Bøger om Modernisme

The origin of the phrase 'Arbeit Macht Frei' is in the name of a novel from 1873 written by German philologist and novelist Lorenz Diefenbach (1806-1883). The Weimar Republic's government and the Nazi regime adopted this phrase. The Nazis placed it on several camps' gateways as misdirection, with contempt and irony, to instill false hopes in the prisoners' minds and prevent resistance and insurrection.This book focuses on the various representations, meanings, and interpretations of the image 'Arbeit Macht Frei' in artworks. Among the artists are Holocaust survivors, second-generation descendants of Holocaust survivors, and others. They have used the inscription as a motif from a personal or general point of view to convey political statements and messages, or to present values, morals, or universal perceptions.

This transatlantic study analyses a missing chapter in the history of art collecting, the first art market bubble in the United States. In the decades following the Civil War, French art monopolized art collections across the United States. During this "Gilded Age picture rush," the commercial art system-art dealers, galleries, auction houses, exhibitions, museums, art journals, press coverage, art histories, and collection catalogues-established a strong foothold it has not relinquished to this day. In addition, a pervasive concern for improving aesthetics and providing the best contemporary art to educate the masses led to the formation not only of private art collections, but also of institutions such as the Metropolitan Museum of Art and to the publication of art histories.Richly informed by collectors' and art dealers' diaries, letters, stock books, journals, and hitherto neglected art histories, The New York Market for French Art in the Gilded Age, 1867-1893 offers a fresh perspective on this trailblazing era.

Wir ist Zukunft. Visionen neuer Gemeinschaften kreist um die Sehnsucht nach einer idealen Gemeinschaft, eines harmonischen Lebens mit der Natur und miteinander. Das Buch blickt in sechs Kapiteln auf 120 Jahre künstlerische Visionen des Zusammenlebens: Ausgehend von der Lebensreformbewegung um 1900, über die visionären Architekturentwürfe von Bruno Taut oder Wenzel Hablik zu Constants Stadtutopie New Babylon, in deren Zentrum der spielerische Mensch stehen sollte; vom Hippie-Modernismus der 1960er-Jahre, über den Afrofuturismus bis zu zeitgenössischen Positionen, die eine Symbiose aller Lebewesen in und mit der Natur anregen. Die vorgestellten Werke sind Ausdruck eines Strebens nach neuen Lebensentwürfen in Gegenwart und Zukunft. Die künstlerische Perspektive wird in der Publikation durch wissenschaftliche und persönliche Beiträge und ein Künstlerinterview erweitert. In seiner nachhaltigen Gestaltung ist der Katalog ebenfalls einem Ideal auf der Spur.

Runoelmamainen runokokoelma kutsuu ihmisen luonnon ja luonnossa kokemiseen ja mietiskelyyn. Tekstit onnistuvat olemaan eräänlainen rauhallinen tyven, jota hallitsee pikemminkin ymmärrys ja ymmärtäminen kuin etsintä. Keskiöön nousee silkka viisas läsnäolo, jossa on helppo viihtyä ja tyyntyä.

"The Art of Mary Linwood is the first book on Leicester textile artist Mary Linwood (1755-1845) and catalogue of her work. When British textile artist and gallery owner Mary Linwood died in 1845 just shy of 90 years old, her estate was worth the equivalent of ¹5,199,822 in today's currency. As someone who made, but didn't sell, embroidered replicas of famous artworks after artists such as Gainsborough, Reynolds, Stubbs, and Morland, how did she accumulate so much money? A pioneering woman in the male-dominated art world of late Georgian Britain, Linwood established her own London gallery in 1798 which featured copies of well-known paintings by these popular artists. Featuring props and specially designed rooms for her replicas, she ensured that her visitors had an entertaining, educational, and kinetic tour, similar to what Madame Tussaud would do one generation later. The gallery's focus on picturesque painters provided her London visitors with an idyllic imaginary journey through the countryside. Its emphasis on quintessentially British artists provided a unifying focus for a country that had recently emerged from the threat of Napoleonic invasion. This book brings to the fore Linwood's gallery guides and previously unpublished letters to her contemporaries, such as Birmingham inventor Matthew Boulton and Queen Charlotte. By examining Linwood's replicas and their accompanying objects through the lens of material culture, the book provides a much-needed contribution to the scholarship on women and cultural agency in the early 19th century"--

