Bøger om Modernisme

"Juan Emar, der var forud for sin tid, skrev uden tvivl for fremtidens læsere, og det er lige så arrogant, som det er spændende at antage, at fremtidens læsere er os" Alejandro Zambra"Denne forløberen for dem alle testamenterede i sit fredfyldte delirium en levende verden til os, befolket af den uvirkelighed som altid er uadskillelig fra den mest varige virkelighed"Pablo NerudaI går blev en mand guillotineret for at prædike ’kærlighedens forhjernelse’ (den erotiske fornøjelse i tanken); i zoologisk have fortærede strudsen en løve; i et atelier måtte en kunstmaler forsvare beslutningen om at dedikere sig udelukkende til nuancer af grøn; ved et urinal foretog den tissende en tidsrejse … Drag med en mand og hans hustru (og hér er tale om et af litteraturhistoriens lykkeligste ægteskaber) på odyssé gennem surreelle tableauer i byen San Agustín de Tango, en intens og bizar hvirvelvind fra dagen i går.Juan Emar er pseudonym for den chilenske forfatter, maler og kunstkritiker Álvaro Yáñez Bianchi (1893-1964). Juan Emar delte sit liv mellem Santiago og Paris; i Paris blev han knyttet til datidens surrealistiske grupper, og det var her, han antog navnet Juan Emar for dets lydlige forbindelse til den franske sætning "J'en ai marre" (jeg har fået nok/jeg er røvtræt).

Storyville was the infamous red-light district of New Orleans. It was a world where normative social values didn't apply and was shrouded in mystery and myth until the photographs of E.J. Bellocq were rediscovered. Bellocq's depictions of Storyville's sex workers have typically been treated as tragic, ominous and emblematic of New Orleans' singularity. Yet, such interpretations have projected gendered stereotypes of frailty and victimhood onto the women they portrayed. In Images of Sex Work, Mollie LeVeque interrogates these glib readings and argues that sex work was a routine aspect of life in a modern city. She supports this theory by examining a range of cultural forms such as crime fiction, illustrations and paintings from contemporary urban centres like Paris, London and New York. In doing so, she advances the new argument that Bellocq humanised his subjects, de-sensationalised sex work and gave these women the dignity they were all too often denied.

The nineteenth century in France witnessed the emergence of the structures of the modern art market that remain until this day. This book examines the relationship between the avant-garde Barbizon landscape painter, ThéodoreRousseau (1812-1867), and this market, exploring the constellation of patrons, art dealers, and critics who surrounded the artist.Simon Kelly argues for the pioneering role of Rousseau, his patrons, and his public in the origins of the modern art market, and, in so doing, shifts attention away from the more traditional focus on the novel careers of the Impressionists and their supporters. Drawing on extensive archival research, the book offers fresh insight into the role of the modern artist as professional. It provides a new understanding of the complex iconographical and formalchoices within Rousseau's oeuvre, rediscovering the original radical charge that once surrounded the artist's work and led to extensive and peculiarly modern tensions with the market place.

Combining a broad overview of Jean-Jacques Lebel's coming-of-age among Surrealists and his rupture with the movement, Laurel Jean Fredrickson focuses on two landmark happenings in this book: the first, "Funeral of the Thing of Tinguely" (1960), and the most scandalous, "120 Minutes dedicated to the Divine Marquis" (1966). This study illustrates the development and significance of French happenings in relation to cultural and political changes of the 1960s.Research in Lebel's archives, and others like the Archives nationale d'outre-mer are indispensable in the telling of this extraordinary historical and theoretical narrative. It illuminates sensitive, often veiled dimensions of postwar French society, from torture during the Algerian War, to government censorship, to the sexual politics of nudity in art. This volume shows how Lebel synthesized the lessons of Dada and surrealism and 1960s experimentalism, electrified by political radicalism, to participate in shaping the erotics and forms of revolution in May 1968.

