Books published by Skira

200 people, 200 portraits of a never seen Gastel. Faces who: «Have passed on something to me, taught me, touched my soul.

A vast catalogue dedicated to Leonardo's entire oeuvre on the occasion of the largest exhibition ever realized on the genius, symbol of Italian art and creativity, on the occasion of Milan Expo 2015.

Marta Gnyp has chosen to interview the most trailblazing names in contemporary art to reflect on the changes occurring today in the artistic canon, practices and the lives of artists, in order to map its evolution and the directions we are headed in. The book is divided in five chapters, each addressing an important process that has been shaping the art world in the recent years. Rewriting the Canon deals with rediscovery and revaluation of several outstanding post-war artists featuring Joan Semmel, Stanley Whitney and Claudette Johnson. In Extending New Media, artists Cory Arcangel and Alex da Corte speak about their artistic practices that critically embrace and reflect on the new technical possibilities. Interviews with Jordon Wolfson and Mohamed Bourouissa in New Approaches to Truth and Morality pose questions about the ethics of art making and the idea of good and bad, among other things. New Classic Art features Claire Tabouret, Adriana Varejao, Daniel Richter and Jenny Saville, four artists that on the one side continue working in the grand art historical tradition, and on the other make this tradition very contemporary. Finally, via fascinating personal interviews, Marta Gnyp speaks with curators, businesspeople and collectors to reflect on the changing art systems and markets: Koyo Kouoh, curator and director of the Zeitz Museum of Contemporary African Art, Pamela Joyner, American businesswoman and art collector, Marion Maneker, President and Editorial Director of Art Media. The list is not finalized yet and a few new names will be added to make it list complete.

A historical and critical profile of the complete creative corpus of the artist. Covers over four decades of Fontanäs creative activity, presented in chronological order. A rigorous examination of over 4000 works carried out in collaboration with the Lucio Fontana Foundation, making this a definitive and essential publication for scholars, collectors, museums and art dealers

A tribute to the master of Urbino on the occasion of the 500th anniversary of his death.The most important exhibition devoted to the painter in 2020.Published in collaboration with the greatest museums in the world, this monograph proposes an original journey backwards, "à rebour", in the universe of Raphael, where his relationship with the ancient and with Rome guides the reader in an unprecedented journey from the artist's death in 1520 to his formative years between Urbino, Città di Castello, Perugia and Siena. The monograph - published on the occasion of the major exhibition in Rome - has a scientific committee of excellence, composed by Matteo Lafranconi, Marzia Faietti, Sylvia Ferino, Alan Brown, Dominique Cordellier, Guido Cornini, Francesco Paolo Di Teodoro, Vincenzo Farinella, Achim Gnann, Barbara Jatta, Alessandro Nova, Nicholas Penny, Mario Scalini, Alessandro Viscogliosi; each member of the committee is the curator of one section of the catalogue which is introduced by his essay and accompanied by the entries of the works.For centuries Raphael (1483-1520) has been recognised as the supreme High Renaissance painter; though he died at 37, Raphael's example as a paragon of classicism dominated the academic tradition of European painting until the mid-19th century.Raphael was born in Urbino where his father, Giovanni Santi, was court painter. He almost certainly began his training there and must have known works by Mantegna, Paolo Uccello and Piero della Francesca from an early age. His earliest paintings were also greatly influenced by Perugino. From 1500 (when he became an independent master) to 1508 he worked throughout central Italy, particularly Florence, where he became a noted portraitist and painter of Madonnas.In 1508, at the age of 25, he was called to the court of Pope Julius II to help with the redecoration of the papal apartments. In Rome he evolved as a portraitist, and became one of the greatest of all history painters.He remained in Rome for the rest of his life and in 1514, on the death of Bramante, he was appointed architect in charge of St Peter's.

A comprehensive survey of the art of the kakemono, classic Japanese paintings on vertical scrolls.Once displayed for the tea ceremony and in the alcove (tokonoma) of traditional houses, the kakemono or kakejiku is a `painted hanging scroll,¿ which, in the variety of its themes, describes changing beauty and the flow of time. Subjects are in fact selected to satisfy the taste of the visitors, and harmony with seasons and events. As with Japanese writing, it should be read from right to left.Verisimilitude being of subordinate importance, what really matters is to convey `the power of the brush.¿ As long as the spirit and the essence of the image can be appreciated, any painting can be enjoyed as a journey into the artist¿s mind.Edited by Matthi Forrer and realized in collaboration with the Fondazione culture e musei of Lugano and the Fondazione Torino Musei, the book presents a selection of 120 kakemono from the important private Perino collection, offering a unique opportunity to discover Japanese painting between the 16th and 19th centuries.Most of the subjects are drawn from nature (flowers, birds and fish), painted realistically in extraordinarily precise detail. They include works of rare beauty by artists such as Maruyama Okyo (1733-1795), who worked in the imperial court and founded Maruyama-Shijo, one of the most prestigious naturalist schools of the period, Kishi Ganku (1749/56-1838/39), famous for his paintings of tigers, and Kusumi Morikage (1620-1690), painter of the Edo period whose works reflect his sympathy for farmers and the poor.

The dominant role of female beauty in sixteenth-century Venice is unique both in the history of the Republic and other parts of the world. One reason for this is the Serenissimäs distinctive political-social structure, which granted women special rights in connection with their dowry and their ability to inherit; another was Venice¿s pivotal role as an international cultural centre. The rise of influential publishing houses attracted renowned poets and humanists such as Pietro Bembo, Sperone Speroni and Lodovico Dolce, who in their writings increasingly focused on women and their vital role for the family and the continuation of humanity as such. The crucial impetus for the visual realisation of this idea came from the Serenissimäs greatest artist: Titian. For him, artistic beauty was identical with female beauty. He was less interested in the canon of exterior beauty than in a women¿s character, in femininity as such. Titian elevates every depiction of a woman into a celebration of womanhood. Published for the exhibition in Vienna and Milan, the book aims to present the female image through the spectrum of possible themes and to compare individual artistic approaches between Titian and other painters of the time. The reader will experience the various aspects of female idealisation.

As a young artist, Manzur experimented with Expressionism and abstraction, but he eventually found his true passion for figurative painting. He was inspired by multiple sources including Spanish Baroque artists such as Velázquez, Zurbarán and Sánchez Cotán; 19th-century American Realists like William Harnett and John F. Peto; and Italian Renaissance artists, with whom he shares the love for the human figure. Early in his career, he developed a personal style characterized by a masterful draftsmanship, a dramatic almost theatrical use of light and color, and the juxtaposition of volumes and transparencies. His subject matter has varied over the years. From still-lives to religious characters, from portraiture to equine representations, his paintings depict staged scenes that combine reality and fantasy in an oneiric atmosphere. Most recently, his series Obra Negra focuses on three main themes: the ghostly horse, the bull and the woman in red. These monumental canvases, in which he uses a sort of assemblage to attain volume, result in compelling images that are, by far, his most magnificent to date.