Bøger om Modernisme

Vincent van Gogh (1853-1890) is one of the most widely recognized artists in the world. Although he only painted for 10 years, he made hundreds of vibrant paintings that fit no mold and were an artistic revolution as well as the illustration of his own life. Among his most renowned works are Irises, Starry Night, and paintings of sunflowers.The Short Biographies series from Applewood's Benna Books imprint features short, intriguing, and entertaining biographies of world-renowned figures. Each beautiful hardcover book includes an interesting retelling of a single person's life, suitable for young adults and adults alike. These little gems will become beloved souvenirs of a favorite artist or a memorable trip to a museum.

"As the nation recovered from a cataclysmic war, two titans of design profoundly influenced how Americans came to interact with the built and natural world around them through their pioneering work in architecture and landscape design. Frederick Law Olmsted is widely revered as America's first and finest parkmaker and environmentalist, the force behind Manhattan's Central Park, Brooklyn's Prospect Park, Biltmore's parkland in Asheville, dozens of parks across the country, and the preservation of Yosemite and Niagara Falls. Yet his close friend and sometime collaborator, Henry Hobson Richardson, has been almost entirely forgotten today, despite his outsized influence on American architecture--from Boston's iconic Trinity Church to Chicago's Marshall Field Wholesale Store to the Shingle Style and the wildly popular 'open plan' he conceived for family homes. Individually they created much-beloved buildings and public spaces. Together they married natural landscapes with built structures in train stations and public libraries that helped drive the shift in American life from congested cities to developing suburbs across the country. ... In chronicling their intersecting lives and work in the context of the nation's post-war renewal, Hugh Howard reveals how these two men created original all-American idioms in architecture and landscape that influence how we enjoy our public and private spaces to this day"--

Shaping the Surface explores the history of modern British architecture through the lens of surface, materiality and decoration. Picking up on a trait that art historian Nikolaus Pevsner first identified as a 'national mania for beautiful surface quality', this book makes a new contribution to architectural history and visual culture in its detailed examination of the surfaces of British architecture from the middle of the 19th century up to the turn of the 21st century. Tracing this continuing sensibility to surface all the way through to the modern era, it explores how and why surface and materiality have featured so heavily in recent architectural tradition, examining the history of British architecture through a selection of key cultural moments and movements from Romanticism and the Arts and Crafts, to Brutalism, High-Tech, Post-Modernism, Neo-Vernacular, and the New Materiality. Embedded within the narrative is the question of whether such national characters can exist in architecture at all - and indeed the extent to which it is possible to identify a British architectural consciousness in an architectural tradition characterised by its continuous importation of theories, ideas, materials and people from around the globe. Shaping the Surface provides a deep critique and meditation on the importance of surface and materiality for architects, designers, and historians everywhere - in Britain and beyond - while it also serves as a thematic introduction to modern British architectural history, with in-depth readings of the works of many key British architects, artists, and critics from Ruskin and William Morris to Alison and Peter Smithson, Eduardo Paolozzi, Richard Rogers and Caruso St John.

Los Angeles, California, shaped the nation's culture in the 20th century with the city's bungalow style of mass middle-class housing. The style made the novelty and easy climate of Los Angeles into a force for living according to new standards of health and well-being, freedom and openness, and simple artistry. The bungalow combined the cozy appeal of Arts and Crafts design with what became the basic principles of 20th-century house architecture: earth-hugging lines, visible structure, and open floor plans emphasizing warmth, intimacy, and fluidity. While the streets and neighborhoods of the bungalowtown presented a lively panorama in which each house stood out as an individual, the bungalow was also a dream that the real estate industry sold to exploit the hunger for upward mobility that brought hundreds of thousands of new residents to the city during the three decades of the popularity of the style. Some of the neighborhoods that the developers established failed, and many homes were eventually demolished or in advanced decay. Yet today, these old houses are beautiful and comfortable homes when restored.

