Bøger om Modernisme

Discover how painters such as Van Gogh, Mondrian, and Jacoba van Heemskerck drew on the legacy of Dutch landscapes and realism to put their own spin on the Impressionist movement. Impressionism may have originated in France, but artists in late 19th- and early 20th-century Netherlands quickly made it their own. The genre's vibrant colors and focus on light and atmosphere were a perfect complement to the country's groundbreaking traditions of landscape painting and realism. This exhibition catalog brings together hundreds of works by nearly forty artists including Johan Barthold Jongkind, Vincent van Gogh, Jacoba van Heemskerck, and Piet Mondrian. It traces the birth of the Hague School, whose practitioners captured the changing moods of light in the coastline's vast, grey skies. And it explores the Amsterdam Impressionists, whose cityscapes offered realistic images of modern life. Alongside vibrant reproductions of masterworks, a series of lively essays explore a diverse array of topics, including Dutch landscape painting within an international context; Dutch artist settlements and communities; and iconography in Dutch impressionism.

A groundbreaking, new perspective on the painter's scandalous nudes. Among the most celebrated works of Modigliani's brief but brilliant career are his large-format nudes. Drenched in color and glowing with the artist's deep appreciation of women and the female form, these works ushered in a new era of nude portraiture, while also causing an enormous scandal. This stunning exhibition catalog offers a new perspective on this aspect of Modigliani's work by examining for the first time his portraits of emancipated women sporting coupe garçonnes haircuts and wearing loin cloths. Modigliani was one of the first chroniclers of the femme moderne, which also influenced his nude painting and the scandal they caused. Featuring lavish reproductions and astute texts by leading scholars, this volume also examines Modigliani's cultural context in European Classicism, from Toulouse-Lautrec and Cezanne to the work of his contemporaries, including Paula Modersohn-Becker, Gustav Klimt, Egon Schiele, Jeanne Mammen and Wilhelm Lehmbruck; and traces his impact on future European Modernism and New Objectivity.

From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world.With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage.A fully updated 3rd edition in colour.

A richly illustrated catalog, with biography, of artist Julio González. The sculptures of Julio González (1876-1942) were shown at MoMA in 1956, and our understanding of his influence on modern art has grown steadily since. This lavishly illustrated book offers a new, highly nuanced account of González's life, work, and legacy. Beginning with González's complex family relationships, Juan José Lahuerta explores the tensions involved as González sought to combine his craft with efforts to become a painter, as the Romantic, bohemian mentality of the late nineteenth century had idealized. Lahuerta also explores the importance of González's relationships with Picasso and other contemporaries, which helps us understand how, in the 1930s, his naïve artist's urge was replaced by a radical urge to make art that would break every taboo related to tradition, craft, and material. The second section of the book offers a stunning presentation of the new exhibition of the Julio González collection at the Institut Valencià d'Art Modern. The book will serve as a milestone in our understanding of González's work and influence.

Artist and educator Lionel LeMoine FitzGerald (1890-1956) was the only member of the Group of Seven based in Western Canada. Some Magnetic Force is the first collection to gather the surviving writings by the Winnipeg artist. Spanning from 1930 to 1954, the texts gathered here begin during the mature period of his artistic development at age forty and conclude with personal reflections late in life on the nature of art and his career.Michael Parke-Taylor has uncovered and chronologically organized FitzGerald's letters, diary, lectures, and reports to show how FitzGerald understood the development of his practice, communicated the philosophy of art to his art students, confronted challenges in his career, as well as revealing his spiritual aspirations, views about the natural world, and his private desires. These writings also elucidate the material and reputational realities of artistic production in places beyond the period's dominant Canadian art centres of Toronto, Montreal, and Ottawa.With an introduction and notes that contextualize FitzGerald's biography and social circles, and including illustrations of his work, Some Magnetic Force provides remarkable insights into the influences, interests, and innovations of the Group of Seven's prairie artist.