Franz Xaver Winterhalter, einer der begehrtesten und produktivsten Künstler des 19. Jahrhunderts, entwickelte verschiedene Bildnistypen, welche in strategisch zusammengestellten Porträtprogrammen das Image von Herrscher und Herrscherin im politischen Kommunikationsraum formten. Die Autorin erörtert, wie Anerkennung von Herrschaft konkret gestiftet wird und inwiefern die Visualisierung von Machtansprüchen abhängig ist von Amt und Geschlecht. In der Arbeit werden drei reproduzierbare Legitimationsmuster identifiziert, für welche die Autorin neue Untersuchungsbegriffe - Mode-, Regalien- und Tugendporträt - definiert, die zukünftiger Forschung auch epochenübergreifend assistieren wird. Grundlegende Studie zum weiblichen Herrscherporträt Neue Perspektiven auf einen der erfolgreichsten und produktivsten Hofkünstler des 19. Jahrhunderts Frauen in politischen Führungspositionen

Edvard Munchs radikale Modernität der Malerei forderte die Zeitgenoss:innen heraus. Das gilt insbesondere für die Berliner Kunstszene um 1900, auf die der norwegische Symbolist großen Einfluss nahm, wo er aber auch Förderung erfuhr und sein Werk weiterentwickelte. Der Band erzählt bildreich und fundiert die Geschichte von Munch und Berlin.1892 lud der Verein Berliner Künstler den noch unbekannten Edvard Munch (1863-1944) zu einer Ausstellung ein. Die Öffentlichkeit war geschockt von den farbgewaltigen, skizzenhaften Bildern. Der Künstler genoss dieses Aufsehen und zog an die Spree, wo er bis 1908 immer wieder lebte. In Berlin bedeuteten Munchs Werke nicht nur eine Initialzündung für die Moderne. Auch die Vorstellung vom »Zauber des Nordens« (Stefan Zweig) erfuhr einen Wandel. Statt mit romantischen oder naturalistischen Fjordlandschaften verband man damit nun Munchs psychisch verdichtete Bildwelten.

"Dass das Gedächtnisunser ganzes Leben ist."Luis BuñuelWie Schreiben Leben reflektiert, wie der Lebensvollzug sich im Schreiben niederschlägt, wie das Erleben eines Augenblicks über sich hinausweist, sich verdichtet und vertieft, wie Orte und Ereignisse sich berühren, überlappen, zu einer neuen Struktur in einer von der Umgangssprache abweichenden oder gar verfremdenden Sprache zu einer Erkenntnis führen kann: damit beschäftigt sich die hier zusammengetragene Lyrik.Ähnlich wie in der Bildenden Kunst kann es so zu einer Abstraktion kommen, die sich in neue Dimensionen begibt, letztendlich aber in Figuration mündet, denn der Mensch bleibt dieser Welt und ihrer subjektiven Wahrnehmung verhaftet.Schreiben basiert auf Erinnerung, die nicht von Ungefähr im Zentrum dieses Lyrikbandes steht. Erinnern ist grenzenlos und zugleich eingegrenzt, sie wählt aus, vieles gehört dem Zufall, der verwandt ist mit dem Kairos, diesem glatzköpfigen Jungen, den man an seiner einzigen Haarlocke ergreifen muss. Lyrisches Schreiben hat auch damit zu tun.Lyrik spielt zuweilen mit Worten, Klängen und Rhythmen, dann überwiegt das Atmosphärische, das Glück des Augenblicks, das wenig materielle Grundlage braucht. Die knappe Form liebt das Fragment, das schon ein Ganzes enthält. Das ist ähnlich wie in der Bildenden Kunst. Lyrik bringt etwas auf den Punkt, verdichtet das Alltägliche, schöpft aus einer in Zeichen angedeuteten Tiefe.

A rare glimpse into the mind of one of Mexico’s noted modern architects

Ce ne sont ni nos attitudes, ni notre discipline, ni nos habitudes qu'il faut changer mais le coeur. Car comme un arbre qui a des racines saines a des branches saines, ainsi un coeur saint est la source de tout changement.Et si depuis depuis son canapé, on pouvait changer le monde?Voici un recueil de poèmes pour se changer les idées.

Artworks and archival documents from Lebanon's turbulent postwar yearsThis volume revisits a turbulent chapter in Lebanese modernism, from the 1958 crisis to the 1975 outbreak of civil war. Through 230 works by 34 artists and more than 300 archival documents, it shows how collisions between art, culture and polarized political ideologies turned Beirut's art scene into a microcosm for larger transregional tensions.