"This book illuminates how collaborations between dancers and painters shaped Mexico's postrevolutionary cultural identity, tracing this relationship throughout nearly half a century of developments in Mexican dance from the 1920s to the 1960s"--

By the end of the 18th century, notions of "forces of nature" (Naturkräfte) were increasingly discussed across disciplinary bounds: attraction and repulsion, vital forces and electric fluids, formative drives and biological organisms were examined as forces linked to 'natural' processes. German Romantic literature, science, and philosophy - from Schelling and Novalis to Günderrode and Hölderlin - pondered interrelated notions of forces considered as dynamic and continually active in nature - forces which, in turn, also appeared to shape human actions, social structures, and cultural developments. This volume explores the points of reference for, approaches to, and afterlives of Romantic conceptions and representations of natural forces at the intersection of natural sciences and cultural imaginaries.

Notions of crisis have long charged the study of the European avant-garde and modernism, reflecting the often turbulent nature of their development. Throughout their history, the avant-garde and modernists have both confronted and instigated crises, be they economic or political, aesthetic or philosophical, collective or individual, local or global, short or perennial.¿The seventh volume in the series European Avant-Garde and Modernism Studies addresses the myriad ways in which the avant-garde and modernism have responded and related to crisis from the late nineteenth to the twenty-first century. How have Europe¿s avant-garde and modernist movements given aesthetic shape to their crisis-laden trajectory? Given the many different watershed moments the avant-garde and modernism have faced over the centuries, what common threads link the critical points of their development? Alternatively, what kinds of crises have their experimental practices and critical modes yielded?¿The volume assembles case studies reflecting upon these questions and more from across all areas of avant-garde and modernist activity, including visual art, literature, music, architecture, photography, theatre, performance, curatorial practice, fashion and design.

The Nazi Party (NSDAP) in Uruguay officially began in 1933, when Adolf Hitler was appointed Chancellor in Germany. Hitler restored the morale of the German people by arbitrarily blaming the Jewish people, Roma people, Freemasons, and Catholics, as the reason for Germany's failures after WWI. At the same time, Uruguay was going through a conservative period with dictator Gabriel Terra, who supported dictators such as Francisco Franco, Benito Mussolini, and Adolf Hitler. It was due to Terra that the infiltration of the "Fifth NAZI Column in Uruguay" was possible, and practically undetectable among Uruguayans. On the other hand, those Europeans who emigrated to Uruguay because of these totalitarian regimes, were not going to tolerate Nazism. The public was kept informed by professor Artucio, who reported the intentions of the Nazi Party to the justice department; Congressman Cardoso, who convinced the Uruguayan Parliament to investigate; and the reports of the free press, like the newspaper El País, and international newspapers, like The Chicago Tribuneor the Examiner. Deposits of Nazi Frunks in Uruguayan banks, the paramilitary Assault Troops, the German Gliders and Paratroopers, the infiltration in German school, in industry, among Engineers, in the press; and in public institutions alarmed the Allies. President Roosevelt was aware of Hitler's plan to invade Uruguay since 1935. He passed a presidential decree prohibiting the sale of arms to companies and individual associated to Nazism and Fascism in Uruguay. But what really discouraged Hitler from invading Uruguay, was the presence of two battleships, USS Quincy and the USS Wichita sent by Roosevelt to Uruguay to intimidate Hitler in 1939 and in 1940. The Nazi leaders such as Fürhmann, Holzer, Pätz, Dutine, Becker, Klein, Meissner, and Gordon concocted a plan to invade Uruguay using Nazi reserves stationed in Buenos Aires and arms hidden in Misiones, Argentina. Once the country was in the hands of the Nazis, they would have occupied key administrative positions, if they haven't done it already during the infiltration; they were going to assassinate leaders of the press, politicians, Jewish people, and Freemasons. The ultimate goal was to convert Uruguay into a German Agricultural Colony, run exclusively by Germans, where the rest of the country would have been converted to slavery. For two generations Uruguay lost the knowledge presented in this book, while plenty of resources can be found in international publications. When the war ended, some Nazi followers secretly continue receiving Nazi propaganda, awaiting the resurgence of the Fourth Reich, but most of them abandoned embarrassing Nazis ideas, and if anyone asked questions, the answer was always "ABOUT THAT WE DON'T TALK".

