Taschen

Successful interiors tell stories - be they of an industrial loft, a luxury penthouse, or a grand old villa. When presented together, as in this book, they tell us much more besides, providing insights into how the world of the early 21st century chooses to live. What does a Zurich dining room look like? Or a bathroom in Niigata, Japan? How might a Miami art collector paint his bungalow's walls? And what awaits you in a St. Petersburg apartment? We went inside a hundred homes around the globe and found answers that amazed, intrigued, and enchanted us.

The locations could hardly be more diverse - nor could the views. They range from the urban skyline seen from a Singapore tower block to the idyllic island landscape of rocks, pine trees, and water surrounding one family's holiday home near Stockholm. Whatever the topography, the external environment inevitably influences the ambience inside. It's with good reason, for example, that Sylvia Avontuur describes her windows overlooking Amsterdam's docklands as the most important picture in her apartment. Just as crucial to the character of an interior is the era of its architecture.

From Instanbul via Paris to Barcelona, a great many of the spaces featured are in apartments dating from the late 19th century, whose occupats-cum-curators have breathed new life into old walls. Elsewhere, we find others taking similar care of Modernist houses built in the revolutionary spirit of the International Style. And then there are the contemporary homes, with all their clever technical innovations, designed to meet the specific needs of their owners -such as the riverside villa in Dresden of the house on stilts in Nagano. But whether their shells are historic or brand-new, interiors all over the world exhibit the effects of an aesthetic evolution that has been shaping our built world for over a hundred years.

Includes interiors in Argentina, Brazil, China, Cuba, Denmark, France, Germany, Greece, Indonesia, Italy, Japan, Kenya, Morocco, South Africa, Spain, Sweden, Turkey, the UK, the USA, and many more countries.

“Girls, Gags & Giggles,” ran publisher Robert Harrison’s recipe for dishing up pin-up to the American male. Men loved his tasty dishes, a mixture of strippers and starlets dressed in outfits so fetishistic no one noticed they were never nude. While other magazines delivered the girl next door, Harrison’s publications banked on bad girls in satin and leather, fishnet stockings, and six-inch heels performing slapstick stunts straight from the burlesque stage.

Harrison lured his readers in with vibrantly painted covers by top pin-up artists Earl Moran, Billy DeVorss and, most famously, Peter Driben. This Bibliotheca Universalis edition celebrates this eye-catching candy with every single cover from Beauty Parade, Wink, Titter, Eyeful, Flirt, and Whisper, from 1942 to 1955, as well as interior spreads, featuring, among others, a budding Bettie Page. In an age when far more graphic material is the norm, 1000 Pin-Up Girls celebrates an era of pin-up and pulp style to fuel your erotic imagination.

The history of photography began nearly 200 years ago, but only relatively recently has it been fully recognized as a medium in its own right. Cologne’s Museum Ludwig was the first museum of contemporary art to devote a substantial section to international photography. The L. Fritz Gruber collection, from which this book is drawn, is one of the most important in Germany and one of the most representative anywhere in the world, constituting the core of the museum’s holdings.

This book provides a fascinating insight into the collection’s rich diversity; from conceptual art to abstraction to reportage, all of the major movements and genres are represented via a vast selection of the 20th century’s most remarkable photographs. From Ansel Adams to Piet Zwart, over 850 works are presented in alphabetical order by photographer, with descriptive texts and photographers’ biographical details, providing a comprehensive and indispensable overview of 20th-century photography.

In 1947, when Ahmet Ertegun and two fellow music fans started Atlantic Records in New York City, they never could have known that their passion for discovering artists and making records would shape 75 years of popular culture. The reason for such tremendous global success is simple: Atlantic is a groundbreaking industry model that embraced and championed a wide range of genres: Black music like R&B, soul, jazz, and hip-hop, as well as rock, pop, dance, and more.

75 Years of Atlantic Records is the official and definitive photographic history of this legendary record label; four years in the making, and featuring images from Atlantic’s extensive archives, many of them published here for the first time. Check out soul pioneers like Aretha Franklin and Ray Charles; jazz innovators like John Coltrane and Charles Mingus; era-defining pop acts like the Bee Gees and ABBA; rock legends like Led Zeppelin and the Rolling Stones; trailblazing singers like Roberta Flack, and Stevie Nicks, and today’s stars like Ed Sheeran and Charli xcx. Presented in formal portraits, live performance shots, decisive moments in the studio, and intimate glimpses behind the scenes are captured by some of the world’s greatest photographers, including Annie Leibovitz, Jim Marshall, Lee Friedlander, Walter Iooss Jr., Anton Corbijn, Chuck Stewart, Albert Watson and David LaChapelle.  

Fascinating captions by Richie Unterberger and Herb Powell provide context while award-winning writers David Ritz, Ben Ratliff, Elizabeth Nelson, Barney Hoskyns and others examine the label’s various genres, alongside a timeline and profiles of the label’s pioneers. A foreword by Bruno Mars declares that Atlantic revolutionized how records were made and heard. Now this story has been fully and beautifully documented—a must-have for music lovers.    

George Eastman’s career developed in a particularly American way. The founder of Kodak progressed from a delivery boy to one of the most important industrialists in American history, and a crucial innovator in photographic history.

Eastman died in 1932, and left his house to the University of Rochester. Since 1949 the site has operated as an international museum of photography and film, and today holds the largest collection of its kind in the world, containing over 400,000 images and negatives—among them the work of such masters as Alfred Stieglitz, Edward Steichen, and Ansel Adams.

Home also to 23,000 cinema films, five million film stills, one of the most important silent film collections, technical equipment and a library with 40,000 books on photography and film, the George Eastman House is a pilgrimage site for researchers, photographers, and collectors from all over the world. This volume curates the most impressive images from the collection in chronological order to offer an incomparable overview of photographic history.

Photographer, writer, publisher, and curator Alfred Stieglitz (1864–1946) was a visionary far ahead of his time. Around the turn of the 20th century, he founded the Photo-Secession, a progressive movement concerned with advancing the creative possibilities of photography, and by 1903 began publishing Camera Work, an avant-garde magazine devoted to voicing the ideas, both in images and words, of the Photo-Secession. Camera Work was the first photo journal whose focus was visual, rather than technical, and its illustrations were of the highest quality hand-pulled photogravure printed on Japanese tissue. This book brings together all photographs from the journal’s 50 issues.

If you have always wanted to improve your drawing skills, then Zeichnen lernen (Learning to Draw) is right for you. All you need is a pencil, some paper, and these practical instructions. With the help of this book you can learn the essential elements of drawing step by step and form a foundation on which you can develop your own drawing style.Included in the book: A practical course in drawing and illustration for beginners and advanced learners Easy to follow exercises and demonstrations presented step by step From drawing simple objects to all aspects of people, animals and the environment Sketching and observing, materials and theory, tips and techniques—everything you need to know to create original artwork, cartoons, and illustrations More than 1,000 illustrations

With almost 300 entries, this architectural A to Z offers an indispensable overview of the key players in the creation of modern space. Covering modern architecture from the 19th into the 21st century, pioneering architects are each featured with a portrait and a concise biography, as well as a description of his or her important work.

Like a bespoke global architecture tour, this book will allow you to travel from Manhattan skyscrapers to a Japanese concert hall, from Antoni Gaudí’s Palau Güell in Barcelona to Lina Bo Bardi’s sports and leisure center on a former factory site in São Paulo. You’ll take in Gio Ponti’s colored geometries, Zaha Hadid’s free-flowing futurism, the luminous interiors of SANAA, and Charles Rennie Mackintosh’s unique blend of Scottish tradition and elegant japonisme.

The book’s A to Z entries also cover groups, movements, and styles to position these leading individual architects within broader building trends across time and geography, including International Style, Bauhaus, De Stijl, and much more. With illustrations including some of the best architectural photography of the modern era, this is a comprehensive resource for any architecture professional, student, or devotee.

With more than 280 entries, this architectural A–Z, now part of our Bibliotheca Universalis series, offers an indispensable overview of the key players in the creation of modern space. From the period spanning the 19th to the 21st century, pioneering architects are featured with a portrait, concise biography, as well as a description of her or his important work.

Like a bespoke global architecture tour, you’ll travel from Manhattan skyscrapers to a Japanese concert hall, from Gaudí’s Palau Güell in Barcelona to Lina Bo Bardi’s sports and leisure center in a former factory site in São Paulo. You’ll take in Gio Ponti’s colored geometries, Zaha Hadid’s free-flowing futurism, the luminous interiors of SANAA, and Charles Rennie Mackintosh’s unique blend of Scottish tradition and elegant japonisme.

The book’s A to Z entries also cover groups, movements, and styles to position these leading individual architects within broader building trends across time and geography, including International Style, Bauhaus, De Stijl, and much more. Featuring modern architectural photography, this is a comprehensive source book for any architecture professional, student, or devotee.

From the end of World War II until the mid-1960s, exciting things were happening in American architecture. Emerging talents were focusing on innovative projects that integrated at once modern design and low-cost materials. The trend was most notably embodied in the famous Case Study House Program, a blueprint for modern habitation championed by the era’s leading American journal, Arts & Architecture.

The complete facsimile of the ambitious and groundbreaking Arts & Architecture was published by TASCHEN in 2008 as a limited edition. This new curation—directed and produced by Benedikt Taschen—brings together the magazine’s highlights from 1950 to 1954, with a special focus on mid-century American architecture and its luminary pioneers including Richard Neutra, Eero Saarinen, and Charles & Ray Eames.

A celebration of a politically, socially and culturally engaged publication, this special selection is also a testimony to one of the most unique and influential eras in the history of American architecture.

“These seductive books have slick production values, excellent illustrations, and smart texts. Each one is a fast-food, high-energy fix on the topic at hand.” – The New York Times Book Review

With blockbuster exhibitions, record-breaking auction prices, and packed museums, Impressionism remains close contender for the world’s favorite period of painting. Its favorite subjects— from dappled harbor scenes and summer days to vibrant Parisian salons and gardens—brim with optimism and joie de vivre. The works once dismissed as unfinished or imprecise are now beloved for their atmospheric evocation of time and place, as well as the stylistic flair of rapid brushstrokes upon canvas.

The lives and oeuvres of Impressionist pillars Cézanne, Degas, Gauguin, Manet, Monet, Renoir, Rousseau, Seurat, Toulouse-Lautrec, and van Gogh are each explored in-depth in TASCHEN’s Basic Art series. Now, this volume combines all 10 monographs into one for the price of three.

What we take for granted today—the relativity of perception depending on the viewer, lighting mood, or location to the object—was then the inspiration for some of the finest paintings in art history. Consider Monet’s 30+ variations of the Rouen Cathedral, Cézanne’s dazzling experimentation with color, Gauguin’s primitivist innovations, or Manet’s scandalous nudes: rarely has a single genre produced so many brilliant artists in such a short time.

Since 1985, TASCHEN’s Basic Art series has published some 200 individual volumes, making it the world’s most successful art-book series. Each title contains an extensive text on the artist’s life and work, a detailed biography, and some 100 high-quality color illustrations with explanatory captions. With Ten in One, TASCHEN now presents ten Basic Art monographs in one volume. A must for every art lover!

This book gathers ten Basic Art monographs into one volume featuring: Cézanne, Degas, Gauguin, Manet, Monet, Renoir, Rousseau, Seurat, Toulouse-Lautrec, and van Gogh a detailed chronological summary of the life and oeuvre of each artist, covering their cultural and historical importance approximately 1,000 illustrations with explanatory captions

Berlin has survived two world wars, was divided by a wall during the Cold War, and after the fall of the wall was reunited. The city emerged as a center of European power and culture. From 1860 to the present day, this book is the most comprehensive photographic study of this extraordinary city, dense with spirit as much as with history.

Some 560 pages gather aerial views, street scenes, portraits, and more to trace Berlin history from the Imperial Era as capital of Prussia through the Roaring Twenties to devastating images of war to heartwarming postwar photos of a city picking up the pieces—the Reichstag in ruins and later wrapped by Christo and Jeanne-Claude. Among the photographs are works by Henri Cartier-Bresson, Helmut Newton, René Burri, Robert Capa, Thomas Struth, and Wolfgang Tillmans in addition to well-known Berlin photo-chroniclers such as Friedrich Seidenstücker, Erich Salomon, Willy Römer, and Heinrich Zille (an index of photographers’ biographies is also included).