Illuminaten! Sind sie wirklich so, wie sie in den Geschichten dargestellt werdendarstellen, oder sind sie etwas ganz anderes? Lesen SieLesen Sie weiter und finden Sie es heraus!Wenn es um Geheimgesellschaften geht, die angeblich die vollständige Kontrolle über die Welt habensollten die Illuminaten ganz oben auf der Liste der Verschwörungstheoretiker stehen...Wer genau sind die Illuminaten? Was sollen sie repräsentieren? Warum das Leichentuchdes Geheimnisses?Ist es möglich, dass sie ruchlose Pläne für die Welt schmieden oder dass siedie Welt zu einem besseren Ort machen wollen - falls es sie überhaupt gibt?Der Orden der Illuminaten und andere Geheimgesellschaften waren häufig Gegenstand vonhitzige Debatten über ihre Rolle in der Geschichte der Menschheit, insbesondere während der Renaissance.Die Zahl derer, die glauben, dass die Illuminaten insgeheim die Welt kontrollierenWelt kontrollieren oder dass das Ganze ein Schwindel ist, werden immer mehr Fakten über dieIlluminaten zu Unwahrheiten und Mythen verdreht, so dass es schwierig ist, zu unterscheidenwas wahr und was falsch ist.Infolgedessen kann es schwierig sein, die Wahrheit über den Illuminatenorden herauszufinden, wenn man bedenktdass ihre Geschichte von den Machthabern oft umgeschrieben und sogar verändert wird. Außerdem sind die Illuminaten, wiewie jede andere Geheimorganisation auch, soll der Illuminatenorden im Verborgenen gehalten werden.Doch manche Dinge sollen nicht für immer verborgen bleiben... Wenn Sie auf der Suche nach derWahrheit und genaue Antworten über die Illuminaten suchen, sind Sie hier genau richtig!Dieses Buch versucht, ein genaueres Bild des Illuminatenordens zu entwerfen, das aufnachprüfbaren Beweisen, von denen ein Großteil von bestimmten Eingeweihten des Geheimbundes verfasst undEs enthält wertvolle Informationen über die Illuminaten, einschließlich der GeschichteGeschichte, Ziele, Überzeugungen und verschiedene bekannte Verschwörungstheorien im Zusammenhang mit der Gruppe.Hier ist, was dieser Illuminati-Führer für Verschwörungsliebhaber Ihnen bieten kann:Die frühen Anfänge der Illuminaten und ihr religiöser HintergrundDie drei Grade des Ordens - was verbirgt sich dahinter?Die Illuminaten und moderne Verschwörungstheorien - Einfluss auf die PopulärkulturSymbolik, Rituale und Okkultismus im IlluminatenordenDie Verbindung zwischen Illuminaten und Freimaurern erklärtDie politische Agenda der Illuminaten, ihre Strategien und Pläne für die Welt - was ist real und waswas ist erfunden?Und vieles mehr!Wenn Sie auf der Suche nach Antworten sind, die Licht ins Dunkel bringen und die Wahrheit über die "Menschendie die Welt aus dem Schatten heraus kontrollieren", dann ist dieses Buch genau das Richtige für Sie. Begeben Sie sich auf eine einzigartigeReise und entdecken Sie das wahre Gesicht der Illuminaten. Also, worauf warten Sie noch?

LIVING UR SONATA reveals the transcendent truth of Kurt Schwitters' 1920s epic of nonsense. With urgency and humor, Andrew Laties brings tales of Kurt Schwitters' dramatic life into resonance with stories of Laties' own forty years performing.

New edition of the popular introduction to Paul Gauguin, part of the Flame Tree Masterpieces of Art seriesGauguin began his artistic life as an Impressionist in Paris, but yearning for a wider world view he experimented with decorative art and bright colours to create what some have termed Symbolism. He painted briefly with Van Gogh but was strongly drawn by the “otherness” of the South Pacific to which he travelled frequently, and finally settled far away from his origins and early influences to create a unique and intensely personal body of work. The new edition of this beautiful new book revels in the scenes of Tahiti, the sunlit bodies, the shapes and styles of the South Pacific each of which have secured him a unique place in the history of art.

