Bøger af Alexander Eiling

Is it painting or sculpture? This literally outstanding exhibition catalog deepens our understanding of a genre-bending medium over the course of nearly two centuries. No other artistic medium transcends the boundaries of our vision quite like the relief; this very ambiguity has tempted some of the world's greatest artists to explore its possibilities. Delving into the subject of reliefs in modern art, this book presents to readers the unique opportunity to do some exploring themselves. From 1800 on, it traces the relief's fluid aesthetic, and illuminates the significance of innovation and adaptation until the 1960s. Opening with neoclassical works that echoed the reliefs of ancient Egypt, Greece and Rome, the authors examine sculptors who deliberately defied the boundaries of their medium, such as Jules Dalou, Auguste Rodin, and Medardo Rosso, juxtaposing these works with those of painter-sculptors such as Edgar Degas, Paul Gauguin, and Pablo Picasso. Readers will learn how Dadaists such as Kurt Schwitters, Hans Arp, and Sophie Taeuber- Arp transformed the techniques of collage and assemblage using found materials, and how Henry Moore, Louise Nevelson or Lee Bontecou ushered in a return to monumental, large-scale works. Filled with highest quality reproductions and photographs, this book celebrates the evolution of a means of creative expression that started as a dialectic between genres and which, over decades, has achieved the status of an artistic medium in its own right.

Like hardly any other artist, Pierre-Auguste Renoir has shaped our understanding of the atmospheric figure paintings of Impressionism. His painting After the Luncheon, which has been in the Städel Museum in Frankfurt since 1910, is now the starting point for a far-reaching examination of an important source of inspiration that accompanied him throughout his life: the Rococo. Considered frivolous and immoral after the French Revolution, this style of painting experienced a renaissance in the 19th century and was widely celebrated during Renoir's lifetime. Published on the occasion of the Städel Museum's major exhibition, this comprehensive volume explores Renoir's multifaceted connection to tradition through illuminating juxtapositions of his art with 18th-century works and contemporaries.As a trained porcelain painter, PIERRE-AUGUSTE RENOIR (1841-1919) was well acquainted with the motif world of the 18th century. His depictions of intimate domestic scenes and outdoor social gatherings are reminiscent of the pictorial language of the preceding era, such as Jean-Antoine Watteau's Fêtes galantes.

Like hardly any other artist, Pierre-Auguste Renoir has shaped our understanding of the atmospheric figure paintings of Impressionism. His painting After the Luncheon, which has been in the Städel Museum in Frankfurt since 1910, is now the starting point for a far-reaching examination of an important source of inspiration that accompanied him throughout his life: the Rococo. Considered frivolous and immoral after the French Revolution, this style of painting experienced a renaissance in the 19th century and was widely celebrated during Renoir's lifetime. Published on the occasion of the Städel Museum's major exhibition, this comprehensive volume explores Renoir's multifaceted connection to tradition through illuminating juxtapositions of his art with 18th-century works and contemporaries. As a trained porcelain painter, PIERRE-AUGUSTE RENOIR (1841-1919) was well acquainted with the motif world of the 18th century. His depictions of intimate domestic scenes and outdoor social gatherings are reminiscent of the pictorial language of the preceding era, such as Jean-Antoine Watteau's Fêtes galantes.

One of the most successful portraitists of her time

Ottilie W. Roederstein, born to German parents in Zurich in 1859, was one of the leading painters in the German-speaking world during her lifetime. She also enjoyed early recognition in Paris. As one of the few women artists of her time, she successfully dedicated her entire life to art and led an unconventional but respected existence in Germany together with her partner, the gynecologist Elisabeth H. Winterhalter. Although Roederstein's early work adhered to the conventions of the academy, the painter increasingly opened herself up to other currents in her more mature work and in the 1920s found her way to an austere, objective visual vocabulary. Despite her international reputation as a portraitist and painter of still lifes, Roederstein fell into obscurity almost immediately after her death in 1937. Now, after several decades, the Kunsthaus Zürich and the Städel Museum in Frankfurt am Main are presenting the first monographic show of her work, accompanied by this comprehensive catalogue. OTTILIE W. ROEDERSTEIN (1859-1937) had fought for her success: not only against the resistance of her parents, who did not want such a "dubious" activity for their daughter, but also against the numerous prejudices of that time. Like her friend Elisabeth H. Winterhalter, she fought for equal rights for women. She opened a teaching studio that was also for female students.

Discover the sculptures of Impressionism and how they embody the movement's ideals.