The images are accompanied by quotes from Berliners and Berlin connoisseurs such as Vladimir Nabokov, Alfred Döblin, Herwarth Walden, Marlene Dietrich, Billy Wilder, John F. Kennedy, Willy Brandt, Helmut Newton, Sir Simon Rattle, and David Bowie. More than a tribute to the city and its civic, social, and photographic history, this book pays homage to Berlin’s inhabitants: full of hope and strength, in their faces is reflected Berlin’s undying soul.

Formgiving. An Architectural Future History by BIG (Bjarke Ingels Group), is a visionary attempt to look at the horizon of time. The Danish word for “design” is “formgivning,” which literally means to give form to that which has not yet taken shape. In other words, to give form to the future. Using our power to give form, rather than allowing the future to take shape, is more important now than ever, as humankind’s impact on the planet continues to increase and pose ever greater challenges to all life forms. Architecture plays a special role by proposing spaces for our lives that are fragments of the future in the making. William Gibson’s words embody architecture’s role perfectly: “The future is already here—it’s just not evenly distributed.”

With Formgiving, BIG presents the last part of its trilogy, which began with Yes is More, one of the most successful architectural books of its generation, and continued with Hot to Cold. An Odyssey of Architectural Adaptation. The book is presented in a timeline, stretching from the Big Bang into the most distant future. Projects are structured around six strands of evolution—“Making,” “Sensing,” “Sustaining,” “Thinking,” “Healing,” and “Moving”—the multimedia-based, interdisciplinary concepts encompassing the building industry.

Culture, climate, and landscape, as well as all the energies derived from the elements—the thermal mass of the ocean, the dynamics of currents, the energy and warmth of the sun, the power of the wind—are incorporated into these projects. Throughout more than 700 pages, Bjarke Ingels presents his personal selection of projects, including the 12,000-square-meter LEGO House in Denmark, the human-made ecosystems floating on oceans, the redesign of a World War II bunker into a contemplative museum, and the ski slope-infused power plant celebrating Copenhagen’s commitment to carbon neutrality. Through architecture and design, BIG gives shape to a sustainable and simultaneously colorful world.

Bjarke Ingels: “To feel that we have license to imagine a future different from today, all we have to do is look back ten years, a hundred years, a thousand years, to realize how radically different things were then than they are today. The same will be true if we can look ahead with the same clarity of vision. As we tackle the complexities of everyday life, these six evolutionary trajectories allow us to place a firm gaze on the horizon of time to prevent us from being derailed by the random distractions of today. Since we know from our past that our future is bound to be different from our present, rather than waiting for it to take shape on its own, we have the power to give it form.”

More than 65 projects document BIG’s global work through the eyes of their users, from the drawing board to global construction sites and finished projects. Throughout the book are insights into developments that reach five, ten, or fifty years into the future, and evidence of BIG’s intransigence to reach beyond the ordinary, and beyond worlds, to contribute to the future with each project. Each step not only reveals a world that resembles our dreams but also already tries to realize these dreams pragmatically. We have the power to create the world of tomorrow!

The book features: previously unpublished essays by Bjarke Ingels, award-winning photography by Laurian Ghinitoiu, Iwan Baan, and Rasmus Hjortshøj, among others, planetary proposals for habitats on the Moon and research centers on Mars, 20 LEGO master-builder models of BIG’s work, a glimpse of Masterplanet—BIG’s ongoing work on a collective, crowdsourced masterplan guide for sustaining our planet.

Formgiving. An Architectural Future History by BIG (Bjarke Ingels Group), is a visionary attempt to look at the horizon of time. The Danish word for “design” is “formgivning,” which literally means to give form to that which has not yet taken shape. In other words, to give form to the future. Using our power to give form, rather than allowing the future to take shape, is more important now than ever, as humankind’s impact on the planet continues to increase and pose ever greater challenges to all life forms. Architecture plays a special role by proposing spaces for our lives that are fragments of the future in the making. William Gibson’s words embody architecture’s role perfectly: “The future is already here—it’s just not evenly distributed.”

With Formgiving, BIG presents the last part of its trilogy, which began with Yes is More, one of the most successful architectural books of its generation, and continued with Hot to Cold. An Odyssey of Architectural Adaptation. The book is presented in a timeline, stretching from the Big Bang into the most distant future. Projects are structured around six strands of evolution—“Making,” “Sensing,” “Sustaining,” “Thinking,” “Healing,” and “Moving”—the multimedia-based, interdisciplinary concepts encompassing the building industry.

Culture, climate, and landscape, as well as all the energies derived from the elements—the thermal mass of the ocean, the dynamics of currents, the energy and warmth of the sun, the power of the wind—are incorporated into these projects. Throughout more than 700 pages, Bjarke Ingels presents his personal selection of projects, including the 12,000-square-meter LEGO House in Denmark, the human-made ecosystems floating on oceans, the redesign of a World War II bunker into a contemplative museum, and the ski slope-infused power plant celebrating Copenhagen’s commitment to carbon neutrality. Through architecture and design, BIG gives shape to a sustainable and simultaneously colorful world.

Bjarke Ingels: “To feel that we have license to imagine a future different from today, all we have to do is look back ten years, a hundred years, a thousand years, to realize how radically different things were then than they are today. The same will be true if we can look ahead with the same clarity of vision. As we tackle the complexities of everyday life, these six evolutionary trajectories allow us to place a firm gaze on the horizon of time to prevent us from being derailed by the random distractions of today. Since we know from our past that our future is bound to be different from our present, rather than waiting for it to take shape on its own, we have the power to give it form.”

More than 65 projects document BIG’s global work through the eyes of their users, from the drawing board to global construction sites and finished projects. Throughout the book are insights into developments that reach five, ten, or fifty years into the future, and evidence of BIG’s intransigence to reach beyond the ordinary, and beyond worlds, to contribute to the future with each project. Each step not only reveals a world that resembles our dreams but also already tries to realize these dreams pragmatically. We have the power to create the world of tomorrow!

The book features: previously unpublished essays by Bjarke Ingels, award-winning photography by Laurian Ghinitoiu, Iwan Baan, and Rasmus Hjortshøj, among others, planetary proposals for habitats on the Moon and research centers on Mars, 20 LEGO master-builder models of BIG’s work, a glimpse of Masterplanet—BIG’s ongoing work on a collective, crowdsourced masterplan guide for sustaining our planet.

After the global success of Yes is More, one of the best-selling architecture books of its generation, BIG – Bjarke Ingels Group presents Hot to Cold, an Odyssey of Architectural Adaptation. The book presents sixty case studies in harsh climate conditions in order to examine where and how we live on our planet.

As we travel from one end of the spectrum to its opposite we will see that the more harsh the climate gets, the more intense its impact on the architecture. The central challenge is to mitigate the climatic extremes for hospitable human life, while finding solutions that can be both economically and environmentally profitable.

Architecture is the art and science of accommodating the lives we want to live. Our cities and buildings aren't givens; they are the way they are because that is as far as we have gotten to date. They are the best efforts of our ancestors and fellow planetizens, and if they have shortcomings, it is up to us to continue that effort, pick up where they left off. Hot to Cold stays true to BIG – Bjarke Ingels Group's grand mission to find a pragmatic utopia, shaping not only a particular structural entity, but the kind of world we wish to inhabit.

The book features:
 Design from award-winning artists Sagmeister & Walsh Previously unpublished essays by Bjarke Ingels. A convertible dust jacket-poster.

Yes is More is the easily accessible but unremittingly radical manifesto of Copenhagen-based architectural practice Bjarke Ingels Group, or BIG.Unlike a typical architectural monograph, this book uses the comic book format to express its groundbreaking agenda for contemporary architecture. It is also the first comprehensive documentation of BIG’s trailblazing practice—where method, process, instruments, and concepts are constantly questioned and redefined. Or, as the group itself says:

“Historically, architecture has been dominated by two opposing extremes: an avant-garde full of crazy ideas, originating from philosophy or mysticism; and the well organized corporate consultants that build predictable and boring boxes of high standard. Architecture seems entrenched: naively utopian or petrifyingly pragmatic. We believe there is a third way between these diametric opposites: a pragmatic utopian architecture that creates socially, economically, and environmentally perfect places as a practical objective. At BIG we are devoted to investing in the overlap between radical and reality. In all our actions we try to move the focus from the little details to the BIG picture.”

Bjarke Ingels attracts highly talented coworkers, but also gifted and ambitious clients from all over the world. He then creates intelligent synergies from wild energies and unforeseen dynamics, and transforms them into surprising, functional, valuable, and beautiful solutions to the specific and complex challenges in each task.

BIG projects have won awards from the Royal Academy of Fine Arts, and the Special Jury Prize at the Venice Architecture Biennale, as well as many other international prizes. Yes is More is a play on words that represents the company’s ethos and sums up its irreverent attitude towards excessive formalism, and its determination to involve the population at large in its creations. As an extension of its methods and results, its debut monograph uses the most approachable and populist means of communication available—the comic.

The TASCHEN bookstand brings your collection out from the confines of your bookshelves, and back to its rightful place on center-stage.

The three sizes of medium, large, and extra-large allow for the secure and stylish display of almost our entire spectrum of titles, except for our gargantuan SUMOs. Also reflecting the variety within our editions, four  eye-catching colors – aqua blue, radiant pink, crystal green, and urban grey – and a transparent version provide a fitting foundation to display TASCHEN’s big, bright, and bold back catalog.
Size XL: For all of our XXL-sized giants, including Collector’s Editions (even enclosed in their clamshell box!)

Also available: Size M: Fit for Bibliotheca Universalis, Basic Art series, 40th Edition series, and all regular titlesSize L: Can accommodate up to our XL series

The TASCHEN bookstand brings your collection out from the confines of your bookshelves, and back to its rightful place on center-stage.

The three sizes of medium, large, and extra-large allow for the secure and stylish display of almost our entire spectrum of titles, except for our gargantuan SUMOs. Also reflecting the variety within our editions, four  eye-catching colors – aqua blue, radiant pink, crystal green, and urban grey – and a transparent version provide a fitting foundation to display TASCHEN’s big, bright, and bold back catalog.

Size XL: For all of our XXL-sized giants, including Collector’s Editions (even enclosed in their clamshell box!)

Also available: Size M: Fit for Bibliotheca Universalis, Basic Art series, 40th Edition series, and all regular titles Size L: Can accommodate up to our XL series

The TASCHEN bookstand brings your collection out from the confines of your bookshelves, and back to its rightful place on center-stage.

The three sizes of medium, large, and extra-large allow for the secure and stylish display of almost our entire spectrum of titles, except for our gargantuan SUMOs. Also reflecting the variety within our editions, four  eye-catching colors – aqua blue, radiant pink, crystal green, and urban grey – and a transparent version provide a fitting foundation to display TASCHEN’s big, bright, and bold back catalog.

Size XL: For all of our XXL-sized giants, including Collector’s Editions (even enclosed in their clamshell box!)

Also available: Size M: Fit for Bibliotheca Universalis, Basic Art series, 40th Edition series, and all regular titlesSize L: Can accommodate up to our XL series

The TASCHEN bookstand brings your collection out from the confines of your bookshelves, and back to its rightful place on center-stage.

The three sizes of medium, large, and extra-large allow for the secure and stylish display of almost our entire spectrum of titles, except for our gargantuan SUMOs. Also reflecting the variety within our editions, four  eye-catching colors – aqua blue, radiant pink, crystal green, and urban grey – and a transparent version provide a fitting foundation to display TASCHEN’s big, bright, and bold back catalog.

Size XL: For all of our XXL-sized giants, including Collector’s Editions (even enclosed in their clamshell box!)

Also available: Size M: Fit for Bibliotheca Universalis, Basic Art series, 40th Edition series, and all regular titlesSize L: Can accommodate up to our XL series

The TASCHEN bookstand brings your collection out from the confines of your bookshelves, and back to its rightful place on center-stage.

