Bøger om Modernisme

Dette er en digtsamling som jeg startede på 2016. Da det var en tid der var svær for mig, havde jeg brug for at skrive mine tanker og oplevelser ned. Jeg havde oplevet flere af dem der har læst mine digte efterfølgende har opfordret mig til at udgive dem. Da de fleste af dem der læste, kunne se det abstrakte, tvetydigheden i den måde jeg skriver på og kunne leve sig ind i det jeg forsøgte at fortælle med digtene.Dette er den første digtsamlingen i en serie ud af 3

Formed through eons of geologic time and sculpted by glaciers, the limestone deposits along the islands' shores provided the essential ingredient for the block and mortar that built and rebuilt the West Coast's major cities. Read all about the islands' economic booms and busts, dramatic changes to the landscape, bloody murder, contentious lawsuits, and deadly shipwrecks.

Der als "entartet" beschlagnahmte und seither verschollene Turm der blauen Pferde Franz Marcs, Emil Noldes "Un­gemalte Bilder" aus der Zeit seines Berufsverbots oder Ernst Barlachs entfernte, z. T. zerstörte Ehrenmale sind Werke dreier Hauptvertreter des Expressionismus, die sich als Symbole für nationalsozialistische Kunstverfol­gung in die deutsche Kulturgeschichte eingeschrieben haben. Die Kunst Barlachs, Marcs und Noldes wurde jedoch nicht nur auf das Heftigste diffamiert, sondern auch als "deutsch" gefeiert, geschützt oder rehabilitiert. Mit ihrem quellenreichen Einblick in die Museums­-, Ausstellungs-­ und Pub­likationspraxis zwischen 1933 und 1945 legt Isgard Kracht Mechanismen wie Mythen der NS-­Kunstpolitik offen und erzählt die Geschichte von Verehrung und Verfemung des Expressionismus im "Dritten Reich" neu. Elementarer Beitrag zum Verständnis nationalsozialistischer Kunstpolitik Neue Perspektiven auf die Geschichte von Verehrung und Verfemung expressionistischer Kunst im "Dritten Reich"

"Through the 1880s the very essence of representation, meaning and process in Western art were profoundly interrogated. Plausible representations of the external world were cast aside in favour of non-naturalism expressed in varying degrees, from modest distortions of reality to pure abstraction. The decades that followed, up to the outbreak of the First World War in 1914, were a complex, vibrant period of artistic questioning, searching, risk-taking and innovation. Concentrating on this period of great upheaval, this book will explore the constructive dialogue between painting and sculpture, and the influential roles played by three giants of the era, Paul Câezanne, Paul Gauguin and Vincent van Gogh, across European art as a whole. While acknowledging the centrality of Paris as a cultural capital, it will also uniquely highlight other centres of artistic ferment in Europe, from Brussels and Barcelona to Berlin and Vienna, and track the variety of routes into modernism in the early twentieth century. This fully illustrated catalogue will contain four essays, introductions to each city of ferment and biographies of the artists. Exhibition: The National Gallery, London, UK (25.03.-13.08.2023)."--

"This book was published in conjunction with the exhibition Southern/Modern, organized by The Mint Museum, Charlotte, NC ...; Georgia Museum of Art, Athens, GA, June 17-December 10, 2023, Frist Art Museum, Nashville, TN, January 25-April 21, 2024, Dixon Gallery and Gardens, Memphis, TN, July 14-September 29, 2024, The Mint Museum, Charlotte, NC, October 26, 2024-February 2, 2025"--Title page verso.

Picasso & Abstraction explores a hitherto rarely explored area and demonstrates the sheer power of an extraordinary imagination.From the outset of the 20th century, Pablo Picasso (1881-1973) ranked as one of the most influential artists in the evolution of the avant-garde and abstract art. From his earliest Cubist experimentations in 1907 with Les Demoiselles d'Avignon to his late work, which occasionally verged on gestural painting, Picasso's own relationship with abstraction remains intriguing. Through small steps forward, retractions and reversals, this relationship unfolds chronologically, thus revealing the artist's back-and-forth movement between abstraction and figuration.Testifying on how this evolution unfolded in Pablo Picasso's oeuvre, several essays also address its echo in the Russian avant-garde in the 1910s, his ceramic creations in Vallauris and the resurgence of sacred art in the aftermath of the Second World War.Through a broad selection of paintings, sculptures, drawings, and etchings - most of which were chosen from the extensive collection of the Musée national Picasso-Paris - this book invites us to step inside the artist's studio to discover his creative process.

Janáceks poetischer Zyklus "Auf verwachsenem Pfade" gehört sicher zu seinen beliebtesten Klavierwerken. Die suggestive Klangsprache zieht jeden Zuhörer in ihren Bann. Dass die Stücke eine äußerst komplexe und langwierige Entstehungsgeschichte haben - einige waren ursprünglich für das Harmonium gedacht - hört man den Werken wahrlich nicht an. In den begleitenden Worttexten macht die Henle-Urtextausgabe die komplizierte Quellenlage jedoch auf mustergültige Weise transparent. Ein Anhang zum Notentext enthält darüber hinaus diejenigen Stücke, die von Janácek nicht in den Zyklus integriert wurden bzw. unvollendet blieben. Für die Edition zeichnet mit Jirí Zahrádka der weltweit wichtigste Janácek-Forscher verantwortlich. Die Fingersätze steuert der große Pianist Lars Vogt bei. Mehr zu dieser Ausgabe im Henle-Blog.

