His paintbrush set everything in motion: the landscape of Provence, the colourful still lifes, his portraits and the picturesque coast of southern France. More than any other artist, Paul Cézanne, the “Father of Modernism”, captured the light and the play of colours of the South in his pictures and lent them through his new pictorial language a liveliness and dynamism which continue to fascinate viewers to this day.

Frida Kahlo has become an icon of art with her powerfully expressive work. Her pictures not only reflect a view of herself, her fears, the biography of her illness, her passions and her joie de vivre; they also take up subjects which were regarded by society as taboo. As a pioneer of the feminist movement, this Mexican artist serves women the world over as a figure of identification.

Master printer Michael Flomen expands his darkroom out into the wild to create large-scale, avant-garde, cameraless photograms in confluence with nature. From the streets of the world to the wilds of North America, this monograph traces in 182 images and 8 critical essays the evolution of Flomen’s originality of vision.

Imi Knoebel (b. 1940) is regarded as a master of non-representational art. The monograph accompanying the retrospective in the Sammlung Goetz shows the entire spectrum of his creative artistic work from the 1960s until the present day. There is a particular focus on the connections between form and content within his works.

Among the most compelling artists in the history of conceptual art, the Russian-Americans Komar and Melamid used humour and irony to lambaste Soviet officialdom. With new scholarship and full-color illustrations, the book explores their journey from working under an oppressive regime to finding new subjects in the US for their provocative critique.

The art of Arnulf Rainer (*1929) is baffling. The “black overpainting”, with which he covers previous work, is world famous. We overlook the fact that overpaintings in red, blue, green and white also exist and thus that colour always belonged to his means of expression, as this volume vividly demonstrates.

The English illustrator Anna Atkins (1799–1871) was in every respect a modern woman. For the publication of her plant collections she used the latest technology, the recently invented cyanotype. In 1843 she used the process to create the first photo book in history, with images of breathtaking beauty and originality which often look like modern art.

The spiritually inspired pictures of Agnes Pelton (1881–1961) have their roots in the desert of California, a place where the artist settled in 1932 and where she lived until her death. She wrote of her highly symbolic paintings that her pictures were “like little windows”, which opened up a view into the interior, her “message of light to the world”.

The youngest member of the Blauer Reiter group was overshadowed for a long time by fellow painters such as Wassily Kandinsky, Franz Marc, August Macke, and Paul Klee. But in recent years, Heinrich Campendonk has enjoyed an unparalleled rediscovery and a new critical assessment of his extensive oeuvre.

The photographs in Nicholas Pollack’s new book "Meadow" were made between 2015–2020 in and around Secaucus, New Jersey, U.S. Inspired by the landscape of the New Jersey Meadowlands, "Meadow" is a body of work about a small plot of land and the friendships and interactions between a group of truck drivers who forge a transcendent relationship with the place.