The three sizes of medium, large, and extra-large allow for the secure and stylish display of almost our entire spectrum of titles, except for our gargantuan SUMOs. Also reflecting the variety within our editions, four  eye-catching colors – aqua blue, radiant pink, crystal green, and urban grey – and a transparent version provide a fitting foundation to display TASCHEN’s big, bright, and bold back catalog.

Size XL: For all of our XXL-sized giants, including Collector’s Editions (even enclosed in their clamshell box!)

Also available: Size M: Fit for Bibliotheca Universalis, Basic Art series, 40th Edition series, and all regular titlesSize L: Can accommodate up to our XL series

The TASCHEN bookstand brings your collection out from the confines of your bookshelves, and back to its rightful place on center-stage.

The three sizes of medium, large, and extra-large allow for the secure and stylish display of almost our entire spectrum of titles, except for our gargantuan SUMOs. Also reflecting the variety within our editions, four  eye-catching colors – aqua blue, radiant pink, crystal green, and urban grey – and a transparent version provide a fitting foundation to display TASCHEN’s big, bright, and bold back catalog.

Size L: Can accommodate up to our XL series

Also available:
•    Size M: Fit for Bibliotheca Universalis, Basic Art series, 40th Edition series, and all regular titles
•    Size XL: For all of our XXL-sized giants, including Collector’s Editions (even enclosed in their clamshell box!)

The TASCHEN bookstand brings your collection out from the confines of your bookshelves, and back to its rightful place on center-stage.

The three sizes of medium, large, and extra-large allow for the secure and stylish display of almost our entire spectrum of titles, except for our gargantuan SUMOs. Also reflecting the variety within our editions, four  eye-catching colors – aqua blue, radiant pink, crystal green, and urban grey – and a transparent version provide a fitting foundation to display TASCHEN’s big, bright, and bold back catalog.
Size L: Can accommodate up to our XL series

Also available: Size M: Fit for Bibliotheca Universalis, Basic Art series, 40th Edition series, and all regular titles Size XL: For all of our XXL-sized giants, including Collector’s Editions (even enclosed in their clamshell box!)

The TASCHEN bookstand brings your collection out from the confines of your bookshelves, and back to its rightful place on center-stage.

The three sizes of medium, large, and extra-large allow for the secure and stylish display of almost our entire spectrum of titles, except for our gargantuan SUMOs. Also reflecting the variety within our editions, four  eye-catching colors – aqua blue, radiant pink, crystal green, and urban grey – and a transparent version provide a fitting foundation to display TASCHEN’s big, bright, and bold back catalog.
Size L: Can accommodate up to our XL series

Also available: Size M: Fit for Bibliotheca Universalis, Basic Art series, 40th Edition series, and all regular titlesSize XL: For all of our XXL-sized giants, including Collector’s Editions (even enclosed in their clamshell box!)

The TASCHEN bookstand brings your collection out from the confines of your bookshelves, and back to its rightful place on center-stage.

The three sizes of medium, large, and extra-large allow for the secure and stylish display of almost our entire spectrum of titles, except for our gargantuan SUMOs. Also reflecting the variety within our editions, four  eye-catching colors – aqua blue, radiant pink, crystal green, and urban grey – and a transparent version provide a fitting foundation to display TASCHEN’s big, bright, and bold back catalog.
Size L: Can accommodate up to our XL series

Also available: Size M: Fit for Bibliotheca Universalis, Basic Art series, 40th Edition series, and all regular titlesSize XL: For all of our XXL-sized giants, including Collector’s Editions (even enclosed in their clamshell box!)

The TASCHEN bookstand brings your collection out from the confines of your bookshelves, and back to its rightful place on center-stage.

The three sizes of medium, large, and extra-large allow for the secure and stylish display of almost our entire spectrum of titles, except for our gargantuan SUMOs. Also reflecting the variety within our editions, four  eye-catching colors – aqua blue, radiant pink, crystal green, and urban grey – and a transparent version provide a fitting foundation to display TASCHEN’s big, bright, and bold back catalog.

Size L: Can accommodate up to our XL series

Also available: Size M: Fit for Bibliotheca Universalis, Basic Art series, 40th Edition series, and all regular titlesSize XL: For all of our XXL-sized giants, including Collector’s Editions (even enclosed in their clamshell box!)

The TASCHEN bookstand brings your collection out from the confines of your bookshelves, and back to its rightful place on center-stage.

The three sizes of medium, large, and extra-large allow for the secure and stylish display of almost our entire spectrum of titles, except for our gargantuan SUMOs. Also reflecting the variety within our editions, four  eye-catching colors – aqua blue, radiant pink, crystal green, and urban grey – and a transparent version provide a fitting foundation to display TASCHEN’s big, bright, and bold back catalog.

Size M: Fit for Bibliotheca Universalis, Basic Art series, 40th Edition series, and all regular titles

Also available: Size L: Can accommodate books up to our XL seriesSize XL: For all of our XXL-sized giants, including Collector’s Editions (even enclosed in their clamshell box!)

The TASCHEN bookstand brings your collection out from the confines of your bookshelves, and back to its rightful place on center-stage.

The three sizes of medium, large, and extra-large allow for the secure and stylish display of almost our entire spectrum of titles, except for our gargantuan SUMOs. Also reflecting the variety within our editions, four  eye-catching colors – aqua blue, radiant pink, crystal green, and urban grey – and a transparent version provide a fitting foundation to display TASCHEN’s big, bright, and bold back catalog.

Size M: Fit for Bibliotheca Universalis, Basic Art series, 40th Edition series, and all regular titles

Also available: Size L: Can accommodate books up to our XL series Size XL: For all of our XXL-sized giants, including Collector’s Editions (even enclosed in their clamshell box!)

The TASCHEN bookstand brings your collection out from the confines of your bookshelves, and back to its rightful place on center-stage.

The three sizes of medium, large, and extra-large allow for the secure and stylish display of almost our entire spectrum of titles, except for our gargantuan SUMOs. Also reflecting the variety within our editions, four  eye-catching colors – aqua blue, radiant pink, crystal green, and urban grey – and a transparent version provide a fitting foundation to display TASCHEN’s big, bright, and bold back catalog.

Size M: Fit for Bibliotheca Universalis, Basic Art series, 40th Edition series, and all regular titles

Also available: Size L: Can accommodate books up to our XL seriesSize XL: For all of our XXL-sized giants, including Collector’s Editions (even enclosed in their clamshell box!)

The TASCHEN bookstand brings your collection out from the confines of your bookshelves, and back to its rightful place on center-stage.

The three sizes of medium, large, and extra-large allow for the secure and stylish display of almost our entire spectrum of titles, except for our gargantuan SUMOs. Also reflecting the variety within our editions, four  eye-catching colors – aqua blue, radiant pink, crystal green, and urban grey – and a transparent version provide a fitting foundation to display TASCHEN’s big, bright, and bold back catalog.

Size M: Fit for Bibliotheca Universalis, Basic Art series, 40th Edition series, and all regular titles

Also available: Size L: Can accommodate books up to our XL seriesSize XL: For all of our XXL-sized giants, including Collector’s Editions (even enclosed in their clamshell box!)

The TASCHEN bookstand brings your collection out from the confines of your bookshelves, and back to its rightful place on center-stage.

The three sizes of medium, large, and extra-large allow for the secure and stylish display of almost our entire spectrum of titles, except for our gargantuan SUMOs. Also reflecting the variety within our editions, four  eye-catching colors – aqua blue, radiant pink, crystal green, and urban grey – and a transparent version provide a fitting foundation to display TASCHEN’s big, bright, and bold back catalog.
Size M: Fit for Bibliotheca Universalis, Basic Art series, 40th Edition series, and all regular titles

Also available: Size L: Can accommodate books up to our XL seriesSize XL: For all of our XXL-sized giants, including Collector’s Editions (even enclosed in their clamshell box!)

As cryptic as they are compelling, the masterpieces of Hieronymus Bosch (c. 1450–1516) remain some of the most enduring enigmas of the art world. Their intricate, allegorical, and often startling content has captivated not only art historians, but also fashion designers, rock stars, writers, and punk rockers, as well as countless modern and contemporary artist successors.

Although rooted in the Old Netherlandish tradition, Bosch developed a highly subjective, richly suggestive style to render both the celestial bliss of heaven and the grotesque tortures of hell, most famously and meticulously excecuted in The Garden of Earthly Delights. Here, as in his other known works, his artistic language combined religious humility with a razor-sharp wit, often playing off pictorial versions of contemporary proverbs or figures of speech.

This book ties together the elusive threads of Bosch’s oeuvre to provide a concise introduction to an at once haunting and enthralling pictorial world.

As cryptic as they are compelling, the masterpieces of Hieronymus Bosch (c. 1450–1516) remain some of the most enduring enigmas of the art world. Their intricate, allegorical, and often startling content has captivated not only art historians, but also fashion designers, rock stars, writers, and punk rockers, as well as countless modern and contemporary artist successors.

Although rooted in the Old Netherlandish tradition, Bosch developed a highly subjective, richly suggestive style to render both the celestial bliss of heaven and the grotesque tortures of hell, most famously and meticulously excecuted in The Garden of Earthly Delights. Here, as in his other known works, his artistic language combined religious humility with a razor-sharp wit, often playing off pictorial versions of contemporary proverbs or figures of speech.

This book ties together the elusive threads of Bosch’s oeuvre to provide a concise introduction to an at once haunting and enthralling pictorial world.

Bring a fantastical vision to your wall with these 16 ready-to-frame prints from the Renaissance rebel genius, Hieronymus Bosch, including spectacular details from The Garden of Earthly Delights.Included artworks:

Ecce Homo (Christ presented to the People), c. 1490

Temptation of St Anthony, c. 1501

Garden of Earthly Delights, c. 1503

Paradise and Hell, c. 1505 – 1515

The Last Judgement, c. 1506

The Wedding at Cana with Exempla, c. 1500 ­– 1510

Four Afterlife Panels, c. 1490

Haywain, c. 1510 ­– 1516

The works of Christo and Jeanne-Claude are monuments of transience. Gigantic in scale, they are always temporary, created to exist only for a limited time and to leave unique, unrepeatable impressions. “From the smallest of the Packages made in Paris in the early 1960s, to the delicate pattern of hundreds of branches embraced by a translucent fabric veil... in Christo and Jeanne-Claude’s works there is nothing abstract, nothing imagined; it is all there—corporeal and tangible.” (Lorenza Giovanelli)

Part biography, part critical analysis, part catalogue, this updated edition brings back TASCHEN’s best-selling Collector’s Edition. It spans Christo and Jeanne-Claude’s entire work, from early drawings and family photos to plans for future projects. Hundreds of photographs and original works trace the couple’s projects from the past 10 years, including The Floating Piers and The London Mastaba, as well as works in progress such as The Mastaba, Project for the United Arab Emirates and L’Arc de Triomphe Wrapped, Paris.

Together with the comprehensive photographic documentation by Wolfgang Volz this book is a celebration of the work of two artists whose imagination has affected the landscape of every continent.

“Les diners de Gala is uniquely devoted to the pleasures of taste … If you are a disciple of one of those calorie-counters who turn the joys of eating into a form of punishment, close this book at once; it is too lively, too aggressive, and far too impertinent for you.”—Salvador Dalí

Food and surrealism make perfect bedfellows: sex and lobsters, collage and cannibalism, the meeting of a swan and a toothbrush on a pastry case. The opulent dinner parties thrown by Salvador Dalí (1904–1989) and his wife and muse, Gala (1894–1982) were the stuff of legend. Luckily for us, Dalí published a cookbook in 1973, Les diners de Gala, which reveals some of the sensual, imaginative, and exotic elements that made up their notorious gatherings.

This abridged reissue features 78 of his recipes over 12 chapters, specially illustrated by Dalí, and organized by meal courses, including aphrodisiacs. The illustrations and recipes are accompanied by Dalí’s extravagant musings on subjects such as dinner conversation: “The jaw is our best tool to grasp philosophical knowledge.”

All these rich recipes can be cooked at home, although some will require practiced skill and a well-stocked pantry. This is cuisine of the old school, with meals by leading French chefs. Good taste, however voluptuous, never goes out of fashion. In making this exceptionally rare book available to a wide audience, TASCHEN brings an artwork, a practical cookbook, and a multisensory adventure to today’s kitchens.

