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Minh Häusler: The Fusion of Flora and Art

Autor Minh Häusler
en Limba Engleză Hardback – 14 iun 2015
Ikebana means “living flowers.” This literal meaning discloses a form of artistic expression in which the natural beauty of the flowers and blossoms unfolds in conversation with the artist’s powerful formal language. Fundamental to the art form is a close and contemplative observation of the natural world, which in turn offers itself as a boundless source of inspiration.

Minh Häusler studied the Japanese art of ikebana in Singapore and Hong Kong. Steeped in the art form’s long and rich tradition, she has combined this tradition with her own unmistakable style. Today, she is a master of the modern Sogetsu School of Ikebana. The first book on this important artist, Minh Häusler: The Fusion of Flora and Art reproduces in sumptuous full-color more than two hundred photographs of Häusler’s work. Carefully composed by the artist herself, the photographs are stunningly beautiful, the line and color of the flowers redolent with meaning against simple black or white settings.

Häusler’s lavish photographs—together with texts that provide insight into the artist’s process—make this a book that will inspire anyone with an appreciation of this beautiful and timeless art. Häusler is a master of her craft, and Minh Häusler: The Fusion of Flora and Art reflects her at the height of her career.
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Specificații

ISBN-13: 9783777423807
ISBN-10: 3777423807
Pagini: 232
Ilustrații: 233 color plates
Dimensiuni: 286 x 286 x 24 mm
Greutate: 1.75 kg
Editura: Hirmer Publishers
Colecția Hirmer Publishers

Notă biografică

Minh Häusler is an ikebana artist of the Sogetsu School. She has given many workshops and has had her work exhibited in Europe, Asia, and the United States. She lives in Zurich and Naples, FL.

Cuprins

Introduction
The Classic
In Search of Simplicity
Modern Meets Contemporary
Commitment to Abstraction
Inspiration
The Art of Momentum
Index
German Translation:
Die Verbindung von Flora und Kunst

Recenzii

“The wealth of images alone speaks to Häusler’s devotion to sculpting flora, but upon reading her introduction to the book it’s even more evident that her relationship to the organic material stems from a deep kinship with nature and a fervent respect for her environment. . . . Rather than works one might brush off as simply decorative objects, each arrangement is invigorated with life, occupying the blank space rather than merely existing in it.”