JANE ROGOYSKA

Modigliani (1884-1920), a painter who didnt find much happiness in his native Italy, managed only to find sorrow in France. From this unhappiness was born an original style of painting, influenced by African art, Cubism, and nights of drinking in Montparnasse.His female nudes, with their profound sensuality, aggressive nudity, and enigmatic faces, express the suffering and lack of recognition of Modigliano.He died at the age of 36. This book is made up of paintings which created scandals in their day, but which nowadays are considered inoffensive.

Modigliani (1884-1920) era un artista que no encontró mucha felicidad en su Italia natal, y en la tierra adoptiva de Francia sólo encontró tristeza. De esta infelicidad nació una extraordinaria y original produccion de obras, influenciada por el arte africano, el movimiento cubista y las noches de alcohol de Montparnasse.Sus desnudos femeninos, con su profunda sensualidad casi agresiva, con sus rostros enigmaticos, parecen expresar todo el sufrimiento y la falta de reconocimiento de Modigliani.Modigliani murio a la edad de treinta y cinco años. Este libro contiene pinturas que, en aquel entonces, provocaron un gran escandalo, pero que en la actualidad parecen inofensivas.

Whether Madonna, muse, or temptress, women have been a source of artistic inspiration throughout history. In the Reveries series, Parkstone pays tribute to the important contribution women have made to artists by uplifting their spirits and giving free reign to their fantasies. We invite you to share the world of sensual pleasure of well-known painters such as Degas and Schiele, and now Klimt.This new genre of art book offers a glimpse into the private lives of some of the most influential artists of modern times. The most striking features of the Reveries series are their brief texts, sophisticated layouts, and high-quality reproductions. Each title pays homage to the artists oeuvre and the elegant layouts include some rarely-seen images.Every page benefits from a unique design and offers a unique setting for some of the most sensual works of Klimt. These publications should be considered as works of art themselves, a delight for the enthusiast; instructive for the novice; a welcome and valuable addition to any library.

WINNER OF THE MARK LYNTON HISTORY PRIZELONGLISTED FOR THE RSL ONDAATJE PRIZEA gripping reconstruction utterly compelling reading. Adam ZamoyskiThis is a grim story, thoroughly researched and brilliantly told. Geoffrey Alderman, Times Higher EducationThe Katyn Massacre of 22,000 Polish prisoners of war is a crime to which there are no witnesses.Committed in utmost secrecy in AprilMay 1940 by the NKVD on the direct orders of Joseph Stalin, for nearly fifty years the Soviet regime succeeded in maintaining the fiction that Katyn was a Nazi atrocity, their story unchallenged by Western governments fearful of upsetting a powerful wartime ally and Cold War adversary. Surviving Katyn explores the decades-long search for answers, focusing on the experience of those individuals with the most at stake the few survivors of the massacre and the Polish wartime forensic investigators whose quest for the truth in the face of an inscrutable, unknowable, and utterly ruthless enemy came at great personal cost.

Equally famous for his masterful canvasses and tumultuous mental health, Amedeo Modigliani (1884-1920) was, in many ways, the prototypical tortured artist. A lifelong sufferer of painfully degenerative tuberculosis, Modigliani was famous for denying his disease with a frenzied bohemian lifestyle of hard drinking, drug abuse, and passionate love affairs. But at the same time, he managed to produce some of the modern movements most enduring masterpieces, and today his work sells for record-breaking sums whenever it comes up for auction. In this fascinating examination of Modiglianis life and works, Klaus H. Carl, Frances Alexander, and Jane Rogoyska turn their penetrating gaze on this most enigmatic of artistic geniuses. Their insightful text is accompanied by extracts from D.H. Lawrences highly sensual novel Lady Chatterleys Lover, chosen to complement Modiglianis art and to give a new perspective to it.

**SHORTLISTED FOR THE WOMENS PRIZE FOR NONFICTION**A FOYLES TOP TEN READ FOR FEBRUARY | A 2026 HIGHLIGHT IN THE FINANCIAL TIMES, EVENING STANDARD AND THE BOOKSELLER A meeting place for Europes bohemian artists. A headquarters of the Nazi occupation. A shelter for camp survivors.This is the true story of how one Paris hotel came to hold the weight of a century.The Hotel Lutetia is a Paris institution, the only grand hotel on the citys bohemian Left Bank. Ever since it opened, it has served as a meeting place for artists, musicians and politicians. Andre Gide took his lunch here, James Joyce lived in one of its rooms, Picasso and Matisse were regular guests. It has a darker history, too. During one short period, it became a focus for some of the most dramatic and terrible events in recent history.In the 1930s the Hotel Lutetia attracted intellectuals and political activists, forced to flee their homes when Hitler came to power, who met here with the hope of forming an alternative government. But when war came, Paris was occupied, and the hotel became the headquarters of the German military intelligence service and the centre of their operation to root out enemies of the Reich. In 1945, the Lutetia was requisitioned once more, this time transformed into a reception centre for deportees returning from concentration camps.Hotel Exile is about what happens on the edges of a war. At its heart are three groups of people connected to a place, to one another, and to the dark ideology which dictates the course of their lives. A masterpiece of empathy and concision, Jane Rogoyskas extraordinary new book offers us a vision of individual human beings desperately trying to find a path through some of the twentieth centurys most devastating events.

