Have you ever thought of citrus fruits as celestial bodies, angelically suspended in the sky? Perhaps not, but J. C. Volkamer (1644–1720) did—commissioning an extravagant and breathtaking series of large-sized copperplates representing citrons, lemons, and bitter oranges in surreal scenes of majesty and wonder.
Ordering plants by post mostly from Italy, Germany, North Africa, and even the Cape of Good Hope, the Nuremberg merchant Volkamer was a devotee of the fragrant and exotic citrus at a time when such fruits were still largely unknown north of the Alps. His garden came to contain a wide variety of specimens, and he became so obsessed with the fruits that he commissioned a team of copperplate engravers to create 256 plates of 170 varieties of citrus fruits, many depicted life size, published in a two-volume work. The first volume appeared in 1708, with the impressively lengthy title The Nuremberg Hesperides, or: A detailed description of the noble fruits of the citron, lemon and bitter orange; how these may be correctly planted, cared for and propagated in that and neighboring regions.
10.87 x 2.32 x 15.55 inches
TASCHEN
Art meets science in this delightful book of botanical illustration. Drawn from the archives of the National Library of Vienna, these exquisite color reproductions range from 6th-century manuscripts to 19th-century masterpieces and celebrate both the skill of botanical artists and the abundance of natural flora.
Hardcover, 6.1 x 8.5 in., 2.50 lb, 512 pages
TASCHEN
Presenting recently rediscovered drawings, Life and Death explores what it means for an artist to picture their own death, in both the context of Wyeth’s late career and contemporary American art
This volume presents for the first time a recently rediscovered series of pencil drawings from the early 1990s, through which Wyeth imagined his own funeral. Chapters by leading art historians explore the significance of picturing one’s own death in both the context of Wyeth’s late career and contemporary American art. The book connects the funeral series to Wyeth’s decades-long engagement with death as an artistic subject in painting, his relationships with the models depicted, and his use of drawing as an expressive and exploratory medium. It further inserts Wyeth’s work into a larger conversation about mortality and self-portraiture that developed in American art since the 1960s, and includes works by Duane Michals, Andy Warhol, David Wojnarowicz, George Tooker, Janaina Tschäpe and Mario Moore. While his contemporaries posed a variety of existential questions in picturing their own passing, those that interrogate the universality of death as a human experience have become especially urgent in the wake of the coronavirus pandemic and the national reckoning with racial inequality that emerged in 2020. Andrew Wyeth: Life and Death thus addresses ideas about loss, grief, vulnerability and (im)mortality that pervade the current moment.
American painter Andrew Wyeth (1917–2009) lived his entire life in his birthplace of Chadds Ford, Pennsylvania, and his summer home in mid-coast Maine. His seven-decade career was spent painting the land and people that he knew and cared about. Renowned for his tempera painting Christina's World (1948), Wyeth navigated between artistic representation and abstraction in a highly personal way.
TASCHEN
The 367 exquisite hand-colored plates of the Hortus Eystettensis, published in 1613 with elaborate descriptions to record the palatial gardens in Eichstätt, Bavaria, were a landmark in botanical illustration. This facsimile edition, featuring authoritative texts and a present-day classification, preserves a treasured florilegium for posterity.