The first English edition of Les Diners de Gala was published in 1973 by FELICIE, INC., New York

“Les diners de Gala is uniquely devoted to the pleasures of taste … If you are a disciple of one of those calorie-counters who turn the joys of eating into a form of punishment, close this book at once; it is too lively, too aggressive, and far too impertinent for you.”—Salvador Dalí

Food and surrealism make perfect bedfellows: sex and lobsters, collage and cannibalism, the meeting of a swan and a toothbrush on a pastry case. The opulent dinner parties thrown by Salvador Dalí (1904–1989) and his wife and muse, Gala (1894–1982) were the stuff of legend. Luckily for us, Dalí published a cookbook in 1973, Les diners de Gala, which reveals some of the sensual, imaginative, and exotic elements that made up their notorious gatherings.

This abridged reissue features 78 of his recipes over 12 chapters, specially illustrated by Dalí, and organized by meal courses, including aphrodisiacs. The illustrations and recipes are accompanied by Dalí’s extravagant musings on subjects such as dinner conversation: “The jaw is our best tool to grasp philosophical knowledge.”

All these rich recipes can be cooked at home, although some will require practiced skill and a well-stocked pantry. This is cuisine of the old school, with meals by leading French chefs. Good taste, however voluptuous, never goes out of fashion. In making this exceptionally rare book available to a wide audience, TASCHEN brings an artwork, a practical cookbook, and a multisensory adventure to today’s kitchens.

The first English edition of Les Diners de Gala was published in 1973 by FELICIE, INC., New York

“Les diners de Gala is uniquely devoted to the pleasures of taste … If you are a disciple of one of those calorie-counters who turn the joys of eating into a form of punishment, close this book at once; it is too lively, too aggressive, and far too impertinent for you.”—Salvador DalíFood and surrealism make perfect bedfellows: sex and lobsters, collage and cannibalism, the meeting of a swan and a toothbrush on a pastry case. The opulent dinner parties thrown by Salvador Dalí (1904–1989) and his wife and muse, Gala (1894–1982) were the stuff of legend. Luckily for us, Dalí published a cookbook in 1973, Les diners de Gala, which reveals some of the sensual, imaginative, and exotic elements that made up their notorious gatherings.This abridged reissue features 78 of his recipes over 12 chapters, specially illustrated by Dalí, and organized by meal courses, including aphrodisiacs. The illustrations and recipes are accompanied by Dalí’s extravagant musings on subjects such as dinner conversation: “The jaw is our best tool to grasp philosophical knowledge.”All these rich recipes can be cooked at home, although some will require practiced skill and a well-stocked pantry. This is cuisine of the old school, with meals by leading French chefs. Good taste, however voluptuous, never goes out of fashion. In making this exceptionally rare book available to a wide audience, TASCHEN brings an artwork, a practical cookbook, and a multisensory adventure to today’s kitchens.The first English edition of Les Diners de Gala was published in 1973 by FELICIE, INC., New York

“Les diners de Gala is uniquely devoted to the pleasures of taste … If you are a disciple of one of those calorie-counters who turn the joys of eating into a form of punishment, close this book at once; it is too lively, too aggressive, and far too impertinent for you.”—Salvador Dalí Food and surrealism make perfect bedfellows: sex and lobsters, collage and cannibalism, the meeting of a swan and a toothbrush on a pastry case. The opulent dinner parties thrown by Salvador Dalí and his wife and muse, Gala were the stuff of legend. Luckily for us, Dalí published a cookbook in 1973, Les diners de Gala, which reveals some of the sensual, imaginative, and exotic elements that made up their notorious gatherings. This volume features all 136 recipes over 12 chapters, delightfully illustrated by Dalí, and organized by meal courses, including aphrodisiacs. The illustrations and recipes are accompanied by Dalí’s extravagant musings on subjects such as dinner conversation: “The jaw is our best tool to grasp philosophical knowledge.” All these rich recipes can be cooked at home, although some will require practiced skill and a well-stocked pantry. This is cuisine of the old school, with meals by leading French chefs from such stellar Paris restaurants as Lasserre, La Tour d’Argent, Maxim’s, and Le Train Bleu. Good taste, however voluptuous, never goes out of fashion. In making this exceptionally rare book available to a wide audience, TASCHEN brings an artwork, a practical cookbook, and a multisensory adventure to today’s kitchens.

“Les diners de Gala is uniquely devoted to the pleasures of taste … If you are a disciple of one of those calorie-counters who turn the joys of eating into a form of punishment, close this book at once; it is too lively, too aggressive, and far too impertinent for you.”—Salvador Dalí

Food and surrealism make perfect bedfellows: sex and lobsters, collage and cannibalism, the meeting of a swan and a toothbrush on a pastry case. The opulent dinner parties thrown by Salvador Dalí and his wife and muse, Gala were the stuff of legend. Luckily for us, Dalí published a cookbook in 1973, Les diners de Gala, which reveals some of the sensual, imaginative, and exotic elements that made up their notorious gatherings.

This volume features all 136 recipes over 12 chapters, delightfully illustrated by Dalí, and organized by meal courses, including aphrodisiacs. The illustrations and recipes are accompanied by Dalí’s extravagant musings on subjects such as dinner conversation: “The jaw is our best tool to grasp philosophical knowledge.”

All these rich recipes can be cooked at home, although some will require practiced skill and a well-stocked pantry. This is cuisine of the old school, with meals by leading French chefs from such stellar Paris restaurants as Lasserre, La Tour d’Argent, Maxim’s, and Le Train Bleu.

Good taste, however voluptuous, never goes out of fashion. In making this exceptionally rare book available to a wide audience, TASCHEN brings an artwork, a practical cookbook, and a multisensory adventure to today’s kitchens.

“Les diners de Gala is uniquely devoted to the pleasures of taste … If you are a disciple of one of those calorie-counters who turn the joys of eating into a form of punishment, close this book at once; it is too lively, too aggressive, and far too impertinent for you.”—Salvador Dalí Food and surrealism make perfect bedfellows: sex and lobsters, collage and cannibalism, the meeting of a swan and a toothbrush on a pastry case. The opulent dinner parties thrown by Salvador Dalí and his wife and muse, Gala were the stuff of legend. Luckily for us, Dalí published a cookbook in 1973, Les diners de Gala, which reveals some of the sensual, imaginative, and exotic elements that made up their notorious gatherings. This volume features all 136 recipes over 12 chapters, delightfully illustrated by Dalí, and organized by meal courses, including aphrodisiacs. The illustrations and recipes are accompanied by Dalí’s extravagant musings on subjects such as dinner conversation: “The jaw is our best tool to grasp philosophical knowledge.” All these rich recipes can be cooked at home, although some will require practiced skill and a well-stocked pantry. This is cuisine of the old school, with meals by leading French chefs from such stellar Paris restaurants as Lasserre, La Tour d’Argent, Maxim’s, and Le Train Bleu. Good taste, however voluptuous, never goes out of fashion. In making this exceptionally rare book available to a wide audience, TASCHEN brings an artwork, a practical cookbook, and a multisensory adventure to today’s kitchens.

The perfect companion to our best-selling title Les dîners de Gala, TASCHEN presents the artist’s equally surreal and sensual viticulture follow-up: The Wines of Gala. A Dalínian take on pleasures of the grape and a coveted collectible, the book sets out to organize wines “according to the sensations they create in our very depths.” Through eclectic metrics like production method, weight, and color, the book presents wines of the world in such innovative, Dalíesque groupings as “Wines of Frivolity,” “Wines of the Impossible,” and “Wines of Light.”

Bursting with imagery, the book features more than 140 illustrations by Dalí. Many of these are appropriated artworks, including various classical nudes, all of them reconstructed with suitably Surrealist, provocative touches, like Jean-François Millet’s The Angelus, one of Dalí’s favorite points of reference over the decades. Dalí also included what is now considered one of the greatest works from his late “Nuclear Mystic” phase, The Sacrament of the Last Supper (1955), which sets the iconic biblical scene in a translucent dodecahedron-shaped space before a Catalonian coastal landscape. Dalí was by this stage a devout Catholic, simultaneously captivated by science, optical illusion, and the atomic age.

The first section is dedicated to “Ten Divine Dalí Wines,” an overview of 10 important wine-growing regions, while the second develops Dalí’s revolutionary ordering of wine by emotional experience, instead of by geography or variety. Rather than any prescriptive classification, it’s a flamboyant, free-flowing manifesto in favor of taste and feeling, as much a multisensory treat as a full-bodied document of Dalí’s late-stage oeuvre, in which the artist both reflected on formative influences and refined his own cultural legacy.

Winner of the 2018 Gourmand World Cookbook Awards

The perfect companion to our best-selling title Les dîners de Gala, TASCHEN presents the artist’s equally surreal and sensual viticulture follow-up: The Wines of Gala. A Dalínian take on pleasures of the grape and a coveted collectible, the book sets out to organize wines “according to the sensations they create in our very depths.” Through eclectic metrics like production method, weight, and color, the book presents wines of the world in such innovative, Dalíesque groupings as “Wines of Frivolity,” “Wines of the Impossible,” and “Wines of Light.”

Bursting with imagery, the book features more than 140 illustrations by Dalí. Many of these are appropriated artworks, including various classical nudes, all of them reconstructed with suitably Surrealist, provocative touches, like Jean-François Millet’s The Angelus, one of Dalí’s favorite points of reference over the decades. Dalí also included what is now considered one of the greatest works from his late “Nuclear Mystic” phase, The Sacrament of the Last Supper (1955), which sets the iconic biblical scene in a translucent dodecahedron-shaped space before a Catalonian coastal landscape. Dalí was by this stage a devout Catholic, simultaneously captivated by science, optical illusion, and the atomic age.

The first section is dedicated to “Ten Divine Dalí Wines,” an overview of 10 important wine-growing regions, while the second develops Dalí’s revolutionary ordering of wine by emotional experience, instead of by geography or variety. Rather than any prescriptive classification, it’s a flamboyant, free-flowing manifesto in favor of taste and feeling, as much a multisensory treat as a full-bodied document of Dalí’s late-stage oeuvre, in which the artist both reflected on formative influences and refined his own cultural legacy.

Winner of the 2018 Gourmand World Cookbook Awards

TASCHEN is proud to announce Lost + Found, Part I and Good News, Part II, the long-awaited, latest and final publications from artist David LaChapelle. The books are the fourth and fifth installments of LaChapelle’s five-book anthology, which began with LaChapelle Land (1996), continued with Hotel LaChapelle (1999), and followed by Heaven to Hell (2006).Good News, Part II follows David LaChapelle’s creative renaissance as he surrenders to contemplations of mortality, moving beyond the material world in a quest for paradise. Featuring a monumental curation of images that have never before been published in book form, it is a sublime and arresting new body of work that attempts to photograph that which can’t be photographed. It represents the final chapter to LaChapelle’s narrative in a collection of books that have captivated a generation of viewers across the globe.Good News features: Pamela Anderson, Lana Del Rey, Sharon Gault, Janet Jackson, Michael Jackson, Paris Jackson, David LaChapelle, Amanda Lepore, Miriam Makeba, Sergei Polunin, Tupac Shakur, Elizabeth Taylor, and many more...Lost + Found, Part I and Good News, Part II are sold separately. Also available as a two-volume Art Edition limited to 500 copies and accompanied by three prints signed by David LaChapelle.