Elmer and Charles Lange were born into a blue-collar family in Racine, Wisconsin. Both aspired to become famous artists and writers, following in the footsteps of their best friend, Theodore Czebotar. They left Racine for greener pastures, hopping trains, hitchhiking and biking across America in search of steady work and paychecks. Elmer honed his craft, far surpassing Charles in artistic ability. He continued drawing and painting until his suspicious death in 1942. Elmer's vast accumulation of art was held by his brother Leo and sister Ida until their deaths. At that point the collection took a strange journey, ultimately ending up in the hands of the author. This started his 25-year journey to unravel the mystery of these two talented brothers and bring their artwork into the light for all to enjoy.

Provokation und sexuelles Verlangen liegen oft beieinander. Selbst in unserer modernen Gesellschaft findet die Libido des Menschen selten Gehör.Lassen Sie sich mit dieser Anthologie in die lyrische Welt der Libido entführen und beleben Sie dieses verschwiegene Thema neu.

From the 1960s drawing assumed a prominent position in the practice of a rising generation of post-war artists in Germany and Austria. This publication examines works on paper by four artists still comparatively little known in the UK. While Georg Baselitz and Gerhard Richter, household names in German contemporary art, are well known for their large and commanding works, a quieter and more reflective strand is found in the work of Rudi Tröger (b. 1929), Karl Bohrmann (1928-1998) and Carl-Heinz Wegert (1926-2007). Small and intimate in scale, their drawings focus on the abstracted, minimalist figure, the studio interior and landscapes, through a sensitive use of line and a spare, self-effacing gesturalism. By contrast, the Austrian actionist Hermann Nitsch (1938-2022) presents visceral depictions of the human anatomy in his large lithographs, which come out of his notorious actionist performances. This publication celebrates a second major gift to the British Museum from the German collector Count Christian Duerckheim, whose first gift featured in Germany Divided: Baselitz and his generation, published by the British Museum Press in 2014.

One of the most important artists of the twentieth century, Mark Rothko (19031970) created a new and impassioned form of abstract painting over the course of his career. Rothko also wrote a number of essays and critical reviews during his lifetime, adding his thoughtful, intelligent, and opinionated voice to the debates of the contemporary art world. Although the artist never published a book of his varied and complex views, his heirs indicate that he occasionally spoke of the existence of such a manuscript to friends and colleagues. Stored in a New York City warehouse since the artists death more than thirty years ago, this extraordinary manuscript, titled The Artists Reality, is now being published for the first time.Probably written around 194041, this revelatory book discusses Rothkos ideas on the modern art world, art history, myth, beauty, the challenges of being an artist in society, the true nature of American art, and much more. The Artists Reality also includes an introduction by Christopher Rothko, the artists son, who describes the discovery of the manuscript and the complicated and fascinating process of bringing the manuscript to publication. The introduction is illustrated with a small selection of relevant examples of the artists own work as well as with reproductions of pages from the actual manuscript.The Artists Reality will be a classic text for years to come, offering insight into both the work and the artistic philosophies of this great painter.

"Published on the occasion of an exhibition curated by Lynne Cooke, Woven Histories offers a fresh and authoritative look at textiles-particularly weaving-as a major force in the evolution of abstraction. This richly illustrated volume features more than fifty creators whose work crosses divisions and hierarchies formerly segregating the fine arts from the applied arts and handicrafts. Woven Histories begins in the early twentieth century, rooting the abstract art of Sophie Taeuber-Arp in the applied arts and handicrafts, then features the interdisciplinary practices of Anni Albers, Sonia Delaunay, Liubov Popova, Varvara Stepanova, and others who sought to effect social change through fabrics for furnishings and apparel. Over the century, the intersection of textiles and abstraction engaged artists from Ed Rossbach, Kay Sekimachi, Ruth Asawa, Lenore Tawney, and Sheila Hicks to Rosemarie Trockel, Ellen Lesperance, Jeffrey Gibson, Igshaan Adams, and Liz Collins, whose textile-based works continue to shape this discourse. Including essays by distinguished art historians as well as reflections from contemporary artists, this ambitious project traces the intertwined histories of textiles and abstraction as vehicles through which artists probe urgent issues of our time"-- Provided by publisher.

