The Italian artist Medardo Rosso (1858-1928) is, without a doubt, the great pioneer of modern sculpture. His achievement has been recognized – in spite of an historiographical blindness that persisted for decades – by the artists of his time and by leading figures in the art of the twentieth century. Degas, Boccioni (who made him a lodestar of Futurist sculpture), Brancusi, Giacometti, Fontana, Anselmo, Thomas Schütte and Juan Muñoz have all acknowledged the lasting significance of his legacy.

Carlos Bunga’s sculptural and painterly structures propose architecture as body and mindscape. Using only cardboard and paint, Bunga fantastical buildings, furniture-like sculptures and paintings as immersive environments.

The public works of Eduardo Chillida, present in numerous cities in the world, figure among the most intense and telling creations of contemporary monumental-scale sculpture.

A painter of vast pieces in his early days -in the main works intended for salons and national exhibitions- Joaquín Sorolla (Valencia, 1863-1923) very soon developed a style of open-air painting of his own which, though not connected stylistically with the Barbizon School, nevertheless pursued the same postulates, as a result of which he came to be known as a Spanish Impressionist painter.

This is a book series for the fith edition of Lisbon Architecture Triennale. A unique and limited collection edited by the curatorial team of The Poetics of Reason: a sparkling intellectual reflection from a three-year investigation on architectural rationality. With stunning visual references, these five books explore the various subjective and non-scientific dimensions of architecture with contributions from architects, philosophers, artists
and acclaimed authors.

ECONOMY OF MEANS
by Éric Lapierre
136pp. 15€

Composed of more than two million documents –– more than half of which are drawings –– the COAC Historical Archive has one of the main collections devoted to what we could call "architectural essays", which is why in many cases the drawing has an attempt but also an interpretation of the already built architecture.

The selection of the 152 drawings that are reproduced here has been carried out according to the very different scales of architectural practice –– from interior design to urban planning–– and to the extensive historical period that it covers, from 1834 to the present.