Gustave Caillebotte was more than a painter: he collected and researched postage stamps; designed and built yachts and partook in the sport; collected paintings; cultivated and collected rare orchids; designed and tended his gardens; and engaged in local politics. Gustave Caillebotte as Worker, Collector, Painter presents the first comprehensive account of Caillebotte's manifold activities. It presents a completely new critical interpretation of Caillebotte's broad career that highlights the singular salience of 'work', and which intersects histories and theories of visual culture, ideology, and psychoanalysis. Structured in four digestible sections that explore the activities of collecting, philately, and sailing, as well as Caillebotte's relationship with literary Naturalism and the writing of Émile Zola.Where the recent art historical 'rediscovery' of Caillebotte offers multiple narratives of his identification with working men, this book goes beyond them towards excavating what his work was in its own terms. Born to an haut bourgeois milieu in which he never felt completely comfortable, and assailed by traumatic familial bereavements, Caillebotte adopted and adapted the ideologically normative category of work for his own purposes, deconstructing its ostensibly class-based parameters in order to bridge the chasm of his social alienation. The Caillebotte that emerges is thus more nuanced, complex, and fascinating than previous scholarship has suggested, offering readers a new reading of the artist's labor, art, and material practice in its broadest sense. As a result, the book stands as an important contribution to 19th-century art history, impressionist studies, and French social history.

Explores abstraction as a keyword in aesthetic modernism and in critical thinking since Marx

Ways of Life is a captivating novel penned by the talented Laura Freeman. Published by Vintage Publishing in 2023, this book offers a unique exploration of life's complexities through the lens of its characters. As a work of fiction, it delves into universal themes that resonate with readers across the globe. Freeman's insightful storytelling and compelling narrative style make this book a must-read. Don't miss out on this masterpiece from Vintage Publishing. The book is available in English.

From the time of its opening in 1827, St Patrick's has always been a hub of local community activity in the Toxteth area of Liverpool.

"An exploration and analysis of the disturbing Lustmord images - graphic representations of sexual murder - by artists such as George Grosz, Otto Dix, Rudolph Schindler, and more generally of the interelationship between art and criminality in early 20th-century Germany and Austria"--

"A history of the relationship between modern architecture and abstraction"--

This book examines the legacy of international interwar modernism as a case of cultural transfer through the travels of a central motif: the square. The square was the most emblematic and widely known form/motif of the international avant-garde in the interwar years. It originated from the Russian artist Kazimir Malevich who painted The Black Square on White Ground in 1915 and was then picked up by another Russian artist El Lissitzky and the Dutch artist Theo van Doesburg. It came to be understood as a symbol of a new internationalism and modernity and while Forgács uses it as part of her overall narrative, she focuses on it and its journey across borders to follow its significance, how it was used by the above key artists and how its meaning became modified in Western Europe. It is unusual to discuss interwar modernism and its postwar survival, but this book's chapters work together to argue that the interwar developments signified a turning point in twentieth-century art that led to much creativity and innovation. Forgács supports her theory with newly found and newly interpreted documents that prove how this exciting legacy was shaped by three major agents: Malevich, Lissitzsky and van Doesburg. She offers a wider interpretation of modernism that examines its postwar significance, reception and history up until the emergence of the New Left in 1956 and the seismic events of 1968.

"Edward Hopper & Cape Ann tells the largely ignored but significant origin story of Edward Hopper's years in and around Gloucester, Massachusetts--a period and place that imbued Hopper's paintings with a clarity and purpose that had eluded his earlier work. This volume focuses on summers Hopper spent there in the 1920s, starting in 1923, when he first embraced watercolor during outdoor painting excursions on Cape Ann and discovered one of his favorite subjects: houses and vernacular architecture. The success of Hopper's Gloucester watercolors transformed his work in all media and set the stage for his monumental career. Accompanying a major retrospective at the Cape Ann Museum, including an unprecedented loan of twenty-eight works from the Whitney Museum of American Art, this highly readable and beautifully illustrated volume reveals in great depth the lesser-known story about the influence of a young painter, Josephine Nivison, who became not only Hopper's wife but also the most trusted force underlying his artistic confidence. Here she is recast as principal producer of Hopper's distinctive style and his 'brand' visionary from the time of their courtship until his death in 1967"--

