Search results for ""Hirmer""

Ernst Ludwig Kirchner spent his last years between 1917 and 1938 recovering from a mental breakdown in Davos. The overwhelming impression of the Alps moved him to create colourful, visionary landscapes and paint the daily lives of the peasants. The publication shows vividly the significance of the mountain world as inspiration for Kirchner’s late works. After the artistic caesura during the years of the First World War, Kirchner regained new creative powers in Davos. Over a period of some twenty years he achieved a radical re-invention of his art. Starting from the painting Returning Herd of Goats from 1920 in the Fondazione Gabriele e Anna Braglia and by means of selected works from the Kirchner Museum Davos, the volume traces the artistic and personal development that Kirchner underwent as a result of his experience of the Alpine landscape and its inhabitants. Exhibition: Lugano | Fondazione Gabriele e Anna Braglia Languages: English, Italian, German

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Three essays by leading scholars in the field of Japanese art explore Sesson’s unique existence and unconventional painting style, as well as how scholarly perceptions of the artist have changed over time. Fifty-three entries highlight major works by Sesson as well as those by other artists before, during, and after his time. Sesson Shukei stands out as an anomaly in the history of Japanese art. Among the vast canon of Japanese ink painting, Sesson departed from convention. Inspired by the untamed landscape of the eastern regions of Japan, Sesson led a peripatetic existence caused by a lifetime of experiencing warfare and upheaval—yet he created some of the most visually striking images in the history of Japanese ink painting. This publication explores new ways of understanding and interpreting one of Japan’s greatest painters and the world that shaped him.

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In the art of the Italian Renaissance, the subject of the Madonna with Child was chosen for pictures more frequently than any other. Raphael’s paintings are regarded as some of the most innovative compositions to this day, 500 years after his death. Their groundbreaking significance is illuminated in this volume through comparisons with other principal works of the period, including those by Botticelli and Mantegna. Raphael’s Sixtine Madonna is one of the most famous paintings in art history. The book traces how the artist arrived at this pioneering composition as well as the theological statement behind the picture and the original solutions that he found in his early Madonna paintings. Comparisons with Raphael’s contemporaries in Bologna, Florence, Mantua and Venice show clearly the preferred picture types of the era as well as Raphael’s highly individual pictorial language.

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During a period of radical change, Ruth Baumgarte (1923–2013) created an artistic oeuvre in which humankind and its fragile existence form the main area of focus. This volume introduces her as a passionate creator of drawings, a versatile applied graphic artist and an expressive painter. The turbulent events in Ruth Baumgarte’s life have left visible traces in her oeuvre. From the early 1950s she turned her attention to industrial subjects. She made a study of environmental subjects, such as Chernobyl, as well as socially relevant questions. In more than 40 journeys she explored the African continent and made use of the impressions she gained in her works. It is typical of her work that she linked the radiance of her watercolour painting with current social topics. Viola Weigel is an art historian, curator and author. Since 2019 she has been the director of the Ruth Baumgarte Art Foundation. Languages: English and German

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An unprecedented exploration of Venetian maiolica set in a vibrant context of hybridity and exchange. Introduced by migrant potters ca.1500, the medium offers a unique point of entry into Venice’s material world shaped by Mediterranean trade and local luxury production. This exhibition catalogue explores maiolica’s multifaceted connection to objects ranging from Islamic metalwork to Venetian glass. Accompanying an exhibition held at the Gardiner Museum, Toronto, Global Luxury in Renaissance Venice explores the role of maiolica within the vast range of luxury objects made in Venice and imported into the city, highlighting the place of the medium at the nexus of cross-media and cross-cultural exchanges. Thematic discussions investigate the circulation of artefacts and the migration of ornament, the potter’s workshop and artistic lineage, and maiolica’s position in the material culture of splendour that characterized elite interiors. The book addresses works made in the thriving workshops of Jacomo da Pesaro and Domenego da Venezia, and suggests a connection between the rise of villeggiatura in the mid-sixteenth century and the ascent Venice’s maiolica industry.