This book examines the confrontational war pictures of Otto Dix (1891-1969) and explores their role in shaping the memory of World War I in Germany from 1914 to 1936.Dix's thirty-eight months on the World War I battlefields profoundly influenced his post-war artistic career, saw him produce some of the most enduring images of the conflict and establish himself as one of Europe's leading modernists. Offering substantial new research and presenting numerous primary sources to an English readership for the first time, the book examines Dix's war pictures within the broader visual culture of war in order to assess how they functioned alternatively as cutting-edge modernist art and transgressive war commemoration. Each chapter provides a case study of the first public display of one or more of Dix's war pictures at key exhibitions and explores how their reception was subjected to changing socio-political and cultural conditions as well as divergent attitudes to the lost war.Bringing a unique perspective and original scholarship to Dix's war works, this book is essential reading for art historians of World War I and the visual culture of Weimar Germany.

"This book presents the story of Amaza Lee Meredith (1895-1984), a little-known black woman architect, artist and educator born into the Jim Crow South. Her life and work bridge national boundaries to disrupt our understandings of the Great Migration, expand the reach of the well-documented Harlem Renaissance, and reveal the importance of architecture as a force in New Negro identity and Black middle-class self and group formation"--

Der außergewöhnlichste Schriftsteller der deutschen Literaturgeschichte zu sein - diesen Ruf hat sich Franz Kafka gegen seinen eigenen Willen erschrieben. Auch einhundert Jahre nach seinem Tod faszinieren die oft düsteren, bisweilen rätselhaften Motive seiner Texte Leser und Literaten gleichermaßen, obwohl Kafka den Großteil seiner Werke nach seinem Ableben vernichten lassen wollte. Dieses Lesebuch zeigt einen abwechslungsreichen Querschnitt durch das vielfältige Schaffen des von Zweifeln geprägten und doch mit einer ausgezeichneten Beobachtungsgabe gesegneten Autors: Prosatexte, Lyrik, Tagebucheinträge, ein Drama und Romanauszüge gehören ebenso dazu wie ausgewählte Zitate und eine Kurzbiografie Kafkas. Die Lektüre ermöglicht so einen Einstieg in eine einzigartige Gedankenwelt, deren Wirkung auf Leser und Literaturgeschichte noch lange nachhallt.Aus dem Inhalt:Der NachhausewegBrief an den VaterDer GruftwächterDie VerwandlungEin HungerkünstlerDer ProzessGestern kam eine Ohnmacht zu miru.v.m.

A New York Times Book Review Editors’ ChoiceThe untold story of the artistic battle between James Abbot MacNeill Whistler and John Ruskin over Whistler’s controversial, ground-breaking Nocturne in Black and Gold: The Falling Rocket.

Explore America's most breathtaking college campuses--where Gilded Age wealth found a Gothic inspiration.

A complete record of all the inscriptions in the church and churchyard at Wilmington in Sussex. Wilmington is steeped in history and folklore. Stories of the church, the priory next to it and the figure of the Long Man looming over them on Windover Hill seem to intertwine. The yew tree presiding over the churchyard may be more ancient than any of them. A detailed historical introduction narrates the stories of all of these features and shows how they link together. The full record of monumental inscriptions includes photos, plans and indexes, making this book an invaluable resource for local and family history. 247 pages.

A thoughtful selection of works which celebrates the opening of the new Buffalo AKG Art Museum, and provides a flavor of one of the world's most extraordinary collections of modern and contemporary art.With nearly 400 pages, this entirely new collection handbook presents over 330 works by 265 artists, arranged alphabetically rather than chronologically, and is the premier souvenir publication for museum visitors and art lovers alike.In late 2019 the Albright-Knox Art Gallery broke new ground on the most significant campus expansion and development project in its 160-year history, reopening in 2023 as the Buffalo AKG Art Museum. The Museum's collections span some of the greatest moments in art through the centuries, beginning with its first acquisition, The Marina Piccola, Capri, 1859, by Albert Bierstadt--both the first painting and the first work gifted by an artist to enter the museum's collection. Impressionism and post-Impressionism are well represented with works by leading nineteenth-century European artists such as Edgar Degas, Paul Gauguin, Claude Monet, Pierre-Auguste Renoir, and Vincent van Gogh. Cubism, Surrealism, Constructivism, and other movements from the revolutionary early years of the 20th century come to life through significant works by Georges Braque, André Derain, Frida Kahlo, Fernand Léger, Henri Matisse, Joan Miró, Piet Mondrian, Georgia O'Keeffe, Pablo Picasso, and Alexander Rodchenko.