The work of Friedl Dicker-Brandeis (1898-1944) occupies a key position in the broader history of the Austrian avant-garde while also deepening our understanding of modernism. Her work covers an impressive range of media and genres in the visual and applied arts. Influenced by her studies at Vienna's Kunstgewerbeschule (which later became the University of Applied Arts Vienna), the Itten Private School, and the Bauhaus in Weimar, she worked as a painter, stage designer, architect, designer in Vienna and Berlin, in exile, and as a deportee. This book explores the heterogeneity of Dicker's work, reconstructs her artistic strategies and references to aesthetic and political discourses from the 1920s to the 1940s, and documents for the first time her works in the collection of the University of Applied Arts Vienna.

This is the first book on the boundary-pushing practice of the artist, dancer, and educator Suzanne Harris (1940-1979). Harris was a protagonist in key avant-garde projects of the downtown New York City artists' community in the 1970s (the Anarchitecture group, 112 Greene Street, FOOD, The Natural History of the American Dancer, Heresies); yet her own oeuvre fell into abeyance. Harris' postminimalist work broke the mold of art categories, (feminist) art practices, art spaces, and the common notion of space. By transcending sculpture and dance, she created ephemeral, site-specific installations, which she conceived as body-oriented choreographic situations. Her approach of sensory awareness led to a holistic philosophy of space, which again is paradigmatic for a materialist approach to (social) space that emerged in the arts at the time.

Im Fokus steht der bedeutende deutsch-jüdische Museumsmann und Kunstsammler Curt Glaser (1879-1943). Die Nationalsozialisten entzogen ihm 1933 die berufliche Grundlage und trieben ihn zur Emigration. Daraufhin verkaufte Glaser einen Großteil seines Kunstbesitzes. Über den Verbleib der aus der Sammlung Glaser an das Kunstmuseum Basel gelangten Werke erzielten das Kunstmuseum und die Erben Glasers im Frühjahr 2020 eine faire und gerechte Lösung.

"Published on theoccasion of the exhibition The Paradox of Stillness: Art, Object, and Performance, curated by Vincenzo de Bellis and organized by the Walker Art Center, Minneapolis."

A dual portrait of America's first great architect, Henry Hobson Richardson, and her finest landscape designer, Frederick Law Olmsted-and their immense impact on AmericaAs the nation recovered from a cataclysmic war, two titans of design profoundly influenced how Americans came to interact with the built and natural world around them through their pioneering work in architecture and landscape design.Frederick Law Olmsted is widely revered as America's first and finest parkmaker and environmentalist, the force behind Manhattan's Central Park, Brooklyn's Prospect Park, Biltmore's parkland in Asheville, dozens of parks across the country, and the preservation of Yosemite and Niagara Falls. Yet his close friend and sometime collaborator, Henry Hobson Richardson, has been almost entirely forgotten today, despite his outsized influence on American architecture-from Boston's iconic Trinity Church to Chicago's Marshall Field Wholesale Store to the Shingle Style and the wildly popular "open plan" he conceived for family homes. Individually they created much-beloved buildings and public spaces. Together they married natural landscapes with built structures in train stations and public libraries that helped drive the shift in American life from congested cities to developing suburbs across the country.The small, reserved Olmsted and the passionate, Falstaffian Richardson could not have been more different in character, but their sensibilities were closely aligned. In chronicling their intersecting lives and work in the context of the nation's post-war renewal, Hugh Howard reveals how these two men created original all-American idioms in architecture and landscape that influence how we enjoy our public and private spaces to this day.

In Light as Experience and Imagination from Medieval to Modern Times, David S. Herrstrom synthesizes and interprets the experience of light as revealed in a wide range of art and literature from medieval to modern times. The true subject of the book is making sense of the individual's relationship with light, rather than the investigation of light's essential nature, while telling the story of light ';seducing' individuals from the Middle Ages to our modern times. Consequently, it is not concerned with the ';progress' of scientific inquiries into the physical properties and behavior of light (optical science), but rather with subjective reactions as reflected in art, architecture, and literature. Instead of its evolution, this book celebrates the complexity of our relation to light's character. No individual experience of light being ';truer' than any other.

At the end of the nineteenth and beginning of the twentieth century the Art Nouveau movement introduced a vital spirit of artistic and cultural renewal to virtually every aspect of artistic production: from paintings and graphics to advertising posters, finding its most remarkable expression in architecture, interior design, and the decorative arts. Many of the interpreters of Art Nouveau - including Van de Velde, Tiffany, Klimt, Horta, Beardsley, Guimard and Mackintosh - were inspired by the sinuous, elegant, and dynamic shapes and lines of flowers, plants, and the female form, introducing these natural forms into their art.