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TEXTURES synthesises research in history, fashion, art, and visual culture to reassess the “hair story” of peoples of African descent. A fraught topic for African-Americans and others in the Diaspora, artists, barbers, and activists address the topic of Black hair,both the historical perceptions and its ramifications for self and society today.TEXTURES explores the breadth of Black artists’ perspectives on hair vis-à-vis beauty, pride, and politics. Barbers and activists address Black hair, from historical perceptions to its challenges today. Combs, products, and implements from the collection of hair pioneer Willie Morrow are paired with masterworks from artists like David Hammons, Sonya Clark, Lorna Simpson, Mickalene Thomas, and Alison Saar. The exhibition & catalogue are inspired by Drs. Ellington and Underwood who research preferential treatment of straight hair, the social hierarchies of skin, and the power and politics of display.

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The book presents the installation artist Markus Heinsdorff’scontinuing study of the topics of space, the forces of nature and upcyclingby means of over40 works. The overview is completed by text contributions by famous authors who interpret Heinsdorff’s internationalcreative works from a variety of perspectives. Anyone wishing to understand the comprehensive work of Markus Heinsdorffwill have to embark on a voyage around the world: from the depths of the Amazonto the vast cities of India and the small villages of Africa. The projects presented here are subject to a wide range of influences which the artist approaches with imagination and engineering precision. The volume introduces an impressive oeuvre through sketchesandphotos of models and realisations which hover atthe interface between architecture and sustainable art.

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Jonathon Keats’ work as an artist and thinker is compelling for our time. Keats poses critical questions, asks us to fundamentally reconsider our assumptions, and proposes radical methods of response. In a time when the environment and human lifeways are experiencing unprecedented change, thought leaders like Keats are needed to encourage us to consider possibilities –from the absurd to the profound.Since the turn of the millennium, Keats has comprehensively extended his academic training in philosophy by prolifically presenting conceptual art projects that he refers to as “thought experiments.”These include installations and performances in museums and galleries around the globe. His motivations are to make space for exploring ideas, offering provocations, and confronting systems we generally take for granted. By prototyping alternative realities –systematically asking what if...? –these projects probe the world in which we live, exploring the potential for societal change.

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Wilhelm Leibl (1844–1900) is regarded as one of the most significant portraitists and an important representative of Realism in Europe. With large-format illustrations of 40 paintings and 60 drawings this volume accompanies the first comprehensive museum exhibition with a focus on portraits and representations of figures to be shown in Switzerland and Austria.Wilhelm Leibl explained his individual and modern figure painting with his retreat to the countryside. For Leibl the decisive factor was not that a model was attractive, but that he or she was shown in a good light. The publication highlights in insightful contributions Leibl’s position between tradition and modernity, his contribution to European Realism and his affinity for the colour black. It also discusses his relationship to Degas, his links with Hungary and his importance for the art of the twentieth and twenty-first century.

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Yoko Ono is a leading experimental and avant-garde artist. In Tokyo during the 1950s, she introduced original questions about the concept of art and the art object, breaking down the traditional boundaries between branches of art. She has since been associated with conceptual art, performance, Fluxus, and 1960s happenings. Through her performances and activism, she created a new kind of relationship with both spectators and fellow artists – including her late husband, John Lennon – by inviting them to play an active part in the creative process.Conceptually based in the spirit of the revolutionary pocketbook, this publication underscores the cornerstones of action, participation and imagination in the work of Yoko Ono. Presented in two parts, the first part will focus on her ‘instruction’ works and emphasize the role of the visitor in their completion. The second part will present the arc of collaborative projects for peace undertaken by Yoko Ono and John Lennon, among these, the Acorn Peace project, the War is Over peace campaign, and their Bed In projects that will have taken place fifty years ago as of March 2019. Ulti mately, this publication wishes to impart Yoko Ono’s massive impact on contemporary art practices, art reception, and activism through art. The urgency and spirit of her work remain a key reference for the indivisibility of art and life, as well as the importance of non-violent action to inspire political and social change.