Una crónica magistral sobre el mítico hotel que fue testigo de la Segunda Guerra Mundial y el renacer de Europa París, 1938. En el corazón de la ciudad, el Hotel Lutetia, celebre refugio de artistas y exiliados, acoge a escritores, pintores y viajeros que huyen de una Europa al borde del abismo. Entre sus huespedes se cruzan James Joyce, Andre Gide, Pablo Picasso y Henri Matisse, nombres que encarnan el esplendor intelectual de una epoca que esta a punto de desaparecer. En sus salones se mezclan la elegancia, el miedo y el presentimiento de una catastrofe inminente. Durante la ocupacion, el Lutetia es requisado por la Abwehr, el servicio de inteligencia militar aleman, y convertido en centro de operaciones y vigilancia. En sus habitaciones se alojan oficiales, se trazan misiones y se interrogan sospechosos; los espejos art deco reflejan uniformes, mapas y miedo. Tras la liberacion, el hotel abre de nuevo sus puertas para acoger a los deportados que regresan de los campos. Entre ellos, las hijas de Irene Nemirovsky, en busca de noticias de su madre perdida. En sus pasillos se confunden el jubilo y la culpa, la esperanza y la devastacion: un lugar marcado por la memoria de la guerra y la reconstruccion de Europa. Con un ritmo narrativo envo

Gustav Klimt (1862-1918) war zum Ende des 19. Jahrhunderts nicht nur einer der einflussreichsten Kunstler, sondern grundete zudem die Bewegung der Wiener Secession. Mithilfe dieser Bewegung ubte er Kritik an der traditionellen Kunst, die sich durch ihren Widerstand gegen Veranderungen sowie Intoleranz gegenuber bestimmten modernen Vorstellungen auszeichnete. Klimt lie sich durch den langsamen aber sicheren Niedergang sowie die Vielfalt der Kulturen der Osterreichisch-Ungarischen Monarchie inspirieren. Bei Klimt spielten Erotik und Sinnlichkeit eine sehr groe Rolle, und neben Schiele und Kokoschka zahlte er zu den groen Meistern des Expressionismus. Das vorliegende Buch vereint eine erlesene Auswahl Klimts bekanntester Gemalde und einen Text, der den auergewohnlichen Eklektizismus dieses groen Kunstlers zu vermitteln vermag.

I am not interested in myself as a subject for painting, but in others, particularly womenBeautiful, sensuous and above all erotic, Gustav Klimts paintings speak of a world of opulence and leisure, which seems aeons away from the harsh, post-modern environment we live in now. The subjects he treats allegories, portraits, landscapes and erotic figures contain virtually no reference to external events, but strive rather to create a world where beauty, above everything else, is dominant. His use of colour and pattern was profoundly influenced by the art of Japan, ancient Egypt, and Byzantium. Ravenne, the flat, two-dimensional perspective of his paintings, and the frequently stylised quality of his images form an oeuvre imbued with a profound sensuality and one where the figure of woman, above all, reigns supreme. Klimts very first works brought him success at an unusually young age. Gustav, born in 1862, obtained a state grant to study at Kunstgewerbeschule (the Vienna School of Arts and Crafts) at the age of fourteen. His talents as a draughtsman and painter were quickly noticed, and in 1879 he formed the Kunstlercompagnie (Artists Company) with his brother Ernst and another student, Franz Matsch. The latter part of the nineteenth century was a period of great architectural activity in Vienna. In 1857, the Emperor Franz Joseph had ordered the destruction of the fortifications that had surrounded the medieval city centre. The Ringstrasse was the result, a budding new district with magnificent buildings and beautiful parks, all paid for by public expenses. Therefore the young Klimt and his partners had ample opportunities to show off their talents, and they received early commissions to contribute to the decorations for the pageant organised to celebrate the silver wedding anniversary of the Emperor Franz Joseph and the Empress Elisabeth. In 1894, Matsch moved out of their communal studio, and in 1897 Klimt, together with his closest friends, resigned from the Kunstlerhausgenossenschaft (the Cooperative Society of Austrian Artists) to form a new movement known as the Secession, of which he was immediately elected president. The Secession was a great success, holding both a first and second exhibition in 1898. The movement made enough money to commission its very own building, designed for it by the architect Joseph Maria Olbrich. Above the entrance was its motto: To each age its art, to art its freedom. From around 1897 onward, Klimt spent almost every summer on the Attersee with the Floge family. These were periods of peace and tranquillity in which he produced the landscape paintings constituting almost a quarter of his entire oeuvre. Klimt made sketches for virtually everything he did. Sometimes there were over a hundred drawings for one painting, each showing a different detail a piece of clothing or jewellery, or a simple gesture. Just how exceptional Gustav Klimt was is perhaps reflected in the fact that he had no predecessors and no real followers. He admired Rodin and Whistler without slavishly copying them, and was admired in turn by the younger Viennese painters Egon Schiele and Oskar Kokoschka, both of whom were greatly influenced by Klimt.

