BELLAS ARTES

Andy Warhol (1928–1987) is hailed as the most important proponent of the Pop art movement. A critical and creative observer of American society, he explored key themes of consumerism, materialism, media, and celebrity. Drawing on contemporary advertisements, comic strips, consumer products, and Hollywood’s most famous faces, Warhol proposed a radical reevaluation of what constituted artistic subject matter. Through Warhol, a Campbell’s soup can and Coca Cola bottle became as worthy of artistic status as any traditional still life. At the same time, Warhol reconfigured the role of the artist. Famously stating “I want to be a machine,” he systematically reduced the presence of his own authorship, working with mass-production methods and images, as well as dozens of assistants in a studio he dubbed the Factory. This book introduces Warhol’s multifaceted, prolific oeuvre, which revolutionized distinctions between “high” and “low” art and integrated ideas of living, producing, and consuming that remain central questions of modern experience.

Painter, sculptor, writer, filmmaker, and all-round showman Salvador Dalí (1904–1989) was one of the 20th century’s greatest exhibitionists and eccentrics. One of the first artists to apply the insights of Freudian psychoanalysis to art, he is celebrated in particular for his surrealist practice, with such conceits as the soft watches or the lobster telephone, now hallmarks of the surrealist enterprise, and of modernism in general. Dalí frequently described his paintings as “hand-painted dream photographs.” Their tantalizing tension and interest resides in the precise rendering of bizarre elements and incongruous arrangements. As Dalí himself explained, he painted with “the most imperialist fury of precision,” but only “to systematize confusion and thus to help discredit completely the world of reality.” Revolutionizing the role of the artist, the mustache-twirling Dalí also had the intuition to parade a controversial persona in the public arena and, through printmaking, fashion, advertising, writing, and film, to create work that could be consumed and not just contemplated on a gallery wall.

“The Tower is also present to the entire world... a universal symbol of Paris... from the Midwest to Australia, there is no journey to France which isn’t made, somehow, in the Tower’s name.” ― Roland Barthes When Gustave Eiffel completed his wrought iron tower on Paris’s Champ de Mars for the World’s Fair in 1889, he laid claim to the tallest structure in the world. Though the Chrysler Building would, 41 years later, scrape an even higher sky, the Eiffel Tower lost none of its lofty wonder: originally granted just a 20-year permit, the Tower became a permanent and mesmerizing fixture on the Parisian skyline. Commanding by day, twinkling by night, it has mesmerized Francophiles and lovers, writers, artists, and dreamers from all over the world, welcoming around seven million visitors every single year. Based on an original, limited edition folio by Gustave Eiffel himself, this fresh TASCHEN edition explores the concept and construction of this remarkable building. Step by step, one latticework layer after another, Eiffel’s iconic design evolves over double-page plates, meticulous drawings, and on-site photographs, including new images and even more historical context. The result is at once a gem of vintage architecture and a unique insight into the idea behind an icon.

In the latter half of the 19th century, in the verdant countryside near Aix-en-Provence, Paul Cézanne (1839–1906), busily plied his brush to landscapes and still lifes that would become anchors of modern art. With compact, intense dabs of paint and bold new approaches to light and space, he mediated the way from Impressionism to the defining movements of the early 20th century and became, in the words of both Matisse and Picasso, “father of us all.” This fresh artist introduction selects key works from Cézanne’s oeuvre to understand his development, innovation, and crucial influence on modern art. From compositions of fruits and pears to scenes of outdoor bathers, we trace his experimentation with color, perspective, and texture to evoke “a harmony parallel to Nature,” as well as the very process of seeing and recording. Along the way, we discover Cézanne’s celebrated Card Players, his layering of warm and cool hues to build up form and surface, and the geometric rigor of his landscapes from the vicinity of Aix-en-Provence, as bright with the light of southern France as they are bold with a radical new rendering of dimensions and depth.

In a fleeting fourteen year period, sandwiched between two world wars, Germany’s Bauhaus school of art and design changed the face of modernity. With utopian ideals for the future, the school developed a pioneering fusion of fine art, craftsmanship, and technology to be applied across painting, sculpture, design, architecture, film, photography, textiles, ceramics, theatre, and installation. As much an intense personal community as a publicly minded collective, the Bauhaus was first founded by Walter Gropius (1883–1969), and counted Josef and Anni Albers, Wassily Kandinsky, Paul Klee, Oskar Schlemmer, Gunta Stölzl, Marianne Brandt and Ludwig Mies van der Rohe among its members. Between its three successive locations in Weimar, Dessau and Berlin, the school fostered charismatic and creative exchange between teachers and students, all varied in their artistic styles and preferences, but united in their idealism and their interest in a “total” work of art across different practices and media.

Since the dawn of modernism, visual and music production have had a particularly intimate relationship. From Luigi Russolo’s 1913 Futurist manifesto L’Arte dei Rumori (The Art of Noise) to Marcel Duchamp’s 1925 double-sided discs Rotoreliefs, the 20th century saw ever more fertile exchange between sounds and shapes, marks and melodies, and different fields of composition and performance. In Francesco Spampinato’s unique anthology of artists’ record covers, we discover the rhythm of this particular cultural history. The book presents 450 covers and records by visual artists from the 1950s through to today, exploring how modernism, Pop Art, Conceptual Art, postmodernism, and various forms of contemporary art practice have all informed this collateral field of visual production and supported the mass distribution of music with defining imagery that swiftly and suggestively evokes an aural encounter. Along the way, we find Jean-Michel Basquiat’s urban hieroglyphs for his own Tartown record label, Banksy’s stenciled graffiti for Blur, and a skewered Salvador Dalí butterfly on Jackie Gleason’s Lonesome Echo. There are insightful analyses and fact sheets alongside the covers listing the artist, performer, album name, label, year of release, and information on the original artwork. Interviews with Tauba Auerbach, Shepard Fairey, Kim Gordon, Christian Marclay, Albert Oehlen, and Raymond Pettibon add personal accounts on the collaborative relationship between artists and musicians.