In freewheeling 1920s Paris, Kiki de Montparnasse captivated as a nightclub performer, sold out gallery showings of her paintings, starred in Surrealist films, and shared drinks and ideas with the likes of Jean Cocteau and Marcel Duchamp. Her best-selling memoir-featuring an introduction by Ernest Hemingway-made front-page news in France and was immediately banned in America. All before she turned thirty.Kiki was once the symbol of bohemian Paris. But if she is remembered today, it is only for posing for several now-celebrated male artists, including Amedeo Modigliani and Alexander Calder, and especially photographer Man Ray. Why has Man Ray's legacy endured while Kiki has become a footnote?Kiki and Man Ray met in 1921 during a chance encounter at a café. What followed was an explosive decade-long connection, both professional and romantic, during which the couple grew and experimented as artists, competed for fame, and created many of the shocking images that cemented Man Ray's reputation as one of the great artists of the modern era. The works they made together, including the Surrealist icons Le Violon d'Ingres and Noire et blanche, now set records at auction.Charting their volatile relationship, award-winning historian Mark Braude illuminates for the first time Kiki's seminal influence not only on Man Ray's art, but on the culture of 1920s Paris and beyond. As provocative and magnetically irresistible as Kiki herself, Kiki Man Ray is the story of an exceptional life that will challenge ideas about artists and muses-and the lines separating the two.

Conceived in the Gilded Age, the Ferry Building opened in 1898 as San Francisco's portal to the world-the terminus of the transcontinental railway and a showcase of civic ambition. In silent films and World's Fair postcards, nothing said "San Francisco" more than its soaring clocktower. But as acclaimed architectural critic John King recounts, the rise of cars and double-deck roads severed the city from its beloved structure. King's narrative spans the rise and fall and rebirth of the Ferry Building, introducing colourful figures who fought to preserve its character (and the city's soul)-from architect Arthur Page Brown and legendary columnist Herb Caen to poet Lawrence Ferlinghetti and Senator Dianne Feinstein. A microcosm of the changing American waterfront, the saga of the Ferry Building explores the tensions of tourism and development-and the threat that sea level rise poses to a landmark that in the twenty-first century remains as vital as ever.

Italian architecture has long exerted a special influence on the evolution of architectural ideas elsewhere - from the Beaux-Arts academy's veneration of Rome, to modernist and postmodern interest in Renaissance proportion, Baroque space, and Mannerist ambiguity. This book critically examines this enduring phenomenon, exploring the privileged position of Italian architects, architecture, and cities in the architectural culture of the past century.Questioning the deep-rooted myth of Italy within architectural history, the book presents case studies of Italy's powerful yet problematic position in 20th-century architectural ideologies, at a time when established Eurocentric narratives are rightly being challenged. It reconciles the privileged position of Italian architecture and design with the imperative to write history across a more global, diverse, heterogenous cultural geography. Twenty chapters from distinguished international scholars cover subjects and architects ranging from Alberti to Gio Ponti, Aldo Rossi, Manfredo Tafuri, Vittorio Gregotti; cities from Rome and Venice to Milan; and an array of international architects, movements, and architectural ideas influenced by Italy. The chapters each question where, how, and why the disciplinary edifice of 20th-century architecture-its canon of built, visual, textual, and conceptual works-relied on Italian foundations, examining where and how those foundations have become insecure.Indispensable for students and scholars of both Italian and global architectural history, Italian Imprints on Twentieth-Century Architecture provides an opportunity to consider the architectural and urban landscape of Italy from substantially new points of view.

