Kanzleien und Behörden

Professionnels

Corporate Publishing

Content solutions

Buchhandlungen

Librairies

Veranstaltungen

Événements

Presse

Dozierende

Enseignants

Studierende

Étudiants

Inserierende

Annonceurs

Newsletter

Blog

Autorinnen/Autoren

Auteurs

Unsere Schreibenden

Hilfe

Unsere Autorinnen und Autoren

Liste

Autorenlounge

Espace des auteurs

Bei uns publizieren

Publier chez nous

Autorenstimmen

Témoignages

Verlag

Éditions

Themen

Mehr wissen

Mitarbeitende

Collaborateurs

Geschichte

Histoire

Vision und Mission

Vision et mission

Unser Magazin

Notre magazine

Unternehmenskultur

Culture d'entreprise

Partner

Partenaires

Kontakt

Contact

Shop

Schweizer Recht

Ausländisches Recht

Über unseren Shop

Neuerscheinungen

Nouveautés

Infos, Tipps und Tricks

Infos, conseils et astuces

Vorankündigungen

Préavis

Nach Rechtsgebiet

Par domaine juridique

Kommentare

Commentaires

Fairyland by Jean & Ron Henry Wall
Calendar 2026 (Art Calendar)

Fairyland by Jean & Ron Henry Wall Calendar 2026 (Art Calendar)

Illuminating Women Artists

This book serves to establish Clara Peeters, one of the most talented and creative among the early practitioners of still-life painting in Europe in the early 17th century, as a leader in her field. The book not only discusses the artist's biography but also examines the historical and cultural context of Peeters' art, her artistry and the material culture reflected in her paintings. Part of the first generation of European artists to specialise in still-life painting, Peeters was in fact the only Flemish woman known to have focussed on this genre of painting in the early 17th century. She was also one of the few women to dedicate her professional life to painting in early modern Europe. This timely book sheds light on the limitations that Clara Peeters encountered because of her gender and how she responded to them in her art, while also assessing her importance as a painter of still-life.

This book serves to establish Clara Peeters, one of the most talented and creative among the early practitioners of still-life painting in Europe in the early 17th century, as a leader in her field. The book not only discusses the artist’s biography but also examines the historical and cultural context of Peeters’ art, her artistry and the material culture reflected in her paintings. Part of the first generation of European artists to specialise in still-life painting, Peeters was in fact the only Flemish woman known to have focussed on this genre of painting in the early 17th century. She was also one of the few women to dedicate her professional life to painting in early modern Europe.This timely book sheds light on the limitations that Clara Peeters encountered because of her gender and how she responded to them in her art, while also assessing her importance as a painter of still-life.

Clara Peeters

From Graphic Design to Art

Thomas Hirschhorn

Ruth Duckworth delivers an extensive, thoughtful monograph on the artist’s entire body of work with new scholarship, exquisite reproductions, and the complete cooperation of the Duckworth Estate.This book firmly establishes the artist in the pantheon of&nbsp;twentieth-century sculptors, in a class with Barbara Hepworth and Henry Moore.&nbsp;Duckworth referred to herself not as a potter or ceramicist, but as a sculptor with clay,&nbsp;and this volume takes her at her word, foregrounding her sculptural production. As&nbsp;Emmanuelle Cooper wrote in her obituary: “In both her life and work, Duckworth’s&nbsp;background was one of non-conformity. In Germany, as a young girl, she risked prosecution by defacing a Nazi monument and resented being unable to attend art school because her father was Jewish. Most challenging of all was her determination to gain international respectability as a sculptor working primarily in clay.

Ruth Duckworth delivers an extensive, thoughtful monograph on the artist’s entire body of work with new scholarship, exquisite reproductions, and the complete cooperation of the Duckworth Estate.This book firmly establishes the artist in the pantheon of&nbsp;twentieth-century sculptors, in a class with Barbara Hepworth and Henry Moore.&nbsp;Duckworth referred to herself not as a potter or ceramicist, but as a sculptor with clay,&nbsp;and this volume takes her at her word, foregrounding her sculptural production. As&nbsp;Emmanuelle Cooper wrote in her obituary: “In both her life and work, Duckworth’s&nbsp;background was one of non-conformity. In Germany, as a young girl, she risked prosecution by defacing a Nazi monument and resented being unable to attend art school because her father was Jewish. Most challenging of all was her determination to gain international respectability as a sculptor working primarily in clay.

