Pictures from the family archive, film stills, PR images, and paparazzi shots trace the life and cinematic career of Ingrid Bergman in a publication authorized by her family.

From the world's most foremost photographer of women comes the splendid celebrations of female form and mystique — a massive collection that spans 300 pages and covers every aspect of Peter Lindbergh's impressive body of work. Nearly every beautiful woman of the past two decades has posed for Peter Lindbergh, from supermodels to movie stars. This splendid monograph represents the definitive collection of Lindbergh's considerable oeuvre: classic fashion photographs, arresting candids, portraits of female celebrities — including Madonna, Isabella Rossellini, Sharon Stone, Catherine Deneuve, Charlotte Rampling, Darryl Hannah — and of course his signature shots of the world's supermodels.

German photo artist Thomas Ruff is a master of conceptual serial photography. He made a name for himself in the early eighties with oversized, superrealistic color portraits of his artist friends and as a pioneer of the Diasec process used to mount photographic images onto acrylic glass, thereby obviating frames, liberating photography from the print gallery and paving the way to the grand gallery museum walls for large-format photos. This collection presents selected works from Thomas Ruff's large-format series, beginning with his small Interiors, the large Portraits, his Architectural Photos, the Starry Skies, his abstract Substrata, the Nudes, which make use of pornographic material taken from the internet, and finally his latest creation: Stellar Landscapes. The book features essays by Thomas Weski and Okwui Enwezor and appears in conjunction with an extensive Thomas Ruff retrospective exhibition at the Haus der Kunst in Munich.

The story of the life of French photographer Henri Cartier-Bresson reads like a novel: a gifted young man from a wealthy Paris family finds his calling via painting, the Surrealists, acting, and film. Turning his Leica camera into a magic instrument, he revolutionizes the art of photography. First published on the occasion of his 100th birthday, his illustrated biography is now available again.

L.A. Style traces the life and career of the iconic Californian photographer through a compelling selection of renowned, as well as previously unpublished, photographs and two insightful essays.

Francisco de Zurbaran (1598-1664) was one of the great Spanish painters of the Baroque period. Today, his idiosyncratic, very Catholic imagery fascinates us even as it has become alien and, in essence, inaccessible. In its aesthetic-religious dimension, his work — indebted to the Spanish mysticism of the sixteenth and seventeenth centuries — possesses a unique depth and rigor. Christ on the cross, dead martyrs and saints in reverie, meditating monks, the superiors of monastic orders that today have almost ceased to exist: In his mostly dark paintings, they are depicted so realistically, one feels one could reach out and touch them. And yet they also seem to be emissaries from another world. For Zurbar n, a contemporary of Vel zquez and Murillo, painting and religious meditation were complementary aspects of spiritual observance. Perhaps it is precisely this quality in his art that makes his paintings the center of our interest today.

Die Photographien von Frida Kahlo in einem Buch. Eine kunsthistorische Sensation, auch wenn nur ganz wenige dieser Photographien von Frida Kahlo selbst photographiert wurden. Wäre die Kahlo eine Privatperson, würden wir von ihrem Photoalbum sprechen. Aufgrund ihres Künstlerberufs und der großen Zahl der im Nachlass aufgefundenen photographischen Dokumente, müssen wir von einer Sammlung sprechen. Eine Sammlung aber mit vielen Zwecken: intimen, privaten, politischen und beruflichen. Die Familie, der Vater, Diego, der Ehemann, Freunde und Weggefährten, Liebhaber und Geliebte, der durch Krankheit geschundene Körper, das Blaue Haus, der politische Kampf, die Vorlagen für das malerische Werk. Photos zu all diesen Themenkreisen umfasst die Sammlung, die so etwas wie eine Biographie in Bildern ist, eine Biographie, die uns zwingt, das gängige Bild von einer im wesentlichen leidenden Künstlerin aufzugeben. Fridas Photosammlung enthüllt uns eine ungemein rast lose Frau mit außergewöhnlichen Kräften, einer besonderen Vitalität und einer kometenhaften Teilhabe am gesellschaftlichen Leben jeder Art.

Globetrotting filmmaker Wim Wenders always takes his old panorama camera with him, using it whenever the sheer wealth of what he sees and the impression it leaves on him breaks the normal scale of things. Infinite landscapes, endless horizons, deserts, and mountain ranges overwhelm by their emptiness and silence, street fronts in Havana, Houston, Berlin, or Jerusalem offer deep insights into the shallows of civilization. Wenders' photographs are pictures of a world almost devoid of humans, a natural or man-made world viewed from a distance. They shed light on the many guises the surface of the earth dons and attest to Wenders' contemplative and amazed gaze. This gaze, of course, didn't stop at September 11 and delivered haunting photos of Ground Zero taken shortly after the attack. With poetic comments by the artist on all the pictures, the book is both a portrait of the world as encountered by the photographer and a portrait of the photographer as reflected in his vision of the world.

Bettina Rheims has been one of the most acclaimed woman photographers of France since the early 80s, when she first showed her sensational female nudes and portraits. Film stars, actresses and artists, models, friends, country fair acrobats and strippers— known and unknown women have posed in front of her lens during the past twenty years. Female Trouble, first published in 1989 by Schirmer/Mosel, presents a selection of some one hundred photographs—brilliant studies on womankind mostly in black and white, her favored technique mastered with a unique subtlety. The common denominator of this collection of photographs is Rheims’ sensitive and delicate relation with her sitters, revealing an extraordinary originality, empathy, sense of style and feeling for both the manifold facets of femininity and pictorial eroticism. The plates are preceded by an introductory essay by Catherine Deneuve.

Beaumont Newhall (1908-1993) war der erste Kurator für Photographie am Museum of Modern Art, New York. Unterstützt von Ansel Adams baute er ab 1940 die Abteilung — die erste ihrer Art in einem Museum — auf, nachdem er bereits 1937 eine legendäre Ausstellung zum 100. Geburtstag der Photographie im MoMA organisiert hatte. Der damalige Katalog wurde zur Grundlage seiner Geschichte der Photographie, die bald zum unbestrittenen Standardwerk einer ebenso wissenschaftlichen wie anschaulichen Vermittlung von Photographiegeschichte wurde und bis heute als das kompetenteste Buch zum Thema auf dem Markt gilt. Die sorgfältig überarbeitete, um ein weiteres Textkapitel und zahlreiche Bildbeispiele ergänzte 5. Auflage des amerikanischen Originals lag der ersten deutschen Übersetzung zugrunde, die 1984 in unserem Hause erschien. Wir freuen uns, dieses unverzichtbare Handbuch zur technischen und ästhetischen Entwicklung der Photographie von ihren Anfängen 1839 bis zur Gegenwart jetzt in einer broschierten Neuauflage anbieten zu können. Beaumont Newhall, der nicht nur als Photohistoriker und Autor zahlreicher Bücher, Aufsätze und Katalogbeiträge internationalen Ruf genoß, sondern auch selbst photographierte, leitete ab 1948 das George Eastman House in Rochester, die weltweit angesehenste und umfangreichste Sammlung für Photographie.

«A Best of… survey of the most soughtafter French nude and portrait photographer who makes the female body the central focus of her work. Featuring highly praised and fiercely disputed series such as «Chambre close» (women posing for an imaginary voyeur); KIM (a documentary on a transsexual); I.N.R.I. (a sequence on the life of Christ); women in modern Shanghai, and, most recently, «Heroines».»