Mit seinem zeichnerischen Stil, seinen verzerrten Figuren und seiner Ablehnung konventioneller Schönheitsvorstellungen war Egon Schiele (1890-1918) ein Vorreiter des Wiener Expressionismus und einer der beeindruckendsten Porträtmaler des 20. Jahrhunderts.Schiele, dessen Mentor Gustav Klimt war, versuchte sich zunächst am glitzernden Jugendstil, bevor er seine eigene raue und provokante Ästhetik der harten Linien, grellen Farben und ausgezehrten Figuren entwickelte. Seine Porträts und Selbstporträts schockierten die Wiener Gesellschaft mit ihren erotischen Posen und einer bis dato beispiellosen psychologischen und sexuellen Intensität. So kauern er oder seine Modelle, die manchmal klapperdürr und kränklich, manchmal aber auch stark und sinnlich waren, oft mit gespreizten Beinen und deutlich sichtbaren Genitalien am Boden und starren den Betrachter an.Viele Zeitgenossen empfanden Schieles Bilder nicht nur als hässlich, sondern auch als moralisch verwerflich, was sogar dazu führte, dass der Maler für kurze Zeit wegen "Verbreitung unsittlicher Zeichnungen" inhaftiert wurde. Heutzutage wird er für seine revolutionäre Darstellung des Menschen und seinen unverkennbaren, direkten, beinahe fieberhaften Zeichenstil gefeiert. Dieses Buch führt anhand ausgewählter Werke in Schieles kurze, aber intensive Karriere ein und beleuchtet seinen enormen Einfluss auf die Kunst der Moderne, die sich auch im Werk zeitgenössischer Künstler wie Tracey Emin und Jenny Saville spiegelt.

C'est la décennie de l'audace, des toiles expressionnistes, des oeuvres d'art totales du Bauhaus, et des bals de travestis ; de Metropolis et de Marlene Dietrich. Des salles de cinéma combles aux bars jazz bondés, venez découvrir l'esprit libre et courageux des années 1920 à Berlin grâce à cette évocation culturelle vivante de la période, à...

"This book features essays on modern and contemporary art and media systems"--

In 2016, a landscape painting of the source of the Lison river in France was discovered at the University of Pennsylvania and was immediately suspected of being the work of Gustave Courbet. A lengthy authentication process began in 2018 and the landscape has since been confirmed as his. This new discovery sparked an exhibition showcasing the infamous painter's modern landscape practice. Titled At the Source: A Courbet Landscape Rediscovered, the exhibition is presented at the University of Pennsylvania's Arthur Ross Gallery from February 4 to May 28, 2023. Focusing on the motifs of grottos and waterfalls in his art of the 1850s and 1860s, it highlights the rediscovered Courbet painting, not shown in public for close to 100 years, and emphasizes the process of authenticating and conserving this historic work.Gustave Courbet (1819-1877) was a French painter who led the Realism movement of the mid nineteenth-century. Committed to painting only what he could see, he rejected academic conventions and the Romanticism of the previous generation of artists. Courbet's paintings of the late 1840s and early 1850s brought him his first recognition. They challenged tradition by depicting unidealized peasants and workers, often on a grand scale previously reserved for paintings of religious or historical subjects. Courbet's subsequent paintings offer a wide range of genres and broadened the political character of his art: landscapes, seascapes, hunting scenes, nudes, and still lifes.This heavily illustrated catalog brings together essays by leading Courbet scholars, including Petra ten-Doesschate Chu, Aruna D'Souza, Paul Galvez, and Mary Morton, and situates Courbet's modern landscapes within the genre of nineteenth-century plein-air painting. Contextualizing the newly discovered work in relation to other visual depictions of the site, the catalog reproduces postcards and maps as well as the few other versions of the Source of the Lison that Courbet painted, including other related subjects. The essays draw connections between Courbet's paintings and his political activism, his interests in geology and environmentalism, and his engagement with issues of gender.