In Freundschaft widmete Rudolf Schwarz am 24.11.1931 in Aachen Emil Steffann sein Buch ''Wegweisung der Technik'. 'Demut der Baukunst' ist der Titel dieses Buches mit Texten und Vorträgen aus den Jahren 1979 bis 1983 über Rudolf Schwarz und Emil Steffann. Sie entstanden im Zuge der Emil Steffann Ausstellung 1980, Kunsthalle Bielefeld, und Rudolf Schwarz/Emil Steffann Ausstellung 1981, Kunstakademie Düsseldorf. Sie nehmen einen Weg hin zu einer unbefangenen Baukunst entlang des wegweisenden Schaffens von Emil Steffann und Rudolf Schwarz im letzten Jahrhundert.

Established in 1893, Bulawayo is Zimbabwe's second largest city. it takes its name from the precolonial Ndebele settlement of Kobuluwayo which was captured by the forces of Cecil John Rhodes. Profusely illustrated, this book provides a general discussion of the historical development of the town and its various communities, and then goes on to discuss the unique structural features of the inner city area of Bulawayo. Street by street the buildings and monuments, past and present, are discussed together with dates, architects, developers and owners/tenants where these are known. The book aims to provide a historical snapshot of the evolution of the cityscape of Bulawayo from its African colonial roots to post independence developments up to 2023.

"The postwar era led to a threefold population increase in Salt Lake County between 1940 and 1980 and brought with it a building boom largely concentrated in Salt Lake City. Office towers reached farther toward the sky, college campuses grew outward to accommodate the influx of students on the GI Bill, religious facilities were built for a diversifying population, and arenas and theaters were constructed for people enjoying their newly discovered leisure time. This building boom was anchored in Modernism, an architectural movement defined by rationalism and functionalism. Modernism first caught hold in large American cities then proliferated to the rest of the country in more provincial cities like Salt Lake. This book explores the lasting impression of Modernism on Salt Lake's built environment and highlights projects by both homegrown architects as well as architects from farther afield practicing in the burgeoning city."--Publisher marketing.

"Vive la Sociale": This rousing, revolutionary statement, written on a bright red banner across the top of James Ensor's Christ's Entry into Brussels in 1889, served as a visual manifesto and call to action by the Belgian artist (1860-1949), one that announced with an insistent, public voice the centrality of his art practice to the cultural discourse of modern Belgium. This provocative declaration serves as the title for this new study of Ensor's art focusing on its social discourse and the artist's interaction with and at times satirical encounter with his contemporary milieu. Rather than the alienated and traumatized Expressionist given preference in modern art history, Ensor is presented here as an artist of agency and purpose whose art practice engaged the issues and concerns of middle class Belgian life, society and politics and was informed by the values and class, race and gendered perspectives of his time. Ensor's radical vision and oppositional strategy of resistance, self-fashioning and performance remains relevant. This book with its timely, nuanced reading of the art and career of this often misunderstood "artist's artist", invites a re-evaluation not only of Ensor's social context and expressive critique but also his unique contribution to modernist art practice.

Jeanne Mammen's watercolour images of the gender-bending 'new woman' and her candid portrayals of Berlin's thriving nightlife appeared in some of the most influential magazines of the Weimar Republic and are still considered characteristic of much of the 'glitter' of that era. This book charts how, once the Nazis came into power, Mammen instead created 'degenerate' paintings and collages, translated prohibited French literature and sculpted in clay and plaster-all while hidden away in her tiny studio apartment in the heart of Berlin's fashionable west end. What was it like as a woman artist to produce modern art in Nazi Germany? Can artworks that were never exhibited in public still make valid claims to protest? Camilla Smith examines a wide range of Mammen's dissenting artworks, ranging from those created in solitude during inner emigration to her collaboration with artist cabarets after the Second World War. Smith's engaging analysis compares Mammen's popular Weimar work to her artistic activities under the radar after 1933, in order to fundamentally rethink the moral complexities of inner emigration and its visual culture. While Mammen's artistry is considered through the lens of gender politics to reveal her complex relationship with the urbanisation of her time, this book also highlights the crucial role played by a lost generation of inner émigré women artists as agents of German modernity.The examination of Mammen's life and work demonstrates the crucial role women artists played as both markers and agents of German modernity, but the double marginalisation they have nonetheless encountered as inner émigrés in recent history. It will be of interest to students of German studies, art history, literature, history, gender studies and cultural studies.

This is the story of Eugenie Fish, an American artist from the turn of the twentieth century. Eugenie grew up on a sheep ranch in Kansas in the early 1890s, and she excelled as a painter of animals.