On the cover: Four Children in a Louisiana Landscape, or Bélizaire and the Frey Children, 1837. Oil on canvas. Attributed to Jacques Amans, Courtesy of Jeremy K. Simien. Even when African Americans were included in portraits, as in the case with Four Children in a Louisiana Landscape, sometimes they were subsequently removed. This work had been owned and kept in storage by the New Orleans Museum of Art since 1972, but in 2004 it was deemed "not relevant" to their mission and deaccessioned. At that time, the painting pictured only three white children, although a shadow of a fourth figure was visible. Subsequent conservation uncovered the titular fourth child: an African American boy leaning against the tree behind the others. Louisiana collector Jeremy K. Simien acquired the painting in 2021, and author Katy Morlas Shannon identified the boy as a fifteen-year-old enslaved house servant named Bélizaire. Bélizaire was born to an enslaved woman named Sally in New Orleans in 1822. Sally and Bélizaire were sold to Frederick Frey, a German merchant and head of Union Bank in New Orleans, in 1828. The portrait was commissioned by Frey in 1837, likely from Jacques Amans, a French portraitist working in New Orleans. Bélizaire was painted over for unknown reasons at some later point. The subsequent uncovering of the figure as well as Bélizaire's story speaks not only to the concealment of enslavement that long occurred in the South, but also to the possibility and imperative of recovery. The urgency of these ideas is now being recognized by major art museums. The Metropolitan Museum of Art recently acquired the painting, and Bélizaire's likeness and history will be featured before an international audience despite one-time attempts to erase him.

A surprising look at the Latin American influences on one of the most significant modern architects of the twentieth century

A critical look at the renegade spirit that permeates Japanese prints and the posters of fin-de-siècle ParisBoth the Edo period (1603-1868) in Japan and the late nineteenth century in France witnessed a multitude of challenges to the status quo from the rising middle class. In Edo (present-day Tokyo), townspeople pursued hedonistic lifestyles as a way of defying the state-sanctioned social hierarchy that positioned them at the bottom. Their new pastimes supplied subject matter for ukiyo-e (pictures of the floating world). Many such pictures arrived in France in the 1860s, a time when French art and society were undergoing substantial changes. Fin-de-siècle Paris, like Edo before it, saw the rise of antiestablishment attitudes and a Bohemian subculture. As artists searched for fresh and more expressive forms, Henri de Toulouse-Lautrec (1864-1901) and his contemporaries were drawn to novel Japanese prints. While ukiyo-e's formal influences on Toulouse-Lautrec and his peers have been well studied, the shared subversive hedonism that underlies these artworks has been less examined. Through a wide selection of Japanese prints and Toulouse-Lautrec works, this book offers a critical look at the renegade spirit inhabiting the graphic arts in both Edo and Paris, highlighting the social impulses behind a burgeoning art production.Exhibition dates: Seattle Asian Art Museum, July 21-December 3, 2023

Issued in connection with an exhibition held at Solomon R. Guggenheim Museum, New York, March 31-September 10, 2023.

New scholarship on a little-known decorative commission undertaken by Pablo Picasso offers insight into the artist's painting process and the evolution of Cubism

In the summer of 1905, the French painters Henri Matisse and André Derain changed the course of art history with their radical color experiments

The first publication on the personal and professional relationship between Manet and Degas, two giants of nineteenth-century French art

"Frank Lloyd Wright and Ralph Waldo Emerson: Transforming the American Mind is an interdisciplinary volume of literary and cultural scholarship that examines the link between two pivotal intellectual and artistic figures, probing how the author's writings influenced the architect's campaign against dominant strains of American thought. Inspired by Emerson's writings on the need to align exterior expression with interior self, Wright believed that architecture was not first and foremost a matter of accommodating spatial needs, but a tool to restore intellectual and artistic freedom, long lost in the process of modernization. Ayad Rahmani shows that Emerson's writings provide an avenue for interpreting Wright's complex approach to country and architecture. The two thinkers cohered around a common concern for a nation derailed by forces that were not only nefarious, but which also flew in the face of the country's original promise. In Emerson's condemnations of slavery and inequality, Wright found inspiration for seeking redress against the humiliations suffered by the modern worker, be it at the hands of an industrial manager or office boss. His designs sought to challenge dehumanizing labor practices and open minds to the beauty and science of agriculture and the natural world. Emerson's example helped Wright develop architecture that aimed less at accommodating a culture of clients and more at raising national historical awareness while also arguing for humane and equitable policies. As evidence of these interventions, Rahmani details the genesis of recent developments in urban agriculture, rooftop gardens, and cohousing. Frank Lloyd Wright and Ralph Waldo Emerson presents a new approach to two vital thinkers whose impact on American society remains evident to this day"--

