Yuval Etgar – författare

Published to accompany the major exhibition at the Grand Palais, Paris, Colour Unbound reveals the dazzlingly original work of Matisse’s final years. 1941 marked a turning point in the life and work of Henri Matisse. At the age of seventy-two, he underwent major surgery that left him physically fragile. Yet Matisse viewed this moment not as a setback but as an opportunity ‘to make the greatest progress of my life’. From that point until his death in 1954, he entered one of the most inspired and productive periods of his career. During those years, he created some of his greatest masterpieces – from the Chapel of the Rosary in Vence to his luminous cut-out gouaches, including Jazz. Vibrant and full of life, his late work stands in striking contrast to his declining physical state: dynamic, immediate and universally accessible. Published to accompany the major exhibition at the Grand Palais, this catalogue brilliantly captures this late burst of creative vitality. Elegantly designed and beautifully printed, it brings together superb full-page reproductions of Matisse’s artworks alongside rarely seen photographs of his studio, taken by renowned photographers such as Adant, Capa, Carone, Cartier-Bresson, Sima and Maywald. This visual dialogue – enriched by expert commentary – offers a deeper understanding of Matisse’s final years and vividly conveys the synergy between art and life.

Published in association with Luxembourg + Co. on the occasion of their 2019 exhibition Reconstructing Cezanne, this catalogue features in-depth analyses of Cezanne’s works on paper by Fabienne Ruppen, based on DNA examination of the papers he used for his watercolours and drawings, as well as extensive commentary on new horizons in Cezanne scholarship by expert Walter Feilchenfeldt, co-author of the artist’s online catalogue raisonné.At the core of this exploration are two watercolours that Cezanne produced from a large sheet of paper, which he divided into two sections for the purpose of capturing different landscapes: the Courtauld Gallery’s renowned La Montagne Sainte-Victoire, from 1885–87, and a Paysage Provençal in private ownership. Reconstructing Cezanne reunites these two works for the first time.This publication follows the decision of the Société Paul Cezanne and the family of the artist to spell the artist’s name without an acute accent.

Simon Moretti is known for his enigmatic exhibition works, presenting displays that engage with questions of agency, temporality, automatism, desire and masculinity. Incorporating appropriated images and archives as well as curatorial and publishing projects, often made in collaboration with other artists, his work addresses the role of ‘curating as practice’.Presented as a non-chronological visual essay, this publication surveys 10 years of collage works by Moretti. It includes text contributions from writer Craig Burnett, curator and art historian Yuval Etgar, novelists Deborah Levy and Chloe Aridjis, and a conversation with Andrew Durbin, editor-in-chief of frieze magazine.

Collage is one of the most popular and pervasive of all art-forms, yet this is the first historical survey book ever published on the subject. Featuring over 200 works, ranging from the 1500s to the present day, it offers an entirely new approach. Hitherto, collage has been presented as a twentieth-century phenomenon, linked in particular to Pablo Picasso and Cubism in the years just before the First World War. In Cut and Paste: 400 Years of Collage, we trace its origins back to books and prints of the 1500s, through to the boom in popularity of scrapbooks and do-it-yourself collage during the Victorian period, and then through Cubism, Futurism, Dada and Surrealism. Collage became the technique of choice in the 1960s and 1970s for anti-establishment protest, and in the present day is used by millions of us through digital devices. The definition of collage employed here is a broad one, encompassing cut-and-pasted paper, photography, patchwork, film and digital technology and ranging from work by professionals to unknown makers, amateurs and children.Contents:Collage Over the Centuries, an introductory essay by Patrick Elliott; Collage Before Modernism by Freya Gowrley; On Edge: Exploring Collage Tactics and Terminology by Yuval Etgar; catalogue of exhibition works; a Chronology of Collage.

The complete collection of Joel Meyerowitz’s photographs of some 300 objects, collected by Giorgio Morandi and depicted in his paintings. A meeting of two worlds - painting and photography - by two great masters in their respective fields.The first edition of Morandi's Objects is now superseded by the complete archive.In the spring of 2015 the world-renowned photographer, Joel Meyerowitz, spent time at Giorgio Morandi's studio at 36 via Fondazza in Bologna. The simple rooms where Morandi painted are awash with objects - vases, tins, shells, bottles and jugs - stacked on shelves, sideboards, chests of drawers and overflowing onto the floor. Attentively and deliberately, Morandi would select these objects and arrange them on makeshift tables so that he could render them, and the light that fell upon them, in oil, watercolour and pencil, creating an elusive body of work that has influenced artists ever since.Some fifty years after Morandi died, in the very same space, using Morandi’s surfaces and the same light source to cast the same shadows, Meyerowitz lived with the same objects. He carefully took each of them, turning them over in his hands and placing them, one by one, on Morandi’s marked up tabletop. Meyerowitz photographed every object in the studio, and, by instilling each with confidence and individuality, in turn, made them his own.Morandi's Objects is an important publication for all those interested in photography, still life and Giorgio Morandi.