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By around 1900 Weimar had already become an arena of Modernism. Around the cult surrounding Friedrich Nietzsche, colourful personalities like Harry Graf Kessler and Elisabeth Förster-Nietzsche took up the idea of the New Man. Henry van de Velde looked to the future as he created a functional and elegant world in design and interiors. Succinct texts describe the beginnings of Modernism some twenty years before the Bauhaus.

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Hermann Nitsch produced his first “poured” paintings around 1960. In this form of action painting, the artist is primarily concerned with the substance of the paint, which he investigates from one Painting Action to the next. This catalog illustrates the development of his painterly works from the early 1960s to the present day. The main focus of the content lies in the characteristics of the various work cycles. In addition to the first “splatter” paintings it shows floor “splatter” paintings from the Red Cycle (1995), works from the Six-Day Play (1989) or the yellow Resurrection Cycle (2002). While one colour dominates in the monochrome works, in others a real explosion of colours takes place. The paint is splattered or sprayed; it may be applied in liquid form or impasto. The artist may use a paintbrush or smear the paint with his hands. The focal point is the exploration of the state of the paint, which varies between liquid and solid.

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When the State Bauhaus opened in Weimar in 1918, the Swiss artist and art theorist Johannes Itten (1888 – 1967) was one of the first teachers to be appointed by Walter Gropius. With his preliminary course, Itten had a considerable effect on the creative training in the Bauhaus; to this day his insights into the theory of colours set standards in art education and in the field of design. Enquiring mind and lecturer, painter and art teacher – Johannes Itten was a very thoughtful artist personality which was reflected in numerous theoretical texts and artworks covering a wide range of styles. Constantly in dialogue with students and colleagues as well as in a study of other cultures and artistic ideas, Itten created works in which he examined colours, their aura, contrasts and forms. Inspired by Adolf Hölzel, his teacher at the Stuttgart Academy, Itten developed, amongst other things, the famous doctrine of colour types whose significance extends far beyond the realms of art into everyday culture. The acknowledged Itten expert Christoph Wagner introduces the artist with his complex and symbolic work and traces an arc from the revolutionary Bauhaus teacher and founder of various art schools to the art theorist of the theory of colours.

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Alfred Haberpointner (*1966 in Salzburg) is a sculptor of international repute. He became famous with his wooden sculptures, and he has subsequently expanded his work to include the use of materials like steel, lead and paper. This volume documents Haberpointner’s artistic development through all phases up to and including his large - scale works in the public space. Alfred Haberpointner’s deep - seated association with wood as a material has its roots in his biography. He grew up in the region around Salzburg and began at an early age to collect wood and to examine and shape it. After abandoning his originally naturalistic approach, in the 1990s he began to produce studies and first works series on the subjects of proportion and weight. His textural approach increasingly began to assume priority in his technique. The result was large spatial objects and wall sculptures with expressive surface structures and colours. In a major exclusive interview the artist speaks about all aspects and the background of his work.

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Havana triggers a wealth of images and projections in our mind’s eye. Beyond the clichés, the phot ographer Eva - Maria Fahrner - Tutsek focuses her gaze on everyday life in Havana. Her photographs show life in the streets and the mood of the people. As we look and read, the light and dark sides of the capital of Cuba are gradually revealed. The most recent economic recession has brought the changes which had just begun in Cuba to a standstill. The associated privations are reflected in the behaviour and the faces of the people living in Havana. Fahrner - Tutsek’s photographs show the inhabitants of the city a s they go about their business (which is often non - existent), sit on the street, perhaps play or simply wait. In a poetic approach the Cuban writer Leonardo Padura describes life in present - day Havana. The volume is enhanced by an insightful essay by the n oted photographer and photographic theorist Michael Freeman.

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John Grade’s drawings, sculptures and installations are weathered, marked, worn and disintegrated. Made of reclaimed wood or paper, the works are buried for termites to devour, sunk into a bay to collect barnacles, or hung in forest trees for birds t o eat. Grade’s work represents our changing environment. An attraction to travel and to the land shapes the work, mirroring pattern s found in nature, such as wasp nests, erosion, honeycombs, rocks, trees and the passage of time. Grade invites natural forces to erode and change the work and its material, e x ploring both control and disruption and risk and measured thought. The works beg in from an ex - perience – a reaction to place and history or a trek into the landscape, whether it is the old growth forests of the Pacific Northwest or the hills of Iceland.

