TASCHEN

The Fantastic Worlds of Frank Frazetta (FFE)

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96 €
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About the book: For 50 years, Frank Frazetta has been the undisputed master of fantasy art, and his fame has only grown in the 12 years since his death. His powerful oil paintings of Tarzan, Conan, Vampirella, and the legendary Death Dealer not only shape fantasy worlds but also the bodies that inhabit them: fleshy, muscular, and sensual. Also available in a Collector's Edition

Biography: Dan Nadel is the curatorial director of the Manetti Shrem Museum of Art at the University of California, Davis, and regularly contributes to the New York Review of Books and Artforum. Some of his most important publications and exhibitions include Peter Saul: Professional Artist Correspondence 1945–1976 (2020), Chicago Comics, 1960s to Now at the Museum of Contemporary Art Chicago (2021), and an upcoming Robert Crumb biography (Scribner 2024). Nadel lives and works in Brooklyn, New York. The work of artist Zak Smith has found its way into numerous public collections, including those of the Museum of Modern Art and the Whitney Museum of American Art in New York, as well as the Saatchi Gallery in London. Smith, who currently lives and works in Los Angeles, has authored several books and regularly writes a column for Artillery magazine.
Dian Hanson is an editor and author at TASCHEN and has published over 50 books. In addition to ARNOLD, her recent titles include The Art of Pin-up, Masterpieces of Fantasy Art, and The Fantastic Worlds of Frank Frazetta.Read here how it all began

Pages: 468
AUTHOR
AUTHOR
EDITOR: Dan Nadel
Zak Smith
Dian Hanson
First published: 25/11/2022
Book language: Multilingual (English, French, German)
Edition: INT
ISBN: 978-3-8365-9480-6
Topics: Art and Comics
Dimensions: 29.0 cm x 39.5 cm, Weight 5.58 kg

Der TASCHEN Verlag zählt zu den renommiertesten Kunst- und Bildbandverlagen weltweit. Mit einem vielfältigen Programm von Kunst, Fotografie, Design, Architektur, Mode, Film und Popkultur bis hin zu Sammlerwerken steht TASCHEN seit Jahrzehnten für höchste Qualität und außergewöhnliche Gestaltung. Gemeinsam mit COCOLI bietet der Verlag nun eine Auswahl an Coffee Table Büchern mit kleinen Schönheitsfehlern an, die Kunst- und Designliebhabern nachhaltigen Zugang zu inspirierenden Werken ermöglicht.

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  • Manufacturer TASCHEN
  • Material Paper
  • Color White
  • Scope of Delivery 1 Product
  • Style Art Nouveau
  • Article Number 978-3-8365-9480-6
  • Dimensions W 29cm x D 1cm x H 40cm
  • Sold by Official Brand Dealer
  • Listed on 22.09.2025
  • Product Safety Show Manufacturer Details

  • Item Condition Display piece, B-stock or return from a retailer
  • Signs of Wear Good Condition
  • Description of Condition

    Exclusive collaboration between TASCHEN and COCOLI
    These coffee table books come from the Berlin showroom of the renowned TASCHEN publishing house. As exhibition pieces, they may show slight signs of wear, such as creased or slightly damaged covers. Together with our customers, we give these "imperfect" books a second life – a contribution to real sustainability.

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The Book of Colour Concepts "Farbenlehre" Goethe's theory of colours I. THEORETICAL PART Introduction to the Concept of Colour The subject of this work is the phenomenon of colour. It is not our intention to investigate the physical causes of colour. The phenomena of colour are therefore to be considered here in their entirety. THEORY OF COLOURS I. General Phenomena of Colour 1. The appearance of colours. In what circumstances do colours appear? Colours appear when light, under certain conditions, is affected by something else. In this case, two kinds of phenomena are to be distinguished: a) Light itself is the cause of colour. b) Light is the cause of colour, but something else is also at play. 2. The relationship between light and darkness. Light and darkness are not opposites. They are not to be understood as mutually exclusive. Rather, they are to be understood as intensifying each other. 3. Colour and the eye. The eye is the organ for colour. It is not possible to imagine colour without the eye. II. POLARITY The fundamental principle of all phenomena is polarity. This means that there are always two opposing forces at play. These forces are in a state of constant tension. This tension is what creates the phenomena. 1. Light and darkness as poles. Light and darkness are the primary poles. They are the basis of all other polarities. 2. Colour as a result of polarity. Colour arises from the interaction of light and darkness. The more intense the light, the more intense the colour. The more intense the darkness, the more intense the colour. 3. The spectrum. The spectrum is the visible manifestation of this polarity. It is a continuous gradation of colours. III. INTENSIFICATION The intensification of colours is a crucial aspect of colour perception. Colours are not static. They are dynamic. They change and evolve. 1. Through proximity. Colours intensify each other through proximity. A bright colour next to a dark colour will appear brighter. A dark colour next to a bright colour will appear darker. 2. Through contrast. Colours intensify each other through contrast. Complementary colours create the strongest contrast. 3. Through duration. Colours can intensify over time. This is particularly true of afterimages. IV. SYMPATHETIC AND ANTAGONISTIC EFFECTS Colours have psychological effects on us. These effects can be sympathetic or antagonistic. 1. Sympathetic effects. Certain colours evoke positive emotions. They are calming and harmonious. Examples: blue, green. 2. Antagonistic effects. Certain colours evoke negative emotions. They are jarring and unsettling. Examples: red, yellow. V. THE EMOTIONAL EFFECT OF COLOURS Colours have a profound impact on our emotional state. They can uplift or depress us. They can excite or calm us. 1. The calming effect of blue. Blue is associated with peace and tranquility. It is a cool colour. 2. The exciting effect of red. Red is associated with passion and energy. It is a warm colour. 3. The cheerful effect of yellow. Yellow is associated with happiness and optimism. It is a warm colour. PRACTICAL PART I. APPLICATION OF COLOUR THEORY The principles of colour theory can be applied in many fields. 1. Art and design. Artists and designers use colour to create mood and evoke emotion. 2. Architecture. Colour can be used to influence the perception of space. 3. Psychology. Colour therapy is a field that uses colour to treat psychological conditions. II. THE USE OF COLOUR IN PAINTING Colour is a fundamental element of painting. 1. Mixing colours. Understanding colour mixing is essential for painters. 2. Creating light and shadow. Colour can be used to create the illusion of light and shadow. 3. Evoking emotion. Painters use colour to evoke a wide range of emotions in their viewers. III. THE USE OF COLOUR IN ARCHITECTURE Colour plays a significant role in the design of buildings. 1. Creating atmosphere. Colour can be used to create a specific atmosphere or mood within a space. 2. Influencing perception. Colour can alter our perception of the size and shape of a room. 3. Symbolism. Colours often carry symbolic meanings in architecture. IV. THE USE OF COLOUR IN PSYCHOLOGY Colour therapy is a recognized field of practice. 1. Treating depression. Certain colours are used to alleviate symptoms of depression. 2. Reducing anxiety. Colours can be used to
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