Ruth Duckworth

Published to tie-in with the start of a four-year and multi-media celebration of the centenary of these classics of children's' literature, this highly illustrated, full-colour book celebrates the lives and times of the two men who created them.

Published to tie-in with the start of a four-year and multi-media celebration of the centenary of these classics of childrenâ€™sâ€™ literature, this highly illustrated, full-colour book celebrates the lives and times of the two men who created them.

The Lives of A. A. Milne and E. H. Shepard

The Men Who Created Winnie-the-Pooh

Bloomsbury Research in Illustration Series

"A dynamic group of art historians explores intricacies of the most democratic form of visual imagery in the U.S., illustrated sheet music, owned by millions of Americans who were wooed by compelling lithographic covers, displayed the material culture in their parlors, and performed compositions on home pianos"--

Illustrated sheet music was one of the most democratic forms of visual imagery in the U.S., owned by millions of Americans wooed by compelling lithographic covers, who displayed and performed compositions on home pianos. Advancements in printing technologies in the 19th century, together with an emergent commercial system that facilitated the publication and broad distribution of popular music, led to a surge of elaborately illustrated sheet music. This book features essays by cutting-edge scholars who analyze the remarkable images that persuaded U.S. citizens to purchase mass-produced compositions for both personal and social pleasure. With some songs selling millions of copies as printed musical scores, music publishers commissioned artists to draw every conceivable subject as promotional illustrations, including genre scenes, portraits, political and historical events, sentimental allegories, flowers, landscapes, commercial buildings, and maritime views. As ubiquitous and democratic material culture, this imagery affected ordinary people in far greater ways than unique objects, like paintings and sculpture, possibly could. The pictures, many in saturated color with bold graphics, still intrigue, amaze, and amuse viewers today with their originality, skill, and content. Rooted in visual analysis, topics in this collection include perennially significant themes: race, ethnicity, gender, sexuality, class, politics, war, patriotism, propaganda, religion, transportation, regional centers of production, technology, Reconstruction, romance, and comedy, as well as bodies of work by specific illustrators and lithographic firms. In recognizing the role that individuals have played in preserving these remarkable objects, it also features interviews with enthusiasts who own two of the largest private collections of sheet music in the U.S.

Illustrated Sheet Music in the U.S., 1830-1930

Material Culture of Art and Design

"The Art of Mary Linwood is the first book on Leicester textile artist Mary Linwood (1755-1845) and catalogue of her work. When British textile artist and gallery owner Mary Linwood died in 1845 just shy of 90 years old, her estate was worth the equivalent of ¹5,199,822 in today's currency. As someone who made, but didn't sell, embroidered replicas of famous artworks after artists such as Gainsborough, Reynolds, Stubbs, and Morland, how did she accumulate so much money? A pioneering woman in the male-dominated art world of late Georgian Britain, Linwood established her own London gallery in 1798 which featured copies of well-known paintings by these popular artists. Featuring props and specially designed rooms for her replicas, she ensured that her visitors had an entertaining, educational, and kinetic tour, similar to what Madame Tussaud would do one generation later. The gallery's focus on picturesque painters provided her London visitors with an idyllic imaginary journey through the countryside. Its emphasis on quintessentially British artists provided a unifying focus for a country that had recently emerged from the threat of Napoleonic invasion. This book brings to the fore Linwood's gallery guides and previously unpublished letters to her contemporaries, such as Birmingham inventor Matthew Boulton and Queen Charlotte. By examining Linwood's replicas and their accompanying objects through the lens of material culture, the book provides a much-needed contribution to the scholarship on women and cultural agency in the early 19th century"--

The Art of Mary Linwood is the first book on Leicester textile artist Mary Linwood (1755-1845) and catalogue of her work. 

When British textile artist and gallery owner Mary Linwood died in 1845 just shy of 90 years old, her estate was worth the equivalent of £5,199,822 in today’s currency. As someone who made, but did not sell, embroidered replicas of famous artworks after artists such as Gainsborough, Reynolds, Stubbs, and Morland, how did she accumulate so much money? A pioneering woman in the male-dominated art world of late Georgian Britain, Linwood established her own London gallery in 1798 that featured copies of well-known paintings by these popular artists. 