Gustav Klimt (Baumgarten, 1862 – Vienne, 1918)«Faire un autoportrait ne mintéresse pas. Les sujets de peinture qui mintéressent ? Les autres et en particulier les femmes… » Aucune référence au monde

I am not interested in myself as a subject for painting, but in others, particularly womenBeautiful, sensuous and above all erotic, Gustav Klimts paintings speak of a world of opulence and leisure, which seems aeons away from the harsh, post-modern environment we live in now. The subjects he treats allegories, portraits, landscapes and erotic figures contain virtually no reference to external events, but strive rather to create a world where beauty, above everything else, is dominant. His use of colour and pattern was profoundly influenced by the art of Japan, ancient Egypt, and Byzantium. Ravenne, the flat, two-dimensional perspective of his paintings, and the frequently stylised quality of his images form an oeuvre imbued with a profound sensuality and one where the figure of woman, above all, reigns supreme. Klimts very first works brought him success at an unusually young age. Gustav, born in 1862, obtained a state grant to study at Kunstgewerbeschule (the Vienna School of Arts and Crafts) at the age of fourteen. His talents as a draughtsman and painter were quickly noticed, and in 1879 he formed the Kunstlercompagnie (Artists Company) with his brother Ernst and another student, Franz Matsch. The latter part of the nineteenth century was a period of great architectural activity in Vienna. In 1857, the Emperor Franz Joseph had ordered the destruction of the fortifications that had surrounded the medieval city centre. The Ringstrasse was the result, a budding new district with magnificent buildings and beautiful parks, all paid for by public expenses. Therefore the young Klimt and his partners had ample opportunities to show off their talents, and they received early commissions to contribute to the decorations for the pageant organised to celebrate the silver wedding anniversary of the Emperor Franz Joseph and the Empress Elisabeth. In 1894, Matsch moved out of their communal studio, and in 1897 Klimt, together with his closest friends, resigned from the Kunstlerhausgenossenschaft (the Cooperative Society of Austrian Artists) to form a new movement known as the Secession, of which he was immediately elected president. The Secession was a great success, holding both a first and second exhibition in 1898. The movement made enough money to commission its very own building, designed for it by the architect Joseph Maria Olbrich. Above the entrance was its motto: To each age its art, to art its freedom. From around 1897 onward, Klimt spent almost every summer on the Attersee with the Floge family. These were periods of peace and tranquillity in which he produced the landscape paintings constituting almost a quarter of his entire oeuvre. Klimt made sketches for virtually everything he did. Sometimes there were over a hundred drawings for one painting, each showing a different detail a piece of clothing or jewellery, or a simple gesture. Just how exceptional Gustav Klimt was is perhaps reflected in the fact that he had no predecessors and no real followers. He admired Rodin and Whistler without slavishly copying them, and was admired in turn by the younger Viennese painters Egon Schiele and Oskar Kokoschka, both of whom were greatly influenced by Klimt.

Gustav Klimt (1862-1918) war zum Ende des 19. Jahrhunderts nicht nur einer der einflussreichsten Kunstler, sondern grundete zudem die Bewegung der Wiener Secession. Mithilfe dieser Bewegung ubte er Kritik an der traditionellen Kunst, die sich durch ihren Widerstand gegen Veranderungen sowie Intoleranz gegenuber bestimmten modernen Vorstellungen auszeichnete. Klimt lie sich durch den langsamen aber sicheren Niedergang sowie die Vielfalt der Kulturen der Osterreichisch-Ungarischen Monarchie inspirieren. Bei Klimt spielten Erotik und Sinnlichkeit eine sehr groe Rolle, und neben Schiele und Kokoschka zahlte er zu den groen Meistern des Expressionismus. Das vorliegende Buch vereint eine erlesene Auswahl Klimts bekanntester Gemalde und einen Text, der den auergewohnlichen Eklektizismus dieses groen Kunstlers zu vermitteln vermag.