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Before Projection: Video Sculpture 1974 – 1995 shines a spotlight on a body of work in the history of video art that has been largely overlooked since its inception. Exploring the connections between our current moment and t he point at which video art was transformed dramatically with the entry of large - scale, cinematic installation into the gallery space . It presents a tightly focused survey of monitor - based sculpture made since the mid - 1970s. The exhibition catalogue focuses on the period after very early experimentation in video and before video art’s full institutional arrival — coinciding with the wide availability of video projection equipment — in the gallery and museum alongside painting and sculpture. Proposing to e xamine what aesthetic claims these works might make in their own right, the exhibition aims to resituate monitor sculpture more fully into the narrative between early video and projection as well as assert its relevance for the development of sculpture ove r the course of the 1980s in general.

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In this publication the sinologist Rupprecht Mayer presents 143 Chinese reverse glass paintings from a private collection in southern Germany. Traditional motifs of happiness, scenes from plays and novels, landscapes, Chi na’s entrance into modernity, and the changing image of the Chinese woman define the central motifs. Production of reverse glass paintings began in Canton in the 18th century, of which only those that found their way to the West are known today. After th e end of exports in the middle of the 19th century this decorative art continued to enjoy popularity in China, but only very few of the many fragile paintings in Chinese households have survived the turmoil of wars and disruptions of the 19th and 20th cent uries. Reverse glass painting fell into oblivion in China, with no collections in museums and very few private collectors. This first study in the West presents the beauty of this traditional art in all of its facets.

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James Loeb (1867 – 1933), the son of a German - Jewish banker in New York, followed his artistic and art historical inclinations and used his tremendous financial wealth for the purpose of cultural and social philanthropism. This publication examines the patron’s life and work and outlines his scholarly achievements. Classical scholar, art collector, and philanthropist – James Loeb is one of the impressive personal ities of the twentieth century. Coming from a well - off family, he lived for his artistic interests and owned an outstanding collection of Greek, Etruscan, and Roman artworks, which nowadays is kept in the State Collection of Antiquities in Munich. He is th e founder of the Loeb Classical Library and provided extensive support for educational and social institutions. In this publication, renowned German and American authors for the first time take a comprehensive look at the life and work of the collector and patron who was active in Munich and Murnau.

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Assembling buildings designed by modern star architects from Tadao And - o to Peter Zumthor, this photography book is a total - work - of - art: its felicitous interplay of brilliant architectural photography, exquisite book design, and texts approaching the subje ct from the angle of the history of thought places Marcel Chassot’s imagery within European cultural history. Once it plunges into Chassot’s architectural photography, the eye feasts on a wealth of scenes from the repertoire of outstanding international c ontemporary architecture. Each of the photographs aptly captures a prototypical subject. Colouring, the arrangement of lines, lighting, as well as the photographic means are employed with such precision that viewers feel as if they are in a visual laboratory where photography interprets architecture in its particular language. In his essay the author Wolfgang Meisenheimer looks into the fundamental principles of Chassot’s photographic world view and distinguishes between three layers of thought in which the work is rooted: the Euclidian orders, echoes of the modern philosophy of the lived body, and the legacy of Cubism from the beginnings of modern painting.

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Erik Chmil’s travels and photo expeditions around the world provided the inspiration for “Solitude”, his picture series of abandoned car parks. The result is magnificent photographic works of art whose ordered aesthetic and contemplative aura enchant the viewer, as well as revealing the stories of the different locations when examined more closely. The photographer Erik Chmil (* 1968) is famous for his photos within the automobile sector, in which he presents vehicles in atmospheric locations. In his latest photographs he plays with the curious fact that his usual “model” is not on view. Chmil travelled the world in search of emotive parking areas and photographed them at the precise moment when no car was actually parked there – often a question of patience. The result is much more than simply shots of empty parking spaces under different lighting conditions: these fascinating snapshots show silence, loneliness and longing and bear witness to the secrets and history of these spaces.