Andrey Shabanov's seminal reinterpretation of the Peredvizhniki is a comprehensive study that examines in-depth for the first time the organizational structure, self-representation, exhibitions, and critical reception of this 19th-century artistic partnership. Shabanov advances a more pragmatic reading of the Peredvizhniki, artists seeking professional and creative freedom in authoritarian Tsarist Russia. He likewise demonstrates and challenges how and why the group eventually came to be defined as a critically-minded Realist art movement. Unprecedentedly rich in new primary visual and textual sources, the book also connects afresh the Russian and Western art worlds of the period. A must-read for anyone interested in Russian art and culture, 19th-century European art, and also the history of art exhibitions, art movements, and the art market.

Born near the Tuscan province of Lucca in 1815, Domenico Brucciani became the most important and prolific maker of plaster casts in nineteenth-century Britain. This first substantive study shows how he and his business used public exhibitions, emerging museum culture and the nationalisation of art education to monopolise the market for reproductions of classical and contemporary sculpture. Based in Covent Garden in London, Brucciani built a network of fellow Italian émigré formatori and collaborated with other makers of facsimiles-including Elkington the electrotype manufacturers, Copeland the makers of Parian ware and Benjamin Cheverton with his sculpture reducing machine-to bring sculpture into the spaces of learning and leisure for as broad a public as possible.Brucciani's plaster casts survive in collections from North America to New Zealand, but the extraordinary breadth of his practice-making death masks of the famous and infamous, producing pioneering casts of anatomical, botanical and fossil specimens and decorating dance halls and theatres across Britain-is revealed here for the first time. By making unprecedented use of the nineteenth-century periodical press and dispersed archival sources, Domenico Brucciani and the Formatori of Nineteenth-Century Britain establishes the significance of Brucciani's sculptural practice to the visual and material cultures of Victorian Britain and beyond.

This is the first comprehensive survey of the colourful ceramic tiles produced by Morris & Company. From the earliest examples made for Red House to the tiles produced in the twentieth century, all the many different designs are illustrated and discussed in detail. Richard and Hilary Myers are proud to include a previously unrecorded tile panel among the many little-known examples described in this book. Found in a Sussex church, the panel takes its place with such masterpieces as the overmantel at Queens' College, Cambridge, and the Membland panels. All Morris & Co.'s tile designs are analysed and linked to related stained-glass, textile or graphic work produced by the Firm. The authors reveal the various contributions of individual designers, including Edward Burne-Jones, D. G. Rossetti, Ford Madox Brown, Kate Faulkner and William Morris himself. Morris & Co.'s connections with the Dutch tileries, William de Morgan, Murray Marks and Barnard, Bishop & Barnard, and the roles they played in the production and distribution of the tiles, are all thoroughly examined.

Amidst the turmoil of World War II, Zurich was an enclave where modern art held its ground. In the aftermath, Concrete Art, design, and the "Swiss Style" became emblematic of a modern Switzerland. Influenced by De Stijl, Russian Constructivism, and the Bauhaus, the Zurich Concretists aimed to transform society through aesthetics, design, and architecture. Circle! Square! Progress! brings together the main protagonists Max Bill, Camille Graeser, Verena Loewensberg, and Richard Paul Lohse along with precursors such as Sophie Taeuber-Arp, Georges Vantongerloo, Theo van Doesburg, and Anton Stankowski. Contemporary witnesses, artist Peter Fischli and curator Bice Curiger, add their unique perspectives. The volume vividly describes the Zurich Concretist's conections with European avant-garde, delving into the hostilities, scandals, and their ultimately successful struggle for recognition against the backdrop of the 20th century's upheavals.

Though sometimes overlooked and underestimated, rural space has played a substantial role in social, cultural, economic, and ideological change. This role can be studied by looking at the re/production of spatial agents that were caused by direct or indirect political interventions in rural communities. In this book, scholars looking at case studies from Greece, Turkey, Italy, Portugal, and Austria discuss the making of identity in and through rural areas, which have dramatically changed under different political, social, and economic conditions from the turn of the 20th century up until today. By focusing on potential contestations of such changes, the authors provide a better in-depth understanding of spatial dynamics related to cultural and social spheres of 20th-century rurality. Includes contributions of national and international experts Deals with 20th-century rural environment and identity-making policies Findings of an international symposium of DFG Research Training Group "Cultural and Technological Significance of Historic Buildings", Brandenburg University of Technology (BTU) Cottbus-Senftenberg