Der katalanische Maler Marià Fortuny i Marsal (1838-1874) und der aus Paris stammende Henri Regnault (1843-1871) sind wichtige Vertreter einer orientalistisch geprägten Kunst. Die transregionale Studie vergleicht zentrale Werke der Maler, analysiert die Rezeption Marokkos in der Kunst Spaniens und Frankreichs und eröffnet somit ein facettenreiches und differenziertes Bild europäischer Orientalismen in der Malerei der zweiten Hälfte des 19. Jahrhunderts. Künstlernetzwerke und wechselseitige Austauschprozesse zwischen französischen und spanischen Marokkomalern stehen im Zentrum der Betrachtung ebenso wie die in der Forschung bisher vernachlässigten Orientalismen Spaniens, das aufgrund seines kulturellen Erbes von al-Andalus im 19. Jahrhundert oftmals zum ,Orient' gezählt wurde. Rezeption Marokkos durch europäische Künstler in der Vorprotektoratszeit Erstmalige Betrachtung der bisher vernachlässigten Orientalismen Spaniens im 19. Jahrhundert

Questo volume propone una rivoluzionaria e articolata lettura iconologica del dipinto "Parhelion" o "Vädersolstavlan" conservato nella cattedrale di Stoccolma ("Storkyrkan") ed eseguito nel 1636 dal pittore di Corte Jacob Heinrich Elbfas come copia di un quadro realizzato un secolo prima su ordine del predicatore luterano Olaus Petri a corredo dei propri sermoni, e raffigurante un parelio che apparve nei cieli sopra Stoccolma il 1° aprile 1535, durante il regno di Gustav I Vasa, sovrano che abbracciò ufficialmente il luteranesimo nel 1527. Le accurate indagini di Gianna Pinotti rivelano che dietro l'antica e ammonitoria iconografia luterana del 1535 ripresa dal pittore Jacob Heinrich Elbfas si cela la configurazione astrologica del 20 aprile 1636 che aprirebbe la porta ai segreti di una proteiforme immagine contenente un sincretismo dottrinale riconducibile al pensiero del mistico, runologista e cabalista Johannes Bureus (1568-1652), bibliotecario reale e archeologo del Regno di Svezia, che nel 1636, esaminando l'antica opera ammalorata, avrebbe avuto modo di concepire il nuovo progetto iconografico elaborando una monade celeste che avrebbe fatto da ponte tra Riforma luterana ed esoterismo Gotico, in un contesto culturale dai forti interessi astrologici ed ermetici, durante la Guerra dei Trent'anni e in piena rivoluzione scientifica, quando la Svezia stava plasmando la propria identità di grande Nazione, sotto il regno di Gustav II Adolf. Astrologia, cosmologia, magia, cabala, alchimia, runologia fuse in una icona dall'indiscusso fascino che, parlando il linguaggio della Sapienza universale, assurge a nuova importanza nell'ambito della storia della Svezia moderna.

Fred Orton's teaching and writing has always combined theoretical and formal-which is to say structural-analysis with historical research and reflection. This collection of essays brings together some of his most decisive contributions to thinking about fine art practice and rethinking the theory and methods of the social history of art. In this collection Orton brilliantly moves from Paul Cezanne to Jasper Johns, from the American cultural critic Harold Rosenberg to a discussion of Marx and Engels' notion of ideology. What emerges is more than an anthology, this collection offers a vivid demonstration of the way theory can work to generate new interpretations and unsettle old ones.

Fleeing Europe in 1939 for the Australian state of Queensland, the architect Karl Langer (1903-1969) found himself positioned at the very edge of both European and Australian modernism. Confronted by tropical heat and glare, the economics of affordable housing, fiercely proud regional architectural practices, and a suspicion of the foreign, Langer moulded the European language of international modernism to the unique climatic and social conditions of tropical Australia.Published as part of the Bloomsbury Studies in Modern Architecture series, which brings to light the work of significant yet overlooked modernist architects, this book is both an examination of Langer's work and international legacy, and also a case study in tropical modernism and the trans-global dissemination of design ideas - revealing how Langer sought to reconcile his training in international modernism with a fascination for the formal and visual languages of a regional culture, context, and climate.

Cubism, widely regarded as the most influential style to emerge at the advent of modernism, had a home in New York and a leading figure in Max Weber.Max Weber studied under Matisse, associated with influential figures including Apollinaire, Picasso, and Delaunay, and is credited with bringing firsthand knowledge of the Parisian avant-garde to Alfred Stieglitz’s modernist circle in New York, inspiring a generation of artists. While his works are in important collections, they have not yet received the close study of the artist’s peers, such as Picasso, Braque, and Leger.William C. Agee, a veteran museum curator and renowned scholar of twentieth-century American art, and scholar Pamela N. Koob take up the challenge in a lavishly illustrated volume, gathering together a selection of Max Weber’s best cubist works. Close readings of Weber’s paintings open the most complete survey to date of American cubism, with entries on key cubist works by Marsden Hartley, Stuart Davis, Hans Hofmann, Charles Sheeler, Morgan Russell, Stanton Macdonald-Wright, Alice Trumbull Mason, and David Smith, among many others. Filling in a missing piece of one of the twentieth century’s most influential movements, this critical reevaluation is long overdue.