Featuring props and specially designed rooms for her replicas, she ensured that her visitors had an entertaining, educational, and kinetic tour, similar to what Madame Tussaud would do one generation later. The gallery’s focus on picturesque painters provided her London visitors with an idyllic imaginary journey through the countryside. Its emphasis on quintessentially British artists provided a unifying focus for a country that had recently emerged from the threat of Napoleonic invasion.

This book brings to the fore Linwood's gallery guides and previously unpublished letters to her contemporaries, such as Birmingham inventor Matthew Boulton and Queen Charlotte. It also includes the first and only catalogue of Linwood’s extant and destroyed works. By examining Linwood’s replicas and their accompanying objects through the lens of material culture, the book provides a much-needed contribution to the scholarship on women and cultural agency in the early 19th century.

Embroidery, Installation, and Entrepreneurship in Britain, 1787-1845

The Art of Mary Linwood

Radical Intimacy in Contemporary Art focuses on practices that operate at the edges of sexuality and its socially sanctioned expressions. Using psychoanalysis and object-oriented feminism, Keren Moscovitch focuses on the work of several contemporary, provocative artists to initiate a dialogue on the role of intimacy in challenging and reimagining ideology. Moscovitch suggests that intimacy has played an under-appreciated role in the shifting of social and political consciousness. She explores the work of Leigh Ledare, Genesis P-Orridge, Ellen Jong, Barbara DeGenevieve, Joseph Maida and Lorraine O'Grady, who, through their radical practices, engage in such consciousness shifting in elegant, surprising, and provocative ways. Guided by the feminist psychoanalytic canon of Julia Kristeva throughout, as well as being informed by the philosophy of Luce Irigaray and the critical theory of Judith Butler, Moscovitch situates these artists in the emerging lineage of feminist new materialism. She argues that the instability of intimacy leads to radical and performative objecthood in their work that acts as a powerful expression of revolt. Through this line of argumentation, Moscovitch joins a growing group of philosophers exploring object-oriented theories and practices as a new language for a new era. In this era, the hegemony of subjectivity has been toppled, and a new world of human ontology is built creatively, expressively and in the spirit of revolt.

Radical Intimacy in Contemporary Art focuses on practices that operate at the edges of sexuality and its socially sanctioned expressions. Using psychoanalysis and object-oriented feminism, Keren Moscovitch focuses on the work of several contemporary, provocative artists to initiate a dialogue on the role of intimacy in challenging and reimagining ideology.
 
 Moscovitch suggests that intimacy has played an under-appreciated role in the shifting of social and political consciousness. She explores the work of Leigh Ledare, Genesis P-Orridge, Ellen Jong, Barbara DeGenevieve, Joseph Maida and Lorraine O’Grady, who, through their radical practices, engage in such consciousness shifting in elegant, surprising, and provocative ways. Guided by the feminist psychoanalytic canon of Julia Kristeva throughout, as well as being informed by the philosophy of Luce Irigaray and the critical theory of Judith Butler, Moscovitch situates these artists in the emerging lineage of feminist new materialism. She argues that the instability of intimacy leads to radical and performative objecthood in their work that acts as a powerful expression of revolt. Through this line of argumentation, Moscovitch joins a growing group of philosophers exploring object-oriented theories and practices as a new language for a new era. In this era, the hegemony of subjectivity has been toppled, and a new world of human ontology is built creatively, expressively and in the spirit of revolt.

Abjection, Revolt, and Objecthood

Radical Intimacy in Contemporary Art

Due to popular demand, the SUNDAY TIMES bestselling author, Hercule Van Wolfwinkle, is back with a second collection of 'ultra realistic' pet portraits.

More Rubbish Pet Portraits

A survey of recent paintings, characterized by gestural bravado and vigorous colorways, from the kinetically minded abstract artistLos Angeles-based multimedia artist Aaron Garber-Maikovska (born 1978) works across painting, drawing, performance and video--interconnected modes of communicating a vernacular of somatic expression. Maikovska is best known for his bold abstract paintings of geometric forms and his drawings of galvanic linework. Using the artist's own body as a catalyst for investigation, the works, produced between 2017 and 2023, are corporeal articulations yielded from a mantralike exercise in muscle memory, an attempt to carve out a space for creative freedom amid the social engineering and spatial division of the postmodern world. This first monograph of the artist's work includes an essay by Cathleen Chaffee on performance and the body, an essay by Jan Tumlir exploring the depth and delight in his paintings, an in-depth interview between the artist and Orit Gat, in an immersive exploration of his multifaceted practice.

