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Discovering Child Art
This book brings together thirteen distinguished critics and scholars to explore children's art and its profound but rarely documented influence on the evolution of modern art. It shows that children's art and childhood have inspired major works of art, served as central metaphors for artistic spontaneity and honesty, and provided a window into the fundamental human qualities explored by modern artists. The volume complements editor Jonathan Fineberg's groundbreaking new book, The Innocent Eye (Princeton, 1997), in which he showed how many of the greatest masters of modern art collected and were directly influenced by children's drawings. Contributors here both expand on Fineberg's themes an...
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.
Resisting Abstraction
The first English-language study of the influential French painter Robert Delaunay to appear in thirty years. Delaunay has long been appreciated as one of the leading Parisian artists of the early twentieth century. And art historians have consistently viewed his vibrantly colored paintings starting in 1912 as early experiments in abstraction. Hughes, however, tautly argues that Delaunay was not just one of the earliest artists to work in pure abstraction, but the earliest one to do so. The colorful, optically driven canvases that Delaunay produced set him apart from the more ethereal abstraction of Kandinsky, Mondrian, Malevich, and Kupka, with whom he is often clubbed and whose spiritual motivations he rejected. Delaunay s paintings were grounded in material sensation and reflected the modern optical science of his time. They had nothing in common with the idealism that drove Kandinsky and the others. As a result, his work set the stage not only for the kind of abstraction that would come to dominate painting in the mid twentieth century (Pollock, Stella, Still, Kline); it also inspired the critics who theorized and elevated that particular strain of modernist practice."
hässlich!?
Ungezählt sind die Abhandlungen über das Schöne. Untersuchungen zu seinem Widerpart, dem Hässlichen, haben hingegen geradezu Seltenheitswert. Bisher gibt es keine umfassende phänomenologische Untersuchung zum Hässlichen in der Kunst des 19. bis zum Beginn des 20. Jahrhunderts, die sich sowohl den Kunstwerken, den Intentionen der Künstler als auch den daran anknüpfenden zeitgenössischen Diskursen widmet. Wird über das Hässliche in Kunst und Literatur debattiert, bilden sich besonders seit Ende des 18. Jahrhunderts Fronten: zwischen Künstlern, zwischen philosophischen Ästhetikern, zwischen Kunstkritikern. Die vorliegende Studie beschäftigt sich mit Werken, die für den jeweiligen...
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...
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.
The Icon and the Square
In The Icon and the Square, Maria Taroutina examines how the traditional interests of institutions such as the crown, the church, and the Imperial Academy of Arts temporarily aligned with the radical, leftist, and revolutionary avant-garde at the turn of the twentieth century through a shared interest in the Byzantine past, offering a counternarrative to prevailing notions of Russian modernism. Focusing on the works of four different artists—Mikhail Vrubel, Vasily Kandinsky, Kazimir Malevich, and Vladimir Tatlin—Taroutina shows how engagement with medieval pictorial traditions drove each artist to transform his own practice, pushing beyond the established boundaries of his respective art...
Paul Klee
Paul Klee (1879–1940) ist einer der bedeutendsten Vertreter der modernen Kunst. Er schuf ein ebenso universales wie individuelles Werk, das zwischen allen Strömungen und Ismen seiner Zeit steht. Sein gewaltiges malerisches, zeichnerisches und bildnerisches Œuvre, seine Briefe und Tagebuchaufzeichnungen und nicht zuletzt seine pädagogischen Notizen bilden den Hintergrund für diese pointierte Darstellung zu Leben und Werk des meditativen Künstlers und visuellen Denkers. Der reich bebilderte Band zeichnet Klees bewegte Biografie nach und spannt den Bogen von Klees künstlerischen Anfängen mit karikaturistischen Zeichnungen und Akten über seine Begegnung mit der Avantgarde und die berühmten Aquarelle der Tunisreise oder die abstrakten Farbkompositionen der Bauhaus-Zeit bis zu den geheimnisvollen Bildfindungen seiner letzten Jahre in Bern.
Special Visions
Remarkably varied in their output and life styles, both resolutely independent and conformist, these women painters, sculptors and graphic artists represent eight nationalities and span four centuries. They are Artemisia Gentileschi, Judith Leyster, Angelica Kauffman, Vigee Lebrun, Rosa Bonheur, Berthe Morisot, Mary Cassatt, Suzanne Valadon, Kathe Kollwitz, Paula Modersohn-Becker, Gabriele Munter, Vanessa Bell, Sonia Delaunay, Georgia O'Keeffe and Frida Kahlo.Their reputations have dipped and risen again over the years. Some were widely appreciated in their day; others attained recognition posthumously. All overcame the obstacles of social restrictions and male prejudice.
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.