TASCHEN is proud to announce Lost + Found, Part I and Good News, Part II, the long-awaited, latest and final publications from artist David LaChapelle. The books are the fourth and fifth installments of LaChapelle’s five-book anthology, which began with LaChapelle Land (1996), continued with Hotel LaChapelle (1999), and followed by Heaven to Hell (2006).Lost + Found, Part I is a visual recording of the times we live in and the issues we face, expressed through David LaChapelle’s unique and distinctive vision. Featuring a monumental curation of images that have never before been published in book form, it chronicles LaChapelle’s strongest images as a visionary to date while encapsulating our time in history. This fourth volume also introduces a decade of unseen work from LaChapelle’s creative renaissance, where he offers a bridge into paradise and the sublime, leading viewers into volume two: Good News, Part II.Lost + Found, Part I features: Pamela Anderson, Julian Assange, Isabella Blow, David Bowie, Naomi Campbell, Hillary Clinton, Frances Bean Cobain, Miley Cyrus, Lana Del Rey, Lady Gaga, Sharon Gault, Daphne Guinness, Whitney Houston, Kris Jenner, Kendall Jenner, Bruce Jenner, Kylie Jenner, Dwayne Johnson, Khloe Kardashian, Kim Kardashian, Eartha Kitt, David LaChapelle, Amanda Lepore, Nicki Minaj, Katy Perry, Sergei Polunin, Keith Richards, Rihanna, Chris Rock, Amber Rose, Britney Spears, Uma Thurman, Andy Warhol, Kanye West, Pharrell Williams, Amy Winehouse, and many others...Lost + Found, Part I and Good News, Part II are sold separately. Also available as a two-volume Art Edition limited to 500 copies and accompanied by three prints signed by David LaChapelle.

Drawing is one of the oldest cultural techniques of mankind, which has lost none of its fascination to this day, which is also due to the simplicity of the means. All you need for drawing is a sheet of paper and a pencil—and of course a good eye and fun with visual design. This practical and versatile drawing course describes all the important basic techniques of draughtsmanship—including sketching, shading and dotting. Doug DuBosque shows how to use structures, patterns, shadows and lines of all kinds in a skillful way to give drawings vitality, originality and depth. Young and old artists alike are enabled to create their own fantasy worlds by conjuring up wild jungle and steppe animals, tiny ants, frightening dinosaurs, noble knights or racy sports cars from ovals, circles, triangles or rectangles. With more than 1000 illustrations and practical hints, keen would-be artists can learn step by step how simple ovals, circles, triangles, rectangles and squares can turn into wild animals of the jungle and steppe, fearsome dinosaurs, tiny ants, classy sports cars, noble knights and dangerous dragons. In addition, learners get an introduction to perspective, so that their drawings will have spatial depth and three-dimensionality. There are numerous tips and tricks to help the readers gradually to make their drawings look more realistic.

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,  book scientist 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 this bible.

As cryptic as they are compelling, the masterpieces of Hieronymus Bosch (c. 1450–1516) remain some of the most enduring enigmas of the art world. Their intricate, allegorical, and often startling content has captivated not only art historians, but also fashion designers, rock stars, writers, and punk rockers, as well as countless modern and contemporary artist successors.

Although rooted in the Old Netherlandish tradition, Bosch developed a highly subjective, richly suggestive style to render both the celestial bliss of heaven and the grotesque tortures of hell, most famously and meticulously excecuted in The Garden of Earthly Delights. Here, as in his other known works, his artistic language combined religious humility with a razor-sharp wit, often playing off pictorial versions of contemporary proverbs or figures of speech.

This book ties together the elusive threads of Bosch’s oeuvre to provide a concise introduction to an at once haunting and enthralling pictorial world.

Sportive gentlemen, lascivious ladies: Since the earliest days of photography, people have been getting up to all manner of rannygazoo in front of the lens. This collection presents the finest highlights from the collection of New Yorker Mark Rotenberg, who began collecting antique smut after finding a stash of vintage erotic pictures in a Brooklyn dumpster and now owns a 95,000 strong collection of archive pornography dating from between 1860 and 1960.

Flick through these pages and witness the fitness of our forebears as they romp, cavort, and frolic with unabashed energy and glee. From early monochromes of daringly dropped drawers and seductively waxed handlebar mustaches, to Kodachromes of cheery, twin-peaked pin-up beauties in the 1950s, this fine collection spans the sublimely sensual and the ridiculous.

Born in the Brazilian countryside, and nearly six feet tall by the age of 14, Gisele Bündchen grew from humble roots into one of the most successful supermodels in the world. This book celebrates her 20-year milestone in the industry with a unique and spectacular collection of jaw-dropping glamour and intimate, personal insights.

Gisele was just 18 when she made her breakthrough in the S/S 1998 ready-to-wear “Rain” show of Alexander McQueen, who chose “The Body” thanks to her ability to walk in towering heels on a slippery runway. The same year, Gisele secured her first British Vogue cover, and swiftly became the most in-demand cover girl of her generation. The following year, she was chosen for the cover of American Vogue, shot by Steven Meisel, and lauded as “the return of the sexy model” with her bronzed, athletic beauty defying late-’90s grunge. Since then, Gisele has appeared on more than 1,000 covers around the globe, in approximately 450 fashion shows, and in multinational campaigns for the biggest fashion and beauty brands.

With more than 300 photographs, this book is curated and art directed by Giovanni Bianco. From Gisele’s legendary nude portrait by Irving Penn, chosen as the book’s cover, to iconic shots from such industry luminaries as Steven Meisel, Mario Testino, Peter Lindbergh, David LaChapelle, Juergen Teller, Inez & Vinoodh, Mert Alas & Marcus Piggott, and Corinne Day, it is a unique artistic presentation of the most famous Brazilian export together with Pelé and Senna and the highest-earning model in the world. The breathtaking image collection is accompanied by an introduction by Steven Meisel and tributes from Gisele’s closest friends, family, and fashion leaders, who shed light on how and why she has become one of the greatest models of all time.

Gisele is donating all her proceeds from the book to charity.

Born in the Brazilian countryside, and nearly six feet tall by the age of 14, Gisele Bündchen grew from humble roots into the most successful supermodel in the world. This book celebrates her 20-year milestone in the industry with a unique and spectacular collection of jaw-dropping glamour and intimate, personal insights.

Gisele was just 18 when she made her breakthrough in the S/S 1998 ready-to-wear “Rain” show of Alexander McQueen, who chose “The Body” thanks to her ability to walk in towering heels on a slippery runway. The same year, Gisele secured her first British Vogue cover, and swiftly became the most in-demand cover girl of her generation. The following year, she was chosen for the cover of American Vogue, shot by Steven Meisel, and lauded as “the return of the sexy model” with her bronzed, athletic beauty defying late-’90s grunge. Since then, Gisele has appeared on more than 1,000 covers around the globe, in approximately 450 fashion shows, and in multinational campaigns for the biggest fashion and beauty brands.

With more than 300 photographs, this book is curated and art directed by Giovanni Bianco. From Gisele’s legendary nude portrait by Irving Penn, chosen as the book’s cover, to iconic shots from such industry luminaries as Steven Meisel, Mario Testino, Peter Lindbergh, David LaChapelle, Juergen Teller, Inez & Vinoodh, Mert Alas & Marcus Piggott, and Corinne Day, it is a unique artistic presentation of the most famous Brazilian export together with Pelé and Senna and the highest-earning model in the world. The breathtaking image collection is accompanied by an introduction by Steven Meisel and tributes from Gisele’s closest friends, family, and fashion leaders, who shed light on how and why she has become one of the greatest models of all time.

First published as a limited edition—now available in a popular TASCHEN edition!

Gisele is donating all her proceeds from the book to charity.

Greatest of All Time: A Tribute to Muhammad Ali is not just a book; it is a testament to the extraordinary life of one of the world’s most famous athletes. GOAT delves into the intricate layers of Ali’s existence, tracing Cassius Marcellus Clay Jr.’s journey from his humble beginnings navigating segregation and financial hardship in Louisville, Kentucky, to his evolution into the legendary boxer Muhammad Ali.

Essays by those closest to him reveal stories behind monumental fights like those with Sonny Liston, the Rumble in the Jungle against George Foreman, and Thrilla in Manila against Joe Frazier. The book also explores Ali’s signature fighting style, which, when paired with his rapper-style wit, positioned him as a charismatic figure inside and outside the ring.

Beyond boxing, GOAT weaves together Ali’s historic moments with his resilience against discrimination and his determination to confront racial inequities. His triumph at the 1960 Rome Olympics was marred by hostility, underscoring the racial tensions he faced; Ali boldly challenged these prevailing biases. The boxer’s embrace of Islam became a cornerstone of his moral standards, guiding his principles against racism, inequality, and undue violence, with the latter informing his staunch opposition to the Vietnam War.

Interspersed between these accounts are thousands of historical documents and images of Ali, including the boxer’s documentarian-turned-confidant Howard Bingham’s intimate snapshots, Neil Leifer and Flip Schulke’s iconic pictures, and Hank Kaplan’s archival contributions. Stills from Leon Gast's film ‘When We Were Kings’, which told the story of Ali’s pivotal 1974 fight, are also included in the volume.

GOAT is a heartfelt homage to a boxing legend, exploring Muhammad Ali’s indomitable spirit and celebrating his enduring impact on civil rights, sports, and culture.

“An amazing book…all the iconic photographs that people took of The Champ.” —Barack ObamaGREATEST OF ALL TIME: A TRIBUTE TO MUHAMMAD ALI is a book with the power, courage, depth, creativity, and dazzling energy of its extraordinary subject. Slimmed down from the heavyweight Collector’s Edition, this bantamweight edition is smaller in size, but pulls no punches on its expertise, passion, and insight on The Champ. With thousands of images, including photography, art, and memorabilia and two gatefold sequences, the book pays vivid tribute to The Greatest both in and outside of the ring. Original essays and five decades’ worth of interviews and writing explore the courage, convictions, and extraordinary image-building that made Ali one of the most recognizable and inspirational individuals on the planet, an icon not only as an extraordinary athlete, but also as an impassioned advocate of social justice, interfaith understanding, and peace.

George Eastman’s career developed in a particularly American way. The founder of Kodak progressed from a delivery boy to one of the most important industrialists in American history, and a crucial innovator in photographic history.

Eastman died in 1932, and left his house to the University of Rochester. Since 1949 the site has operated as an international museum of photography and film, and today holds the largest collection of its kind in the world, containing over 400,000 images and negatives—among them the work of such masters as Alfred Stieglitz, Edward Steichen, and Ansel Adams.

Home also to 23,000 cinema films, five million film stills, one of the most important silent film collections, technical equipment and a library with 40,000 books on photography and film, the George Eastman House is a pilgrimage site for researchers, photographers, and collectors from all over the world. This volume curates the most impressive images from the collection in chronological order to offer an incomparable overview of photographic history.

George Eastman’s career developed in a particularly American way. The founder of Kodak progressed from a delivery boy to one of the most important industrialists in American history, and a crucial innovator in photographic history.

Eastman died in 1932, and left his house to the University of Rochester. Since 1949 the site has operated as an international museum of photography and film, and today holds the largest collection of its kind in the world, containing over 400,000 images and negatives—among them the work of such masters as Alfred Stieglitz, Edward Steichen, and Ansel Adams.

Home also to 23,000 cinema films, five million film stills, one of the most important silent film collections, technical equipment and a library with 40,000 books on photography and film, the George Eastman House is a pilgrimage site for researchers, photographers, and collectors from all over the world. This volume curates the most impressive images from the collection in chronological order to offer an incomparable overview of photographic history.

With an inspirational richness and diversity of styles, these homes, residences, hideaways, and studios will astound and astonish, no matter the taste; be it rustic country cottage, New York–style loft, or bohemian bungalow. This survey of contemporary interior design carefully curates homes from all over the world—from Auckland, New Zealand, to Avignon, France.

Mapped out through hundreds of images by renowned interior photographers, these gorgeous houses offer inspiration and ideas for your next renovation. Many of the selected homes are owned by creatives—designers, filmmakers, and collectors—whose eye for the perfect synthesis of interior elements is impressive, to say the least. Bringing together wallpaper, furniture, textiles, and objet d’art while cautiously balancing color, texture, and form, the creators of these dynamic spaces practice an art form of their own.

Eclectic or minimal, antique or extra-modern, this variety of decor locates contemporary style in all its manifestations, showcasing the endless possibilities and home-making magic of interior design.

With an inspirational richness and diversity of styles, these homes, residences, hideaways, and studios will astound and astonish, no matter the taste; be it rustic country cottage, New York–style loft, or bohemian bungalow. This survey of contemporary interior design carefully curates homes from all over the world—from Auckland, New Zealand, to Avignon, France.