Revealing the vital influence of the French artist Marie Laurencin, her visual idiom, and her sexual expression on the modernism of twentieth-century Paris

An exploration of Edgar Degas’s laundress works and their significance within broader debates art, urban life, and women’s work in the nineteenth century

An elegant consideration of the Surrealist movement as a global phenomenon and why the movement continues to resonate

New edition of Van Gogh in the popular Masterpieces of Art series.Part of a new series of beautiful gift art books, Van Gogh Masterpieces of Art features all of the best-known works of one of the most famous artists in the world, preceded by a fresh and thoughtful introduction providing lively commentary on his life, society, places and style and techniques, including the powerful animation of his strident brushwork.

New edition of Gustav Klimt in the popular Masterpieces of Art series.Gustav Klimt, well known for his sensual, arresting depictions of women (The Kiss, Fulfillment, The Tree of Life), was a founder of the Viennese Secession movement at the turn of the 20th century, Vienna's own Art Nouveau. His extravagant work, was an obsessive manifestation of the dazzling intellectual society of his time and he painted very large canvases combining oils with gold foil. This beautiful new book brings together a wide selection of Klimt’s magnificent work.

A survey of the paintings of Abraham Ángel that situates the celebrated artist's work within the broader arc of Mexican art in the 1920s

"Dislodging the avant-garde from its central position in the narrative of Soviet art, Collective Body presents painter Aleksandr Deineka's haptic and corporeal version of Socialist Realist figuration not as the enemy of revolutionary art, but as an alternate experimental aesthetic that, at its best, activates and organizes affective forces for collective ends. Tracing Deineka's path from his avant-garde origins as the inventor of the proletarian body in illustrations for mass magazines after the Revolution through his success as a state-sponsored painter of monumental, lyrical canvases during the Great Terror and beyond, Collective Body demonstrates that Socialist Realism is best understood not as a totalitarian style, but rather as a fiercely collective art system that organized art outside the market and formed part of the legacy of the revolutionary modernisms of the 1920s. Collective Body accounts for the way the art of the October Revolution continues to capture viewers' imaginations through the sheer intensity of its evocation of the elation of collectivity, making viewers not only comprehend but also truly feel socialism, and retaining the potential to inform our own art-into-life experiments within contemporary political art. Deineka figures in this study not as a singular master, in the spirit of a traditional monograph, but as a limited case of the system he inhabited and helped to create"--

"The fifth and final volume of essays by Leo Steinberg is devoted to modern and contemporary art. Expertly edited by Steinberg's longtime assistant Sheila Schwartz, this collection includes essays on Câezanne, Monet, Matisse, Ernst, Hans Haacke, Jasper Johns, Jeff Koons, and, in some ways the centerpiece of the collection, Steinberg's landmark essay "Encounters with Rauschenberg." It concludes with a selection of Steinberg's lesser-known occasional humorous pieces. The collection features an introductory essay by noted scholar and curator James Meyer. As with all volumes in the Essays by Leo Steinberg series, it is lavishly illustrated throughout with works by each of the artists Steinberg analyzes"--

This generously illustrated and comprehensive book focuses on a decisive decade in Max Beckmann's career as one of the leading figurative painters of the twentieth century. This publication will provide insight into a critical period in the artist's development and the accomplishments that earned him such high esteem. Max Beckmann's brief but profoundly jarring service as a medical orderly during World War I led to a nervous breakdown. He assimilated his experiences and incorporated recent and radical developments in art, such as Cubism and Expressionism, leading him to advance new pictorial conceptions beginning in 1915. To many of his contemporaries, the work Beckmann created between 1917 and 1925 placed him at the forefront of the latest developments in representational painting. In 1925, Beckmann's celebrated status was confirmed by his prominence in the groundbreaking "Neue Sachlichkeit" (New Objectivity) exhibition in Mannheim, although he later distanced himself from the term. This book will situate Beckmann artistically and historically. Essays by both established experts and emerging scholars investigate the seminal energy found in the work he created between 1915 to 1925-a period to which the artist himself repeatedly returned over the course of his lifetime. The self- referential aspect of Beckmann's output is key to understanding his progression as an artist, which comes more clearly into focus via an analysis of these critical early years.