A survey of recent paintings, characterized by gestural bravado and vigorous colorways, from the kinetically minded abstract artistLos Angeles–based multimedia artist Aaron Garber-Maikovska (born 1978) works across painting, drawing, performance and video—interconnected modes of communicating a vernacular of somatic expression. Maikovska is best known for his bold abstract paintings of geometric forms and his drawings of galvanic linework. Using the artist’s own body as a catalyst for investigation, the works, produced between 2017 and 2023, are corporeal articulations yielded from a mantralike exercise in muscle memory, an attempt to carve out a space for creative freedom amid the social engineering and spatial division of the postmodern world. This first monograph of the artist’s work includes an essay by Cathleen Chaffee on performance and the body, an essay by Jan Tumlir exploring the depth and delight in his paintings, an in-depth interview between the artist and Orit Gat, in an immersive exploration of his multifaceted practice.

Aaron Garber-Maikovska: Cushion of Air

Richard Prince: 1, 2, 3, 4

"Revised and expanded to reflect developments in the field since the first edition was published in 2013, this book presents both a historical survey and a critical re-evaluation of the contested and contingent nature of the medium of painting over the last 60 years. It offers a critical account of painting, providing a timely exploration of what has remained a persistent and protean medium and addressing a range of global artists and painting practices. Essential reading for students on fine arts painting courses, the book is an invaluable resource for those seeking to understand the themes and issues that have pertained to postmodern and contemporary painting"--

This book presents both a historical survey and a critical re-evaluation of the contested and contingent nature of the medium of painting over the last 60 years. Offering a critical account of painting specifically, rather than art more generally, After Modernist Painting provides a timely exploration of what has remained a persistent and protean medium.

Taking Clement Greenberg's “Modernist Painting” as its starting point, the book focuses on certain developments, including the relationship of painting to Conceptual Art and Minimalism, the pronouncement of painting’s alleged death, its response to Installation Art's foregrounding of site, how painting both images and imagines the digital and how it continues to embody a particular set of ideas and responses to the world.

Revised and expanded to reflect developments in the field since the first edition was published in 2013, After Modernist Painting addresses a range of global artists and painting practices – from the Dansaekhwa art movement in South Korea to the Conceptualism of Geta Bratescu in 1970s Romania. Essential reading for students on fine arts painting courses, the book is an invaluable resource for those seeking to understand the themes and issues that have pertained to painting within the context of postmodernism and contemporary artistic practice, and also provides a valuable starting point for other, more specialized histories of particular painters.

The History of a Contemporary Practice

After Modernist Painting

Vergessene botanische Schätze: Die Vielfalt alter Obst-Sorten in einem außergewöhnlichen Kalender mit Food Illustrationen
  Monat für Monat eine Obstsorte im Rampenlicht: Historische Tafeln aus der Sammlung des U.S. Department of Agriculture als Bildkalender 2026
  Wandkalender mit detaillierten Abbildungen in Spitzenqualität: Immer wieder neue Einzelheiten entdecken und staunen - ein Eyecatcher für Küche oder Esszimmer
  Für Gärtner, Hobby-Köche und Grafik-Fans: Gezeichnete Obst-Darstellungen, die beeindrucken - Küchenkalender im Format 34 x 44 cm
  Kunstkalender in inspirierender Vielfalt: Bei Weingarten im Athesia Kalenderverlag finden Sie Ihren perfekten Kalender!

Dekorativer Wandkalender mit historischen Zeichnungen. Die Klassiker im Obstgarten in Szene gesetzt: Natur- und Food-Kalender im Format 34 x 44 cm

Alte Sorten Kalender 2026

Fairyland by Jean & Ron Henry Wall Calendar 2026 (Art Calendar)

Bibliografische Angaben

Schlagworte

Bibliografische Angaben

Schlagworte

Weitere Titel zum Thema