Mapped out through hundreds of images by renowned interior photographers, these gorgeous houses offer inspiration and ideas for your next renovation. Many of the selected homes are owned by creatives—designers, filmmakers, and collectors—whose eye for the perfect synthesis of interior elements is impressive, to say the least. Bringing together wallpaper, furniture, textiles, and objet d’art while cautiously balancing color, texture, and form, the creators of these dynamic spaces practice an art form of their own.

Eclectic or minimal, antique or extra-modern, this variety of decor locates contemporary style in all its manifestations, showcasing the endless possibilities and home-making magic of interior design.

Create your own Gustav Klimt gallery with this set of 16 ready-to-frame prints, featuring such jewel-like masterpieces as The Kiss, The Tree of Life, and the “woman in gold”, Portrait of Adele Bloch-Bauer I.Included artworks:

Judith I, 1901

Beethoven Frieze, “The giant Typhoeus” and “Lasciviousness, Unchastity, Excess”, 1901/02

Birch Forest (Beech Forest), 1903

Hope I, 1903/04

Water Snakes I, 1904-07

Water Snakes II, 1904, reworked 1906/07

Portrait of Adele Bloch-Bauer I, 1907

The Kiss, 1907/08

Cottage Garden with Sunflowers, 1906

Judith II (Salome), 1909

Working drawing for “Pair of Lovers” (“Fulfilment”) for the Stoclet Frieze, 1910

Working drawing for “Dancing Girl” (“Expectation”) for the Stoclet Frieze, 1910

Lady with a Hat and Feather Boa, 1909

The Virgin, 1913

Friends II, 1916/17

Baby (Cradle), 1917

With more than 280 entries, this architectural A–Z, now part of our Bibliotheca Universalis series, offers an indispensable overview of the key players in the creation of modern space. From the period spanning the 19th to the 21st century, pioneering architects are featured with a portrait, concise biography, as well as a description of her or his important work.

Like a bespoke global architecture tour, you’ll travel from Manhattan skyscrapers to a Japanese concert hall, from Gaudí’s Palau Güell in Barcelona to Lina Bo Bardi’s sports and leisure center in a former factory site in São Paulo. You’ll take in Gio Ponti’s colored geometries, Zaha Hadid’s free-flowing futurism, the luminous interiors of SANAA, and Charles Rennie Mackintosh’s unique blend of Scottish tradition and elegant japonisme.

The book’s A to Z entries also cover groups, movements, and styles to position these leading individual architects within broader building trends across time and geography, including International Style, Bauhaus, De Stijl, and much more. Featuring modern architectural photography, this is a comprehensive source book for any architecture professional, student, or devotee.

With almost 300 entries, this architectural A to Z offers an indispensable overview of the key players in the creation of modern space. Covering modern architecture from the 19th into the 21st century, pioneering architects are each featured with a portrait and a concise biography, as well as a description of his or her important work.

Like a bespoke global architecture tour, this book will allow you to travel from Manhattan skyscrapers to a Japanese concert hall, from Antoni Gaudí’s Palau Güell in Barcelona to Lina Bo Bardi’s sports and leisure center on a former factory site in São Paulo. You’ll take in Gio Ponti’s colored geometries, Zaha Hadid’s free-flowing futurism, the luminous interiors of SANAA, and Charles Rennie Mackintosh’s unique blend of Scottish tradition and elegant japonisme.

The book’s A to Z entries also cover groups, movements, and styles to position these leading individual architects within broader building trends across time and geography, including International Style, Bauhaus, De Stijl, and much more. With illustrations including some of the best architectural photography of the modern era, this is a comprehensive resource for any architecture professional, student, or devotee.

The history of photography began nearly 200 years ago, but only relatively recently has it been fully recognized as a medium in its own right. Cologne’s Museum Ludwig was the first museum of contemporary art to devote a substantial section to international photography. The L. Fritz Gruber collection, from which this book is drawn, is one of the most important in Germany and one of the most representative anywhere in the world, constituting the core of the museum’s holdings.

This book provides a fascinating insight into the collection’s rich diversity; from conceptual art to abstraction to reportage, all of the major movements and genres are represented via a vast selection of the 20th century’s most remarkable photographs. From Ansel Adams to Piet Zwart, over 850 works are presented in alphabetical order by photographer, with descriptive texts and photographers’ biographical details, providing a comprehensive and indispensable overview of 20th-century photography.

“These seductive books have slick production values, excellent illustrations, and smart texts. Each one is a fast-food, high-energy fix on the topic at hand.” – The New York Times Book Review With blockbuster exhibitions, record-breaking auction prices, and packed museums, Impressionism remains close contender for the world’s favorite period of painting. Its favorite subjects— from dappled harbor scenes and summer days to vibrant Parisian salons and gardens—brim with optimism and joie de vivre. The works once dismissed as unfinished or imprecise are now beloved for their atmospheric evocation of time and place, as well as the stylistic flair of rapid brushstrokes upon canvas. The lives and oeuvres of Impressionist pillars Cézanne, Degas, Gauguin, Manet, Monet, Renoir, Rousseau, Seurat, Toulouse-Lautrec, and van Gogh are each explored in-depth in TASCHEN’s Basic Art series. Now, this volume combines all 10 monographs into one for the price of three. What we take for granted today—the relativity of perception depending on the viewer, lighting mood, or location to the object—was then the inspiration for some of the finest paintings in art history. Consider Monet’s 30+ variations of the Rouen Cathedral, Cézanne’s dazzling experimentation with color, Gauguin’s primitivist innovations, or Manet’s scandalous nudes: rarely has a single genre produced so many brilliant artists in such a short time. Since 1985, TASCHEN’s Basic Art series has published some 200 individual volumes, making it the world’s most successful art-book series. Each title contains an extensive text on the artist’s life and work, a detailed biography, and some 100 high-quality color illustrations with explanatory captions. With Ten in One, TASCHEN now presents ten Basic Art monographs in one volume. A must for every art lover! This book gathers ten Basic Art monographs into one volume featuring: Cézanne, Degas, Gauguin, Manet, Monet, Renoir, Rousseau, Seurat, Toulouse-Lautrec, and van Gogh a detailed chronological summary of the life and oeuvre of each artist, covering their cultural and historical importance approximately 1,000 illustrations with explanatory captions

The history of photography began nearly 200 years ago, but only relatively recently has it been fully recognized as a medium in its own right. Cologne’s Museum Ludwig was the first museum of contemporary art to devote a substantial section to international photography. The L. Fritz Gruber collection, from which this book is drawn, is one of the most important in Germany and one of the most representative anywhere in the world, constituting the core of the museum’s holdings.

This book provides a fascinating insight into the collection’s rich diversity; from conceptual art to abstraction to reportage, all of the major movements and genres are represented via a vast selection of the 20th century’s most remarkable photographs. From Ansel Adams to Piet Zwart, over 850 works are presented in alphabetical order by photographer, with descriptive texts and photographers’ biographical details, providing a comprehensive and indispensable overview of 20th-century photography.

“These seductive books have slick production values, excellent illustrations, and smart texts. Each one is a fast-food, high-energy fix on the topic at hand.” – The New York Times Book Review With blockbuster exhibitions, record-breaking auction prices, and packed museums, Impressionism remains close contender for the world’s favorite period of painting. Its favorite subjects— from dappled harbor scenes and summer days to vibrant Parisian salons and gardens—brim with optimism and joie de vivre. The works once dismissed as unfinished or imprecise are now beloved for their atmospheric evocation of time and place, as well as the stylistic flair of rapid brushstrokes upon canvas. The lives and oeuvres of Impressionist pillars Cézanne, Degas, Gauguin, Manet, Monet, Renoir, Rousseau, Seurat, Toulouse-Lautrec, and van Gogh are each explored in-depth in TASCHEN’s Basic Art series. Now, this volume combines all 10 monographs into one for the price of three. What we take for granted today—the relativity of perception depending on the viewer, lighting mood, or location to the object—was then the inspiration for some of the finest paintings in art history. Consider Monet’s 30+ variations of the Rouen Cathedral, Cézanne’s dazzling experimentation with color, Gauguin’s primitivist innovations, or Manet’s scandalous nudes: rarely has a single genre produced so many brilliant artists in such a short time. Since 1985, TASCHEN’s Basic Art series has published some 200 individual volumes, making it the world’s most successful art-book series. Each title contains an extensive text on the artist’s life and work, a detailed biography, and some 100 high-quality color illustrations with explanatory captions. With Ten in One, TASCHEN now presents ten Basic Art monographs in one volume. A must for every art lover! This book gathers ten Basic Art monographs into one volume featuring: Cézanne, Degas, Gauguin, Manet, Monet, Renoir, Rousseau, Seurat, Toulouse-Lautrec, and van Gogh a detailed chronological summary of the life and oeuvre of each artist, covering their cultural and historical importance approximately 1,000 illustrations with explanatory captions

In November 1936, publisher Henry R. Luce launched LIFE as a photo-led weekly news magazine with a clear purpose: “To see life; to see the world; to eyewitness great events.” Before readers’ attention was consumed by television, LIFE served as their window to the world, and by the late 1940s, it was being read by 1 in 3 Americans. Jean Harlow was the first movie star to appear on a LIFE cover in 1937, and from then until 1972 over 200 covers featured Hollywood-related subjects, illustrating the strength of the bond between LIFE and the film industry.

Matching the splendor of the finest Hollywood production, this two-volume epic blockbuster tells the intertwined story of a magazine and an art form that embodied the pinnacle of American imagination. Meticulously researched and curated, it features over 600 images from the magazine’s archives—well over half previously unpublished—and stars icons such as Bette Davis, Elizabeth Taylor, Marlon Brando, Clark Gable, Steve McQueen, Sophia Loren, Alfred Hitchcock, Sidney Poitier, Paul Newman, Jane Fonda, Brigitte Bardot and many more. LIFE had special access to these celebrities following them on set, to extravagant  parties, Oscar nights and at home,  providing readers with intimate glimpses of their lives away from the spotlight.
Volume 1 (1936-1950s) covers the Golden Age of Hollywood: dashing leading men, glamorous starlets, powerful studio moguls, and opulent lifestyles. Witness how LIFE didn’t just indulge fantasy, but also documented the inner workings of the industry and the collective effort that went into creating the illusions on the screen, from screenwriters and composers to publicists and acting coaches. Volume 2 (1950s-1972) focuses on the New Hollywood, in which major studios gradually lost their stronghold, marked by a shift toward independent films, international stars, and a more diverse array of voices and faces. See how LIFE reported from the sets of classic movies such as The Godfather, Guys and Dolls, and The Ten Commandments;¬ and with the aid of exclusive editorial materials like contact sheets, tear sheets from the stories, and internal editorial notes, we learn how LIFE planned and framed their innovative photo-essays.

Featuring introductory texts by photography critic Lucy Sante, captions by film historian Justin Humphreys, and over 70 legendary LIFE photographers such as Alfred Eisenstaedt, Peter Stackpole, Gordon Parks, Lisa Larsen, Margaret Bourke-White, Gjon Mili, and many others, LIFE. Hollywood is a celebration of the 20th century’s most important photography magazine and the irresistible allure of Hollywood and movie magnificence.

From impossible staircases to tessellated birds, Dutch artist M.C. Escher (1898–1972) crafted a unique graphic language of patterns, puzzles, and mathematics. Dense, complex, and structured by intricate principles, his work is at the same time decorative and playful, toying constantly with optic illusions and the limitations of sensory perception. For mathematicians and scientists, Escher is a mastermind. For hippies, he was the pioneer of psychedelic art.

Born in Leeuwarden, in the Netherlands in 1898, Escher’s early works focused on nature and landscapes, with regular exhibitions in Holland, and some international recognition. It was on a trip to the Alhambra Palace in Spain in the 1920s, however, that Escher found his niche. Sketching the patterns of the palace’s Moorish architecture, Escher became captivated by the codependency of forms within and next to each other.

Working mainly with lithographs and woodcuts, Escher went on to explore the relationships among shapes, figures, and space with a near-obsessive delight. He reveled in quirky vantage points, multiple perspectives, the transition from paper flatness to illusory volume, and intricate mathematical puzzles such as the Möbius strip, a seemingly infinite loop which twists and recoils on itself in a contortion of apparent physical impossibility.