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“Art is art and everything else is everything else.” With this quotation after Ad Reinhardt, Wolfgang Felten hit the nail squarely on the head: art obeys its own rules. The author and photographer have joined together in a unique illustrated book to show this without surrendering the visual to the argumentative. People who know something about art also know how irritating talking about art can often be. In this book the connoisseur Wolfgang Felten undertakes to reveal artworks as areas for experience. From a Khmer Buddha statue or an African mask to the photograph of a façade or a drawing by Alberto Giacometti – the artist’s very personal commitment is to explaining the phenomenon: how it can be that inanimate material can bring forth something that is alive, that inspires and moves, and to understand why this happens. He appeals to our willingness to see; independently, intensively and in a way that remains open for new experiences.

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The German photographer Katharina Sieverding is one of the celebrated international artists who made use of unusual pictorial invention and innovative media - based artistic praxis from an early stage in order to revive the artistic potential of photography. This volume, designed to a large extent by the artist herself, presents 42 groups of works from the years 1967 – 2017 . Sieverding became famous for the unparalleled consistency with which she h as applied her greatlyenlarged portraits in film and photographs since the 1960 s by manipulating them in a variety of ways. Since the 1970 s she has developed large - format montages on the state of the world whichwere presented to the public for the first ti me at documenta 6 in 1977 . In doing so she challenges the accelerated picture processes of the present day in a critical manner and in the light of responsibility, also towards herself. Her oeuvre is spotlighted from all angles in illustrations of herworks , details and installation photos as well as texts on the use of media, the self - portrait and analogue and digital photography

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The twins Gert & Uwe Tobias are among the most famous German artists in the field of printed graphics; their international success has taken them as far as New York and the Museum of Modern Art. To this day their inimitable signature has lost nothing of its radical approa ch. Their most recent group of works, GRISAILLE, matches up to the promises inherent in the artists’ reputation. Exuberant imagination, craftsmanlike perfection and humorous depth characterise the large - format woodcuts, luminous collages and delicately nu anced typewriter drawings of the artist duo Gert & Uwe Tobias. In their new group of works GRISAILLE, which was created exclusively for the Munich exhibition, the artists rediscovered the centuries - old technique of “grey - in - grey painting” and at the same t ime interpret it in a new manner through the medium of the woodcut. Via the twilight of a monochrome colour scheme hitherto unknown in their work, the realm of shadows in their fabulous pictorial inventions not only acquires ambiguity, but is also carried to extremes once more.

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The past decade of both economic crises in Europe and North America as well as an extraordinary museum boom in many Asian countries has led to new questions and concepts for future museum buildings. New Museums: Intentions, Expectations, Challenges investi gates this paradigm change by presenting 20 recent and future museum projects on all continents. Among the projects discussed are the Smithsonian’s National Museum of African American History and Culture in Washington D.C. by Adjaye Associates, the Guggenh eim Helsinki by Moreau Kusonoki Architects , China’s Comic and Animation Museum in Hangzhou by MVRDV, the Munchmuseet in Oslo by estudio Herreros, the Zeitz Museum of Contemporary Art Africa in Cape Town by Heatherwick Studio, the Long Museum West Bund in Shanghai by Atelier Deshaus and the extension of the Art Gallery of New South Wales in Sydney by SANAA. Critical texts by leading museum and architecture writers Suzanne MacLeod, Chris Dercon, Karen van den Berg, Wolfgang Ullrich, Kali Tzortzi and Anke Gröner shed light on the relation of new museum trends and state of the art architecture

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Pravoslav Sovak (*1926) is one of the most important graphic artists of our time. With his drawing skills and delight in technical experimentation he focuses his critical attention on society and institutions. Sometimes he lets us immerse ourselves in travel and landscape impressions. A reading book and catalogue raisonné in one, this volume traces Sovak’s multi-layered oeuvre since 1994. The artist from Bohemia is a path-blazer for Postmodernism and an unparalleled master of graphic techniques. With virtuoso skill he combines complex processes from etching to the rarely used helioogravure. With his finely balanced nuances he allows virtually every print to become an original. Sovak’s pictorial themes, from the sterility of the media society or the elemental experience of nature in the wilderness to an autobiographical collage, entrance viewers with a crystalline precision of design. Clear, almost minimalistic structures, networks and grid lines predominate, convincing the viewer with their fine obfuscation and powerful objectivity.