Hildebrand Gurlitt zählte zu jenen Kunsthändlern, die sich an dem Verkauf der 1937 in deutschen Museen als "entartet" beschlagnahmten Kunstwerke beteiligten. Rund 400 Kunstwerke aus dem Kontext der Einziehung verblieben in seinem Besitz. Sie befinden sich heute als Legat Cornelius Gurlitt im Kunstmuseum Bern. Der Band basiert auf umfangreichen Forschungen zur Entstehung des Kunstbesitzes Hildebrand Gurlitts. Die Beiträge thematisieren die Positionierung des Museumsleiters und Kurators Gurlitt zur deutschen Moderne und seine Rolle als Kunsthändler während des Nationalsozialismus und in der Nachkriegszeit. Die Autor:innen analysieren Gurlitts Rolle im Kontext des Kunsthandels, der nationalsozialistischen Kunst- und Verfolgungspolitik und problematisieren die Strategien des Kunstbetriebs nach 1945. Der Katalog enthält alle Kunstwerke im Legat Cornelius Gurlitt mit belegtem Bezug zur Aktion "Entartete Kunst" sowie Reproduktionen zentraler Dokumente.

Der Band beschäftigt sich mit den wichtigsten deutschen reformerischen Initiativen im Bereich des Designs im 20. Jahrhundert. Zentraler Ausgangspunkt war dabei die Gründung des Deutschen Werkbundes 1907, der für Produktentwicklung, Ausstellung und Werbung ein neues Qualitätsbewusstsein und eine grundlegende Reform der Ausbildung in den Kunstgewerbeschulen umzusetzen suchte. Bauhaus und Hochschule für Gestaltung in Ulm brachten den neuen Typus des Designers bzw. Industriedesigners hervor. Alle drei reformerischen Prozesse waren gekennzeichnet durch das Werkstattprinzip und die enge Kooperation mit der Industrie, eine innovative Pädagogik sowie die Entwicklung neuer Wohn-, Lebens- und Kommunikationsformen. Nicht zuletzt werden im Band das Frauenstudium am Bauhaus und die Rezeption von Bauhaus und hfg thematisiert.

Presentations of offerings to the emperor-king on anniversaries of his accession became an important imperial ritual in the court of Franz Joseph I. This book explores for the first time the identity constructions of Orthodox Jewish communities in Jerusalem as expressed in their gifts to the Austro-Hungarian Kaisers at the time of dramatic events. It reveals how the beautiful gifts, their dedications, and their narratives, were perceived by gift-givers and recipients as instruments capable of acting upon various social, cultural and political processes. Lily Arad describes in a captivating manner the historical narratives of the creation and presentation of these gifts. She analyzes the iconography of these gifts as having transformative effect on the self-identification of the Jewish communities and examines their reception by the Kaisers and in the Austrian and the Palestinian Jewish press. This groundbreaking book unveils Jewish cultural and political strategies aimed to create local Eretz-Israel identities, demonstrating distinct positive communal identification which at times expressed national sentiments and at the same time preserved European identification.

This book explores a uniquely Roman type of building, the palazzina-a four- or five-story residential structure of the most meticulous design, built during the Italian economic miracle between the 1950s and '70s. A Beautiful Game focuses on the extraordinarily imaginative entrances of these buildings.Over many years, Heiner Thofern photographed palazzine during his evening wanderings throughout the north and west districts of Rome. It was the intricately conceived and constructed entrances, realized mostly through collaborations between architects and artists, that particularly caught his eye. Beautiful Games reveals the varied treasures of Thofern's photographic archive, a rich collection that allows us to examine the particular sense of play and passion for beauty that shapes this era of Italian creativity, a delight in la bella figura, and a desire to constantly reinvent the possibilities of design and architecture.