This introductory book taps into Escher’s brilliant mind with key works from his restless investigation of image and perception. Along the way, you’ll find fish morphing into birds, lizards crawling off the page, masterful reflections, infinite mazes, and some of the most mind-bending images of 20th-century art.

From impossible staircases to tessellated birds, Dutch artist M.C. Escher (1898–1972) crafted a unique graphic language of patterns, puzzles, and mathematics. Dense, complex, and structured by intricate principles, his work is at the same time decorative and playful, toying constantly with optic illusions and the limitations of sensory perception. For mathematicians and scientists, Escher is a mastermind. For hippies, he was the pioneer of psychedelic art.

Born in Leeuwarden, in the Netherlands in 1898, Escher’s early works focused on nature and landscapes, with regular exhibitions in Holland, and some international recognition. It was on a trip to the Alhambra Palace in Spain in the 1920s, however, that Escher found his niche. Sketching the patterns of the palace’s Moorish architecture, Escher became captivated by the codependency of forms within and next to each other.

Working mainly with lithographs and woodcuts, Escher went on to explore the relationships among shapes, figures, and space with a near-obsessive delight. He reveled in quirky vantage points, multiple perspectives, the transition from paper flatness to illusory volume, and intricate mathematical puzzles such as the Möbius strip, a seemingly infinite loop which twists and recoils on itself in a contortion of apparent physical impossibility.

This introductory book taps into Escher’s brilliant mind with key works from his restless investigation of image and perception. Along the way, you’ll find fish morphing into birds, lizards crawling off the page, masterful reflections, infinite mazes, and some of the most mind-bending images of 20th-century art.

From impossible staircases to tessellated birds, Dutch artist M.C. Escher (1898–1972) crafted a unique graphic language of patterns, puzzles, and mathematics. Dense, complex, and structured by intricate principles, his work is at the same time decorative and playful, toying constantly with optic illusions and the limitations of sensory perception. For mathematicians and scientists, Escher is a mastermind. For hippies, he was the pioneer of psychedelic art.

Born in Leeuwarden, in the Netherlands in 1898, Escher’s early works focused on nature and landscapes, with regular exhibitions in Holland, and some international recognition. It was on a trip to the Alhambra Palace in Spain in the 1920s, however, that Escher found his niche. Sketching the patterns of the palace’s Moorish architecture, Escher became captivated by the codependency of forms within and next to each other.

Working mainly with lithographs and woodcuts, Escher went on to explore the relationships among shapes, figures, and space with a near-obsessive delight. He reveled in quirky vantage points, multiple perspectives, the transition from paper flatness to illusory volume, and intricate mathematical puzzles such as the Möbius strip, a seemingly infinite loop which twists and recoils on itself in a contortion of apparent physical impossibility.

This introductory book taps into Escher’s brilliant mind with key works from his restless investigation of image and perception. Along the way, you’ll find fish morphing into birds, lizards crawling off the page, masterful reflections, infinite mazes, and some of the most mind-bending images of 20th-century art.

With almost 300 entries, this architectural A to Z offers an indispensable overview of the key players in the creation of modern space. Covering modern architecture from the 19th into the 21st century, pioneering architects are each featured with a portrait and a concise biography, as well as a description of his or her important work.

Like a bespoke global architecture tour, this book will allow you to travel from Manhattan skyscrapers to a Japanese concert hall, from Antoni Gaudí’s Palau Güell in Barcelona to Lina Bo Bardi’s sports and leisure center on a former factory site in São Paulo. You’ll take in Gio Ponti’s colored geometries, Zaha Hadid’s free-flowing futurism, the luminous interiors of SANAA, and Charles Rennie Mackintosh’s unique blend of Scottish tradition and elegant japonisme.

The book’s A to Z entries also cover groups, movements, and styles to position these leading individual architects within broader building trends across time and geography, including International Style, Bauhaus, De Stijl, and much more. With illustrations including some of the best architectural photography of the modern era, this is a comprehensive resource for any architecture professional, student, or devotee.

With more than 280 entries, this architectural A–Z, now part of our Bibliotheca Universalis series, offers an indispensable overview of the key players in the creation of modern space. From the period spanning the 19th to the 21st century, pioneering architects are featured with a portrait, concise biography, as well as a description of her or his important work.

Like a bespoke global architecture tour, you’ll travel from Manhattan skyscrapers to a Japanese concert hall, from Gaudí’s Palau Güell in Barcelona to Lina Bo Bardi’s sports and leisure center in a former factory site in São Paulo. You’ll take in Gio Ponti’s colored geometries, Zaha Hadid’s free-flowing futurism, the luminous interiors of SANAA, and Charles Rennie Mackintosh’s unique blend of Scottish tradition and elegant japonisme.

The book’s A to Z entries also cover groups, movements, and styles to position these leading individual architects within broader building trends across time and geography, including International Style, Bauhaus, De Stijl, and much more. Featuring modern architectural photography, this is a comprehensive source book for any architecture professional, student, or devotee.

Who invented skis? How do birds sing? What are the secrets of sleep? With seven thematic chapters across earth and human science, this National Geographic collection gathers the magazine’s top infographics from early issues to the recent editions into one wunderkammer of discovery for the whole family.

Parvenu à son apogée dans les années 1960, le Pop Art débuta comme une révolte contre l’approche majoritaire de l’art et de la culture, et se mua en une interrogation globale sur la société moderne, la culture consumériste et le rôle de l’artiste et de son œuvre.

La première provocation des artistes de ce mouvement fut de défier les canons et la prétendue « originalité » de l’art en intégrant dans leurs œuvres l’iconographie produite par la grande distribution. Qu’il s’agisse de slogans publicitaires, des visages les plus célèbres de Hollywood, de personnages empruntés aux comic strips ou aux emballages de produits de consommation, Robert Rauschenberg, Claes Oldenburg, Andy Warhol et Roy Lichtenstein ont sciemment reproduit les images quotidiennes et triviales de la culture populaire.

Dans le même temps, le Pop Art a réduit le rôle accordé à l’individu et remis en question la notion d’originalité en développant l'usage des techniques de production de masse comme la sérigraphie. Telles une galerie de miroirs, les œuvres qui résultèrent de cette démarche interrogent à la fois les idéaux et les aspirations de la culture contemporaine, ainsi que sa part de simulacre, quand images, substituts et représentations en viennent à déterminer une expérience de la « réalité ».

Dans cette édition actualisée et augmentée, Tilman Osterwold montre comment ces protagonistes jeunes et novateurs ont eu recours à des techniques et des motifs inhabituels dans les années 1950 et 1960 pour abattre les frontières entre la Culture avec un grand C et le trivial, et comment ce jeu avec les références visuelles du quotidien a puissamment et durablement secoué le monde de l’art. Cet ouvrage propose des documents iconographiques supplémentaires extraits de la collection privée d’Osterwold, des illustrations publiées dans d’autres livres TASCHEN consacrés au Pop Art, un nouvel épilogue de l’auteur et des citations d’artistes.

À propos de la collection

TASCHEN fête ses 40 ans ! Depuis ses débuts en 1980 comme dénicheur de trésors culturels, TASCHEN a toujours été synonyme d’éditeur accessible permettant aux dévoreurs de livres du monde entier d’imaginer leur propre bibliothèque dédiée à l’art, à l’anthropologie et à l’érotisme pour un prix imbattable. En 2020, nous fêtons 40 ans de livres incroyables en restant fidèles au credo de la maison. La collection 40 présente de nouvelles éditions de quelques-unes des stars de notre catalogue: plus compacte, à petit prix, mais toujours réalisée avec la même garantie d’une qualité irréprochable.

Avedon and Baldwin’s American Journey

Richard Avedon and James Baldwin’s landmark 1964 book finally back in print

This meticulous reprint of Richard Avedon and James Baldwin’s Nothing Personal explores the complexities and contradictions still at the center of the American experience – especially timely in the age of Donald Trump. Deploying both image and text, Avedon and Baldwin examine the formation of identity, and the bonds that both underlie and undermine human connection. An accompanying 72-page booklet features a fresh essay by Pulitzer Prize-winning critic Hilton Als, and many of Avedon’s unpublished outtakes, correspondence, preliminary layouts and ephemera.

In 1963-64, former high school friends Richard Avedon, at the time one of the world’s most famous photographers, and James Baldwin, best-selling novelist and essayist and a leading literary voice in the American civil rights movement, collaborated on Nothing Personal, a book about the state of life in America.

Avedon’s subjects range from civil rights icons, to intellectuals, politicians, pop singers, patients in a mental institution, and ordinary Americans, all carefully juxtaposed, cropped, and tightly sequenced. Here, the American Nazi Party contends with poet Allen Ginsberg, and a weary General Eisenhower gives way to the sway of Malcolm X. Depleted mental institution patients call out for human warmth, and are followed by the embrace of mother and child.

Baldwin’s four-part essay offers a critique of a society that is disconnected, unjust and divisive, and therefore in the midst of an existential crisis. In a highly personal and pertinent testimony, he writes about his own experience of harassment by a racist police officer in his native New York City. Yet Baldwin, like Avedon, ends his work with the inescapable need for – and power of – love.

Designed by legendary art director Marvin Israel, Nothing Personal is a triumph of minimalism. An oversized book in its own white slipcase, the striking placement of both photographs and text revolutionized the design and packaging of photography books. This is a faithful reprint of the original book, which has been out of print for decades, and was produced with the collaboration of The Richard Avedon Foundation.

Hilton Als, Avedon’s former colleague at The New Yorker, and a scholar of Baldwin’s work, traces the making of Nothing Personal and documents the friendship and creative relationship between Avedon and Baldwin. Als also movingly reflects on how Nothing Personal impacted his own life, as well as his friendship with Avedon.

When first published in 1964, Avedon and Baldwin’s vision of America was controversial, and both men endured harsh criticism for being liberal elites and “Hollywood moralists” who were not representing the true feelings of “real” Americans. Sound familiar?

To coincide with the book’s release, New York’s Pace Gallery will present a comprehensive exploration of Avedon’s photographs and documents from Nothing Personal.

Avedon and Baldwin’s American Journey

Richard Avedon and James Baldwin’s landmark 1964 book finally back in print

This meticulous reprint of Richard Avedon and James Baldwin’s Nothing Personal explores the complexities and contradictions still at the center of the American experience – especially timely in the age of Donald Trump. Deploying both image and text, Avedon and Baldwin examine the formation of identity, and the bonds that both underlie and undermine human connection. An accompanying 72-page booklet features a fresh essay by Pulitzer Prize-winning critic Hilton Als, and many of Avedon’s unpublished outtakes, correspondence, preliminary layouts and ephemera.

In 1963-64, former high school friends Richard Avedon, at the time one of the world’s most famous photographers, and James Baldwin, best-selling novelist and essayist and a leading literary voice in the American civil rights movement, collaborated on Nothing Personal, a book about the state of life in America.

Avedon’s subjects range from civil rights icons, to intellectuals, politicians, pop singers, patients in a mental institution, and ordinary Americans, all carefully juxtaposed, cropped, and tightly sequenced. Here, the American Nazi Party contends with poet Allen Ginsberg, and a weary General Eisenhower gives way to the sway of Malcolm X. Depleted mental institution patients call out for human warmth, and are followed by the embrace of mother and child.

Baldwin’s four-part essay offers a critique of a society that is disconnected, unjust and divisive, and therefore in the midst of an existential crisis. In a highly personal and pertinent testimony, he writes about his own experience of harassment by a racist police officer in his native New York City. Yet Baldwin, like Avedon, ends his work with the inescapable need for – and power of – love.

Designed by legendary art director Marvin Israel, Nothing Personal is a triumph of minimalism. An oversized book in its own white slipcase, the striking placement of both photographs and text revolutionized the design and packaging of photography books. This is a faithful reprint of the original book, which has been out of print for decades, and was produced with the collaboration of The Richard Avedon Foundation.

Hilton Als, Avedon’s former colleague at The New Yorker, and a scholar of Baldwin’s work, traces the making of Nothing Personal and documents the friendship and creative relationship between Avedon and Baldwin. Als also movingly reflects on how Nothing Personal impacted his own life, as well as his friendship with Avedon.

