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"A highly anticipated biography of the enigmatic and popular Swedish painter. The Swedish painter Hilma af Klint (1862-1944) was 44 years old when she broke with the academic tradition in which she had been trained. While her naturalistic landscapes and botanicals were shown during her lifetime, her body of radical, abstract works never received the same attention. Today, it is widely accepted that af Klint produced the earliest abstract paintings by a trained European artist. But this is only part of her story. Not only was she a successful woman artist, but she was also an avowed clairvoyant and mystic. Like many of the artists at the turn of the twentieth century who developed some version of abstract painting, af Klint studied Theosophy, which holds that science, art, and religion are all reflections of an underlying life-form that can be harnessed through meditation, study, and experimentation. Well before Kandinsky, Mondrian and Malevich declared themselves the inventors of abstraction, af Klint was working in a non-representational mode, producing a powerful visual language that continues to speak to audiences today. The exhibition of her work in 2018 at the Guggenheim Museum in New York City attracted more than 600,000 visitors, making it the most-attended show in the history of the museum/institution. Despite her enormous popularity, there has not yet been a biography of af Klint-until now. Inspired by her first encounter with the artist's work in 2008, Julia Voss set out to learn Swedish and research af Klint's life-not only who the artist was but what drove and inspired her. The result is a fascinating biography of an artist who is as great as she is enigmatic"-- Provided by publisher

Explore Ernst Haeckel, the 19th-century artist-biologist who found beauty in the most unlikely creatures. This collection features 300 prints from his most important publications, including the majestic Kunstformen der Natur and his catalogues of marine life. These exquisite images are a scientific, artistic and environmental masterwork.

"A world is revealed to me in every drawing." The graphic vocabulary of Bettina Krieg (born 1981 in Würzburg, lives and works in Berlin) is made up of fine, monochrome lines, repeatedly rearranged by the artist in large-format compositions. Through her reductions, Krieg's drawings appear ascetic and their spiritual pull follows such greats as Hilma Af Klint or Agnes Martin. The artist leaves open to interpretation whether microscopic processes are depicted or the detail view is impeded in favor of a large whole. In combination with the unusually large paper formats, the process of drawing becomes a genuine physical once the artist has isolated a particular movement, she repeats it into sheer endlessness - often lying down physically to be able to fill the paper completely. The monograph Stream summarizes ten years of artistic creation for the first time. The book contains a text written by Julia Voss, as well as an interview conducted by Phillip Felsch.

In this first-ever examination of Charles Darwin's sketches, drawings, and illustrations, Julia Voss presents the history of evolutionary theory told in pictures. Darwin had a life-long interest in pictorial representations of nature, sketching out his evolutionary theory and related ideas for over forty years. Voss details the pictorial history of Darwin's theory of evolution, starting with his notebook sketches of 1837 and ending with the illustrations in "The Expression of Emotions in Man and Animals (1872)". These images were profoundly significant for Darwin's long-term argument for evolutionary theory; each characterizes a different aspect of his relationship with the visual information and constitutes what can be called an 'icon' of evolution. Voss shows how Darwin 'thought with his eyes' and how his pictorial representations and the development and popularization of the theory of evolution were vitally interconnected. Voss explores four of Darwin's images in depth, and weaves about them a story on the development and presentation of Darwin's theory, in which she also addresses the history of Victorian illustration, the role of images in science, the technologies of production, and the relationship between specimen, words, and images