In the words of Matisse and Picasso, Paul Cézanne was the 'father of us all', his approach to color and perspective paving the way for later modernist art movements such as Cubism and Expressionism, as he moved beyond the figurative tradition and towards abstraction. This book charts Cézanne's journey as an artist, his involvement with the Impressionist movement and his importance as a leading Post-Impressionist. It explores the places where he lived and worked, his personal life and friendships, and the artistic influences that helped to shape his remarkable vision of the world. This biographical detail is set alongside a selection of his brilliant paintings, allowing you to trace the evolution of his artwork. ABOUT THE SERIES: The Great Artists series by Arcturus Publishing introduces some of the most significant artists of the past 150 years, looking at their lives, techniques and inspirations, as well as presenting a selection of their best work.

"Featuring a selection of women artists active between 1890 to 1924, this book investigates divergent responses to the dramatic historical events and structural transformations during the early twentieth century. It reveals their efforts, with greater or relative success, to negotiate the competitive market economy of the late Wilhelmine empire and the uncertainties of the early Weimar Republic. In examining these artists, Shulamith Behr uncovers the overlooked importance of women's emancipative ideals to the development of avant-garde culture. Behr explores the richness of the women's engagement with and shaping of Expressionism, the modern art movement noted for its intention to express the emotional-rather than physical-reality of the artist. Behr examines the posthumous critical reception of Paula Modersohn-Becker as a prime agent of the feminization of the movement; Kèathe Kollwitz's use of printmaking as a vehicle for technical innovation and socio-political commentary; and the dynamic relationship between Marianne Werefkin and Gabriele Mèunter, including their different national and cultural origins and paths towards Expressionism in the Blaue Reiter, a group of artists that included Wassily Kandinsky and Paul Klee. Additional chapters examine the role of Herwarth Walden's and Nell Walden's role as art dealers who promoted women Expressionists during the First World War, Mèunter's encounter with Swedish Expressionism in Scandinavia, and the recognition of Dutch-born abstractionist Jacoba van Heemskerck as an honorary German Expressionist"--

"The Eakins Press Foundation is proud to announce the publication of Magicians & Charlatans, by the art critic Jed Perl. In this collection of 26 essays, Mr. Perl writes with great urgency about the art scene of the past decade. The poet John Ashbery has said that "For years Jed Perl has been covering the art world with tremendous empathy and unsparing accuracy. His ability to recognize the traditional forms of art behind their continual transmutation has made his an almost solitary, essential voice." The essays range from highly controversial critiques of the painter Gerhard Richter, the art dealer Leo Castelli, and the Museum of Modern Art, to appreciations of the art of Bernini and Chardin, and the writings of Edmund Wilson and Meyer Schapiro." -- Publisher's description.

"Corona Edition 2020 - Tagebuch in Kunst" mit Fotografien und Texten von Anka Blank.Ein Tagebuch in Kunst als Dokumentation der Anfangszeit der Corona-Pandemie im Jahr 2020. - Mitte März bis Dezember 2020. - Eine bleibende Erinnerung an diese besondere Zeit.Fünfzehn Kunstwerke reflektieren den Zeitraum dieser Entstehungszeit. Angefangen in der persönlichen Isolationsphase ab Mitte März 2020, zeigen sie Momentaufnahmen, Erlebnisse und Ereignisse bis Dezember 2020.Visualisiert sind dabei Empfindungen in ausdrucksstarken Fotografien, ergänzt mit Texten, in deutscher und in englischer Sprache, die sich von Monat zu Monat auf dem neusten Stand, dem Zeitraum entsprechend, darstellen. - Mit Motiven aus Hamburg und Orte, die überall auf der Welt sein können - wie das Coronavirus! Mit der Intention, eine Definition für eine neue Ordnung zu finden."All das ist zu spüren: Angst, Freude und Hoffnung." "Corona Edition 2020 - Diary in art" with photographs and texts by Anka Blank.A diary in art as a documentation of the early days of the Corona pandemic in 2020. - Mid-March to December 2020. - A recollection of that special time.Fifteen works of art reflect the period of this creation time. Beginning in the personal isolation phase from mid-March 2020, they show snapshots, experiences and events until December 2020.The sensations are visualized in expressive photographs, complemented by texts, in German and in English, which are updated from month to month, according to the time period. - Motifs from Hamburg and places that can be anywhere in the world - like the coronavirus! With the intention of finding a definition for a new order."All of this can be felt: Fear, joy and hope."