Die 1773 gegründete Düsseldorfer Kunstakademie zählt zu den weltweit bedeutendsten Institutionen ihrer Art. In ihrer 250-jährigen Geschichte wurden hier viele international wichtige Künstlerinnen und Künstler ausgebildet, einige kehrten im Laufe ihrer Karriere als Professorinnen und Professoren an das Haus zurück. Der anlässlich des Jubiläums erscheinende Band gibt erstmalig einen Gesamtüberblick über die verschiedenen, von hier ausgehenden oder eng mit dem Haus verknüpften Kunstströmungen und stellt die prägenden Künstlerinnen und Künstler vor. Besondere Schwerpunkte der auf neuester Forschung aufbauenden Beiträge liegen etwa bei der Düsseldorfer Malerschule des 19. Jahrhunderts, andere setzen sich mit Joseph Beuys und seinem Wirken am Haus auseinander oder blicken auf die Becher- Schule und die Tradition des Fotografischen an der Akademie. Opulent bebilderter Band zum 250. Jubiläum der Kunstakademie Düsseldorf Kunstgeschichtlicher Überblick über die traditions- und einflussreiche Institution

En farverig, nærmest symfonisk læseroplevelse, hvor ordenes musik og farver skaber den særegne sfære, som Stig Colbjørn Nielsen er så kendt for, og som virkelig kan sende tankerne på langfart."Sommerskyer over Agersø" er en anderledes digtsamling fjernt fra tidens aktuelle trend i lyrikken. Som i New Age-musikken samles moderne erfaringer og grænsebrydende og provokerende realiteter op, så de udfolder sig med kraft og skønhed. Der er tale om en overraskende elegant neddæmpet og nærmest tilbagelænet spleen.Vi taler virkelig om lyrik på europæisk niveau, og forfatteren røber faktisk, at denne digtsamling har tråde til moderne italiensk lyrik! Bogen er rigt illustreret med billederne elegant integreret i helhedsoplevelsen som stærke, stemningsmættede billeddigte. Forfatteren har på provokerende vis også valgt at give læseren en fantasynovelle, hvor lyrik og kortprosa går op i en overraskende og forfriskende helhed - virkelig en anderledes læseoplevelse! De enkelte digte kan ofte synes kontrapunktiske; men alligevel udgør de en samlet og meget smuk helhed. Poesiens blå blomst folder sig virkelig ud for læseren.Digtsamlingen kan bedst beskrives som klassisk, moderne dansk lyrik, der frister til genlæsning efter genlæsning. Derfor er selve bogen også traditionel, den er indbundet, lækker at holde i hånden og med smuk grafisk opsætning, som understreger læseoplevelsen.Ganske mange af digtene er i øvrigt særdeles velegnet til langsom højtlæsning - prøv det!

Published on the occasion of the exhibition "Reckoning with Millet's 'Man with a hoe,'" on view at the J. Paul Getty Museum at the Getty Center, Los Angeles, from September 12 to December 10, 202

"Juan Emar, der var forud for sin tid, skrev uden tvivl for fremtidens læsere, og det er lige så arrogant, som det er spændende at antage, at fremtidens læsere er os" Alejandro Zambra"Denne forløberen for dem alle testamenterede i sit fredfyldte delirium en levende verden til os, befolket af den uvirkelighed som altid er uadskillelig fra den mest varige virkelighed"Pablo NerudaI går blev en mand guillotineret for at prædike ’kærlighedens forhjernelse’ (den erotiske fornøjelse i tanken); i zoologisk have fortærede strudsen en løve; i et atelier måtte en kunstmaler forsvare beslutningen om at dedikere sig udelukkende til nuancer af grøn; ved et urinal foretog den tissende en tidsrejse … Drag med en mand og hans hustru (og hér er tale om et af litteraturhistoriens lykkeligste ægteskaber) på odyssé gennem surreelle tableauer i byen San Agustín de Tango, en intens og bizar hvirvelvind fra dagen i går.Juan Emar er pseudonym for den chilenske forfatter, maler og kunstkritiker Álvaro Yáñez Bianchi (1893-1964). Juan Emar delte sit liv mellem Santiago og Paris; i Paris blev han knyttet til datidens surrealistiske grupper, og det var her, han antog navnet Juan Emar for dets lydlige forbindelse til den franske sætning "J'en ai marre" (jeg har fået nok/jeg er røvtræt).