When first published in 1964, Avedon and Baldwin’s vision of America was controversial, and both men endured harsh criticism for being liberal elites and “Hollywood moralists” who were not representing the true feelings of “real” Americans. Sound familiar?

To coincide with the book’s release, New York’s Pace Gallery will present a comprehensive exploration of Avedon’s photographs and documents from Nothing Personal.

It has been almost a generation since Sebastião Salgado first published Exodus but the story it tells, of fraught human movement around the globe, has changed little in 16 years. The push and pull factors may shift, the nexus of conflict relocates from Rwanda to Syria, but the people who leave their homes tell the same tale: deprivation, hardship, and glimmers of hope, plotted along a journey of great psychological, as well as physical, toil.

Salgado spent six years with migrant peoples, visiting more than 35 countries to document displacement on the road, in camps, and in overcrowded city slums where new arrivals often end up. His project includes Latin Americans entering the United States, Jews leaving the former Soviet Union, Kosovars fleeing into Albania, the Hutu refugees of Rwanda, as well as the first “boat people” of Arabs and sub-Saharan Africans trying to reach Europe across the Mediterranean ea. His images feature those who know where they are going and those who are simply in flight, relieved to be alive and uninjured enough to run. The faces he meets present dignity and compassion in the most bitter of circumstances, but also the many ravaged marks of violence, hatred, and greed.

With his particular eye for detail and motion, Salgado captures the heart-stopping moments of migratory movement, as much as the mass flux. There are laden trucks, crowded boats, and camps stretched out to a clouded horizon, and then there is the small, bandaged leg; the fingerprint on a page; the interview with a border guard; the bundle and baby clutched to a mother’s breast. Insisting on the scale of the migrant phenomenon, Salgado also asserts, with characteristic humanism, the personal story within the overwhelming numbers. Against the indistinct faces of televised footage or the crowds caught beneath a newspaper headline, what we find here are portraits of individual identities, even in the abyss of a lost land, home, and, often, loved ones.

At the same time, Salgado also declares the commonality of the migrant situation as a shared, global experience. He summons his viewers not simply as spectators of the refugee and exile suffering, but as actors in the social, political, economic, and environmental shifts which contribute to the migratory phenomenon. As the boats bobbing up on the Greek and Italian coastline bring migration home to Europe like no mass movement since the Second World War, Exodus cries out not only for our heightened awareness but also for responsibility and engagement. In face of the scarred bodies, the hundreds of bare feet on hot tarmac, our imperative is not to look on in compassion, but, in Salgado’s own words, to temper our behaviors in a “new regimen of coexistence.”

Près d’une génération a passé depuis que Sebastião Salgado a publié Exodes pour la première fois. Pourtant le récit qu’il fait, celui des mouvements de populations dans le monde entier, n’a que peu changé en seize ans. Les facteurs d’attraction et de répulsion de certains territoires ont certes évolué, le cœur du conflit s’est certes déplacé du Rwanda à la Syrie, les peuples qui quittent leur foyer n’en racontent pas moins la même histoire: une histoire faite de dénuement, d’épreuves et de lueurs d’espoir, tissée au fil d’une longue errance au prix d’efforts psychologiques autant que physiques.

Salgado a passé six ans aux côtés des migrants, parcourant plus de 35 pays pour témoigner des déplacements de population sur la route, dans les camps et dans les bidonvilles surpeuplés où les nouveaux arrivants achèvent le plus souvent leur voyage. Son projet évoque le périple des Latino-Américains vers les États-Unis, celui des juifs abandonnant l’ex-Union soviétique, des Kosovars fuyant l’Albanie, des réfugiés hutus venus du Rwanda, ainsi que des premières «embarcations» d’Arabes et d’Africains originaires du Sud du Sahara tentant d’atteindre l’Europe par la mer Méditerranée. Ses clichés montrent autant ceux qui savent où aller que ceux qui sont simplement en fuite, déjà soulagés d’être sain et sauf et physiquement capables de marcher. Les visages qu’il a rencontrés révèlent dignité et compassion dans les situations les plus âpres, mais aussi les nombreux ravages de la violence, de la haine et de l’avidité.

Grâce à son regard singulier, attentif aux moindres gestes et détails, Salgado saisit chaque événement marquant des mouvements migratoires, autant que les flux de masses: des camions surchargés, des bateaux surpeuplés et des camps s’étirant à perte de vue, vers un horizon assombri par les nuages, une jambe maigre, entourée d’un bandage, l’empreinte d’un doigt imprimé sur une feuille, une discussion avec un garde des frontières, une mère serrant avec force son bébé et son balluchon sur sa poitrine. Insistant sur l’ampleur du phénomène des migrants, Salgado n’oublie pas aussi, avec son humanisme caractéristique, les histoires personnelles derrière les chiffres impressionnants. À la différence des visages noyés dans le flot de séquences des reportages télévisés ou des foules illustrant la une du journal, ce sont là les portraits d’individus, de personnes dont l’identité demeure, y compris dans le gouffre provoqué par la perte d’une patrie, d’un foyer, parfois même d’êtres chers.

Dans le même temps, Salgado montre les similarités des situations des migrants, qui partagent une expérience commune et universelle. Il nous implique, non comme simples témoins des souffrances des réfugiés ou des exilés, mais comme acteurs des évolutions sociales et politiques que constituent l’information mondialisée, l’urbanisation et les dommages écologiques, ainsi que les profonds écarts de richesse, autant de facteurs qui provoquent les phénomènes migratoires. Au moment où les embarcations flottant en direction des côtes grecques et italiennes amènent vers l’Europe une migration d’une ampleur sans précédent depuis la Seconde Guerre mondiale, Exodes lance un appel, non seulement pour une prise de conscience accrue, mais en faveur de notre responsabilité et de notre engagement. En voyant les corps meurtris, les centaines de pieds nus sur le macadam brûlant, notre devoir n’est pas de leur porter un regard compatissant, mais, selon les mots mêmes de Salgado, de modérer nos comportements en matières politique, économique et environnementale, pour un «nouveau mode de coexistence».

It has been almost a generation since Sebastião Salgado first published Exodus but the story it tells, of fraught human movement around the globe, has changed little in 16 years. The push and pull factors may shift, the nexus of conflict relocates from Rwanda to Syria, but the people who leave their homes tell the same tale: deprivation, hardship, and glimmers of hope, plotted along a journey of great psychological, as well as physical, toil.

Salgado spent six years with migrant peoples, visiting more than 35 countries to document displacement on the road, in camps, and in overcrowded city slums where new arrivals often end up. His project includes Latin Americans entering the United States, Jews leaving the former Soviet Union, Kosovars fleeing into Albania, the Hutu refugees of Rwanda, as well as the first “boat people” of Arabs and sub-Saharan Africans trying to reach Europe across the Mediterranean ea. His images feature those who know where they are going and those who are simply in flight, relieved to be alive and uninjured enough to run. The faces he meets present dignity and compassion in the most bitter of circumstances, but also the many ravaged marks of violence, hatred, and greed.

With his particular eye for detail and motion, Salgado captures the heart-stopping moments of migratory movement, as much as the mass flux. There are laden trucks, crowded boats, and camps stretched out to a clouded horizon, and then there is the small, bandaged leg; the fingerprint on a page; the interview with a border guard; the bundle and baby clutched to a mother’s breast. Insisting on the scale of the migrant phenomenon, Salgado also asserts, with characteristic humanism, the personal story within the overwhelming numbers. Against the indistinct faces of televised footage or the crowds caught beneath a newspaper headline, what we find here are portraits of individual identities, even in the abyss of a lost land, home, and, often, loved ones.

At the same time, Salgado also declares the commonality of the migrant situation as a shared, global experience. He summons his viewers not simply as spectators of the refugee and exile suffering, but as actors in the social, political, economic, and environmental shifts which contribute to the migratory phenomenon. As the boats bobbing up on the Greek and Italian coastline bring migration home to Europe like no mass movement since the Second World War, Exodus cries out not only for our heightened awareness but also for responsibility and engagement. In face of the scarred bodies, the hundreds of bare feet on hot tarmac, our imperative is not to look on in compassion, but, in Salgado’s own words, to temper our behaviors in a “new regimen of coexistence.”

For Sebastião Salgado, Genesis is a “love letter to the planet.” TASCHEN’s postcard set allows you to send on that wonder with 25 individual images from the complete Genesis portfolio, now the world’s most-visited photography show of all time.

The boxed set spans the breadth of Salgado’s project across five focal territories: Planet South, Sanctuaries, Africa, Northern Spaces, and Amazonia and Pantanal. In exquisite black and white textures, each image celebrates the pristine splendor of nature, animals, and indigenous peoples that have, so far, escaped the imprint of modern society, from a Nomadic Nenet girl in Siberia to sunlit Buffalo herds in Botswana’s Okavango Delta.

“Genesis is a quest for the world as it was, as it was formed, as it evolved, as it existed for millennia before modern life accelerated and began distancing us from the very essence of our being” — Lélia Wanick Salgado

In 1965, Steve Schapiro started documenting Andy Warhol for LIFE magazine: Warhol was cementing a reputation as an important Pop artist who drew his inspiration from popular culture and commercial objects. With his sunglasses, blond wig, and bland public utterances, Warhol was enigmatic, charismatic, intensely ambitious, and aware that to become a star, you needed the presence of people to document your ascent. Schapiro, also ambitious and hardworking, who in his own words “kept quiet and smiled a lot,” was an ideal witness to Warhol’s relentless rise from cult New York artist to 20th-century icon. Ironically, LIFE never published the story, so many of these images are seen here for the first time, scanned from negatives found deep in Schapiro’s archive.

Between 1965 and 1966, Schapiro busily photographed Warhol and his entourage of superstars, including the legendary Edie Sedgwick and Nico, hanging out art openings,. making his underground movie Camp, working on his silkscreens at the Factory, and roaming the streets of New York. Schapiro was also present at the opening of Warhol’s first museum retrospective at the Institute of Contemporary Art in Philadelphia, attended by a hyped-up crowd of thousands —the night where art’s coolest new king was crowned and Andymania was born. The final stop on the Warhol express train is Los Angeles, where Andy exhibited his ironic Silver Clouds at the Ferus Gallery, stayed at the picturesque Castle, and set up and filmed a performance by cult band the Velvet Underground.

Featuring more than 120 photographs, Schapiro’s images are juxtaposed with tipped-in plates of original Warhol artworks exhibited during the period. The art works include Before and After, 4, 1962, Colored Campbell’s Soup Can, 1965, S&H Green Stamps, 1965, One Dollar Bills (Fronts), 1962, 100 Cans, 1962, Flowers, 1965, Shot Red Marilyn, 1964, Elvis I and II [Elvis Diptych] [Ferus Type], 1963–64, Green Disaster # 2 (Green Disaster Ten Times), 1963, White Disaster (White Car Crash 19 Times), 1963, and many others. Also featuring an interview with Steve Schapiro, who passed away in early 2022, and an essay and extended captions by official Warhol biographer Blake Gopnik. Andy Warhol and Friends 1965–1966 is a definitive portrait of a groundbreaking artist at a transformative period in postwar American culture.

He’s the man who brought the sun to London, waterfalls to New York, and a rainbow to Aarhus. Danish-born Olafur Eliasson (b. 1967) is a globally acclaimed multimedia artist, whose work engages profoundly with its environment, transforming man-made and natural elements into mind-melting slabs of brilliance.

Eliasson first achieved notoriety in 1996 with his stainless-steel dome sculpture 8900054, conceptualized with architect Einar Thorsteinn. Over the years, he has gone on to work across installation, photography, sculpture, and architecture, and collaborated with authors, theorists, and scientists on projects around the world. Working out of his busy Berlin studio, he has also founded the Institute for Spatial Experiments, which feeds into his ongoing research.

Studio Olafur Eliasson enables the reader to delve into all the corners and crevices of the studio’s diverse projects. It features an introduction from art historian Philip Ursprung and a rich alphabetical presentation of key Eliasson concepts, each of which are further developed through conversations with the artist. Originally published as a signed Collector’s Edition, this new jumbo edition offers readers an accessible and wondrous trip through the practice of one of the most exciting contemporary artists.