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Fresh from their success with "Modernism London Style", hailed by The Financial Times on 29.6.13 as 'this gorgeous photographic survey', photographer Niels Lehmann and editor Christoph Rauhut present their latest exciting project. Fragments of Metropolis documents all the remaining Expressionist buildings in Berlin, arguably the movement’s most important architectural centre. The architecture of Expressionism heralded the onset of the roaring twenties. Berlin's remaining Expressionist buildings demonstrate a great creativity of form and a skilful use of light, colour and material. In contrast to the Bauhaus architecture of the same era, they sought complexity, vertical enhancement and drama to create the modern metropolis. Fragments of Metropolis documents 120 buildings in Berlin and its environs with Niels Lehmann's new photographs, drawings, an illustrated index of every building, and maps that divide the locations into areas. In celebrating the birth of the metropolis Berlin, the book is the rediscovery an important part of the city's heritage.

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Apocalypse, the city, war, religion, the portrait, exile and existential trauma – Ludwig Meidner (1884–1966) is regarded as one of the outstanding artists of German Expressionism. With the accuracy of a seismograph he recorded in his pictorial and literary works the shocks which reverberated through his time. To mark the 50th anniversary of the death of the Jewish artist Ludwig Meidner attention has been focused on the works produced during his period of exile in London between 1939 and 1953 – sketchbooks, watercolours and charcoal and chalk drawings produced under the most difficult conditions. They represent an intense mixture of internal experience and contemporary commentary. With merciless directness and symbolic condensation the works tell of terror, isolation, persecution and destruction as well as a grotesquely absurd world which Meidner spotlighted in an idiosyncratic way, combining mockery with mordant humour and sarcasm with bizarre exaggeration.

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The foundation stone for the exceptional collection of Gabriele and Anna Braglia was laid by an exhibition of German Expressionism in Venice. The collection will be made accessible to the public in Lugano starting in September. Fascinated by the vivid colours and great expressive power of the paintings, the Swiss couple acquired select paintings, watercolours and drawings, in particular those by Paul Klee, Emil Nolde and the Blauer Reiter artists. These are accompanied by works of art by Lyonel Feininger and Max Pechstein. This publication is the first to provide a comprehensive overview of the approximately fifty works of art, which represent important contributions to Expressionism.

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What is the mutual relationship between TV and art? The publication introduces artistic strategies used to explore TV and its specific contents and narrative forms in video, film, painting, sculpture and performance, ranging from the sculptural object of the TV box to the manipulation of the TV image and the use of its structure of lines and pixels in works of art. Television, which is among the most important inventions of the twentieth century, has developed a unique aesthetic and new communication structures worldwide. The early 1960s, the beginning of the development of TV as the first visual mass medium, were also the beginning of an artistic exploration of TV. From artists known for their work in this field such as Nam June Paik and Vostell to current works by younger generations of artists such as Thomas Demand, Tobias Rehberger, Ulrich Polster and Melanie Gilligan, this publication focuses on the analysis, paraphrasing and parody of TV formats and their pictorial nature, amongst other things.

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The painter Jochen Plogsties, who studied at the Academy of Visual Arts Leipzig, was a master student of Neo Rauch, and he was awarded the Leipziger Volkszeitung art prize in 2011. This volume provides an overview of his paintings of the past years and introduces his most recent and previously unpublished works of art. Jochen Plogsties (* 1974) paints reproductions of existing reproductions of well‐known works of art. He works from a variety of materials including catalogue illustrations of art‐historical masterpieces, record covers and magazine covers, as well as key works of contemporary photography. His “retranslations” of reproductions of works of art into new paintings de‐familiarise the well‐known original and confound entrenched modes of looking at art. He plays with changes of size and scale and explodes the precision of the original work of art with his coarsening painting style. He simultaneously calls into question a reality shaped by various media that causes us to believe that we have already seen everything that is worth seeing.

