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Kandinsky and Klee in Tunisia
Paul Klee experienced his 1914 trip to Tunisia as a major breakthrough for his art: ÒColor and I are one,Ó he famously wrote. ÒI am a painter.Ó Kandinsky and Klee in Tunisia sets the scene for KleeÕs breakthrough with a close study of the parallel voyage undertaken in 1904Ð5 by Wassily Kandinsky and Gabriele MŸnter, who would later become Klee's friends. This artist couple, then at an early stage in their celebrated careers, produced a rich body of painting and photography known only to specialists. Paul KleeÕs 1914 trip with August Macke and Louis Moilliet, in contrast, is a vaunted convergence of cubism and the exotic. Roger Benjamin refigures these two seminal voyages in terms of colonial culture and politics, the fabric of ancient Tunisian cities, visual ethnography, and the tourist photograph. The book looks closely at the cities of Tunis, Sousse, Hammamet, and Kairouan to flesh out a profound confrontation between European high modernism and the wealth of Islamic lifeways and architecture. Kandinsky and Klee in Tunisia offers a new understanding of how the European avant-garde was formed in dialogue with cultural difference.
The Artist's Journey
In the Artist's Journey, follow in the footsteps of some of the world’s most famous painters, and the journeys which inspired some of their greatest works.
Käthe Kollwitz
The German printmaker, draughtsman, and sculptor Kathe Kollwitz's images of mothers and children and of protest against social injustice have long been admired by both critics and the public. Kollwitz adhered to a figurative style in the era of abstraction and she depicted socially-engaged subject matter when it was unfashionable. Critics have often focused on those issues and have rarely studied the ways in which the artist manipulated technique and resolved formal problems. This illustrated book redresses this imbalance, portraying Kollwitz as an innovative and virtuosic artist rather than a mere chronicler of particular themes.
Meredith Chronicles
Ancient beginnings only hinted at the great things to come in the story of Meredith. The earliest residents hunted mammoth and caribou and created the first birch-bark canoe to traverse Lake Winnipesaukee and the network of waterways. Centuries later, Meredith's Dudley Leavitt wrote Leavitt's Farmers Almanack for more than fifty years. The local woods were the solitary home of Joseph Plumer, who was perhaps New Hampshire's most financially successful hermit. Motorcycles, cars and horses once raced on the winter ice of Lake Winnipesaukee. Together, these stories weave the distinctive fabric of Meredith history. Dan Heyduk's town history goes beyond documents and dates, illustrating the unique character of a multifaceted community.
Women Artists in Expressionism
A beautifully illustrated examination of the women artists whose inspired search for artistic integrity and equality influenced Expressionist avant-garde culture Women Artists in Expressionism explores how women negotiated the competitive world of modern art during the late Wilhelmine and early Weimar periods in Germany. Their stories challenge predominantly male-oriented narratives of Expressionism and shed light on the divergent artistic responses of women to the dramatic events of the early twentieth century. Shulamith Behr shows how the posthumous critical reception of Paula Modersohn-Becker cast her as a prime agent of the feminization of the movement, and how Käthe Kollwitz used print...
Kandinsky Drawings Vol 2
The first volume of the catalogue raisonné comprises 1236 works from all periods of Vasily Kandinsky's career. It begins with an addendum of fifteen watercolors and two oil-paintings, which were not included in the previous four volumes of the catalogue raisonné , followed by India ink drawings, sketches and individual works. There is complete provenance, exhibition history and bibliography for each catalogue entry as well as numerous commentaries discussing date, iconography and related works. Vivian Barnett has written a text on the artist's discovery of his own drawings in the early 1930s and his efforts to exhibit them during his lifetime. The volume concludes with a comprehensive list of one-person and group exhibitions, a selective bibliography and indexes. A second volume, which is devoted to Kandinsky's thirty-five sketchbooks that have remained intact, will appear in spring 2007.
Transnational Perspectives on Artists’ Lives
This book demonstrates the significance of transnationality for studying and writing the lives of artists. While painters, musicians and writers have long been cast as symbols of their associated nations, recent research is increasingly drawing attention to those aspects of their lives and works that resist or challenge the national framework. The volume showcases different ways of treating transnationality in life writing by and about artists, investigating how the transnational can offer intriguing new insights on artists who straddle different nations and cultures. It further explores ways of adopting transnational perspectives in artists’ biographies in order to deal with experiences of cultural otherness or international influences, and analyses cross-cultural representations of artists in biography and biofiction. Gathering together insights from biographers and scholars with expertise in literature, music and the visual arts, Transnational Perspectives on Artists’ Lives opens up rich avenues for researching transnationality in the cultural domain at large.
Vol. 3 (3). 2018
Theoretical Quarterly:Lomonosov Moscow State University,Faculty of Aesthetics,Department of Aesthetics.The third issue in 2018.
The Blue Rider
»Das ganze Werk, Kunst genannt, kennt keine Grenzen und Völker, sondern die Menschheit.« So schrieben es Franz Marc und Wassily Kandinsky 1911 für ihren Almanach Der Blaue Reiter. Dieses programmatische Jahrbuch etablierte den Blauen Reiter (ca. 1911–1914) als einen der ersten transnationalen Künstler*innenkreise. Und dieses Credo inspirierte das Lenbachhaus dazu, das Werk der beteiligten Künstler*innen – unter ihnen Gabriele Münter, Alfred Kubin, Maria Marc und Elisabeth Epstein – nicht nur ästhetisch und historisch, sondern in seinen geistigen, sozio-ökonomischen sowie politischen Zusammenhängen zu betrachten. Denn nicht nur mit Worten, sondern auch mit Bildern und Taten setzte sich der Kreis des Blauen Reiter für ein globales, gleichberechtigtes Kunstverständnis ein. Gefangen in der Zeit der kolonialen Weltordnung vor dem Ersten Weltkrieg, gelang es allerdings auch ihnen nicht, eine emanzipatorische Praxis von Kunst jenseits nationaler Zugehörigkeit sowie tradierter Hierarchien und Gattungen umzusetzen.
Artists in Exile
An unprecedented survey of artists in exile from the 19th century through the present day, with notable attention to Asian, Latin American, African American, and female artists This timely book offers a wide-ranging and beautifully illustrated study of exiled artists from the 19th century through the present day, with notable attention to individuals who have often been relegated to the margins of publications on exile in art history. The artworks featured here, including photography, paintings, drawings, prints, and sculpture, present an expanded view of the conditions of exile--forced or voluntary--as an agent for both trauma and ingenuity. The introduction outlines the history and percept...