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Heinz R. Böhme has been collecting artworks of the Lost Generation for more than twenty years. The main focus of his private collection in Salzburg is the recognition of more than eighty artists whose creative work was massively restricted under the National Socialist regime. Large-format illustrations, extensive biographies and a clearly structured list of the pictures in the collection, which currently contains over 350 works, document impressively the achievements of these artists, who were once ostracised and defamed as “degenerate”. Expanded by an interview with the collector, Heinz R. Böhme, and an art-historical and historical overview, the publication traces the fate and life’s work of an almost-forgotten generation of painters and thus permits the general public to rediscover these pioneering artistic positions. and tells a new, exciting history of the modern age Through her artworks.

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Hin Bredendieck (1904–1995) graduated from the Bauhaus and was a versatile designer and pioneering teacher of design. His outstanding oeuvre and his worldwide network testify to the international significance of his work and ideas. This lavishly illustrated, high-qualitymonograph introduces in detail the life and work of Hin Bredendieck.Hin Bredendieck’s life and work are an example of success, emigration and the international propagation of the design ideas developed at the Bauhaus. A native of Aurich in East Friesland, he was a student at the Bauhaus in Dessau from 1927 to 1930. In 1937 he emigrated to the United States, where he was appointed as a teacher at the New Bauhaus Chicago. As the founding director of the Institute for Industrial Design at the Georgia Institute of Technology in Atlanta, he became one of the most influential mediators of Bauhaus ideas in America in the post-war years.

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Hopetoun House, on the Firth of Forth near Edinburgh, is the seat of the Marquess of Linlithgow. The lavishly illustrated book presents the architecture (initially designed by Sir William Bruce in the 1690s and greatly extended by William Adam and his sons from the 1720s), sumptuously decorated rooms and art collection, as well as the landscape and gardens.This volume discusses Hopetoun both as the historic seat of a noble family and as a complex work of art. It covers its architecture, interior design and furnishing, its collection of paintings, its designed landscape and also the family who have built, inhabited and developed it since the late 17th century. The text is a joint production by eminent specialists. Appealing photographs of the interiors by Frank Dalton and of the new Walled Garden by Claire Takacs form an important part of the book. Chapters written by members of the family, Lord and Lady Hopetoun as well as Lord Alexander Hope, connect the historic place to the present and the future of the etate.

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"Cosmos" offers new approaches on the stunning art works of Eduardo Terrazas (* 1936). Four well known authors present a multidisciplinary vision on the artists ongoing series "Possibilities of a Structure". Which suggests at once a curiosity in the fabric of our universe and a profoundly human hope for an underlying rationality behind the chaos of the world. Eduardo Terrazas has explored a lifetime’s worth of questions about the nature of the universe through the microcosm of his images. He derives his visual reflections with a basic geometric structure and a technique that is inspired by the Huichol tablas from Mexican indigenous tribes. His highly colourful and playful series "Possibilities of a Structure" – of which Cosmos is a subseries – has been an ongoing project since 1974 and comprises over 650 works until today: an artistic exploration of the boundaries of the infinite.

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The World Heritage Sites listing by The United Nations Educational, Scientific and Cultural Organization (UNESCO) aims to promote awareness and preservation of tangible and intangible cultural heritage around the world, considered to have outstanding value for all humanity, irrespective of location. UNESCO has inscribed 38 such sites in India, all of which are presented in this volume, together with commentary by architects and conservationists and stunning photographs by Rohit Chawla. The cultural sites in India are a rich repository of the country’s long, layered history, bearing witness to the creativity and influence of multiple communities, crafts and religions. The sites covered in this volume range across the length and breadth of India—from the earliest periods of rock art, Buddhist caves and Hindu temples, Sultanate and Mughal forts, palaces, tombs and memorials, medieval Hindu and Islamic cities, step-wells and observatories to Portuguese churches, Victorian and Art Deco ensembles to, finally, 20th-century industrial and modern heritage sites. The natural and mixed sites include national parks of exceptional natural beauty and sites of long interaction between people and the landscape.

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Published to mark the artist’s first solo US museum show, Paulo Nazareth: Melee presents an engaging and timely look at the artist’s multifarious work. The exhibition, held at the Institute of Contemporary Art, Miami in 2019, explored how Nazareth’s work engages the complex colonial and racial histories of the Americas. An artist who works across mediums, Nazareth uses performance and sculpture to critique the colonial experience and its afterlives in Brazil and the Americas. His durational performances and installations draw from his joint African and Indigenous heritage to highlight marginalized historical legacies, progressive political figures, non-Western worldviews, and potential methods of nonexploitative living and relating. Nazareth’s work assumes a new poignancy in light of the return of repressive political forces and the racial reckoning that our historical moment demands. This beautifully produced volume offers over one hundred color illustrations in addition to newly commissioned scholarship. Paulo Nazareth: Melee is the first exhaustive catalogue of Nazareth’s work, solidifying his place as one of today’s most important global artists.

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Marianne von Werefkin was not only a talented artist but also a shrewd free thinker and hostess: at the beginning of the twentieth century famous artists including Wassily Kandinsky, Gabriele Münter, Alfred Kubin, Adolf Erbslöh, Erma Bossi, Franz Marc and August Macke assembled in Marianne von Werefkin’s salon in the Schwabing district of Munich. After a long break from painting in order to further her companion Alexej Jawlensky, Werefkin returned to her own art in 1906 and created fascinating works in a new, expressive style. Descended from a family of Russian aristocrats, the artist was an important forerunner and co-founder of the “Neue Künstlervereinigung München” (Munich New Artist’s Association), from which the “Blauer Reiter” developed. In addition to the artist’s early works from Russia and the Expressionist pictures which resulted from her sojourns in the region around Murnau, the Werefkin specialist Brigitte Salmen presents an appreciation of the artist’s later work, which is less well known and which was created in Ascona, where she lived in exile in Switzerland.

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The reconstructed Berliner Schloss in the heart of the German capital is both a monument of Baroque architecture and a vital new cultural building in the city. The art history, architecture and sculpture of the palace’s masterful façades by Andreas Schlüter are brought to life here in words and pictures. The Berliner Schloss marks the reinstatement of the point of reference for the urban plan of the historical centre of the capital: through the Baroque masterpiece by Andreas Schlüter the boulevard Unter den Linden and the historic buildings of the Lustgarten acquire once more a meaningful interconnection. Most of the authors are involved in this major project. They explain with the help of the impressive photographs by Leo Seidel the fascinating construction process, the imagery of the Baroque sandstone façade, the technology and the craftsmanship behind its reconstruction as well as the architectural concept of the building.

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Aenne Biermann is regarded as one of the important avant-garde photographers of the twentieth century. Together with Bauhaus artists like Lucia Moholy and Florence Henri she was represented in the pioneering exhibitions of the late 1920s and early 1930s. In 1930 Franz Roh, the art critic and early patron of Biermann, dedicated to her the legendary monograph designed by Jan Tschichold “Aenne Biermannˑ60 Fotos ”which is now being published again as a reprint with commentary. As early as 1928, Franz Roh referred to the “remarkable” photo artist Aenne Biermann (1898–1933), who attracted the attention of experts with her close-up pictures of plants. In the following years the photographer, an autodidact, became an important artist of photographic modernism. Her works created a haunting and aesthetically fascinating pictorial world with close-up views, extreme detail shots and lighting contrasts. She mostly found her motifs in her immediate vicinity: in addition to numerous still lifes with everyday objects and nature photos, she also repeatedly photographed her children, their object world and their activities. Many originals were lost during the Second World War, including the 60 photos in this publication. The authorised reprint of this volume is a tribute to a great artist of the modern age.

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Hans Hofmann, a representative of Abstract Expressionism and American Modernism during the 20th century with European roots, had a fundamental influence as a teacher on the development of modern art in America. His brightly coloured paintings, watercolours and drawings can now be discovered in a European retrospective. From 1904 until 1914, the painter Hans Hofmann (1880 – 1966), who was a friend of Picasso, Braque, Matisse, the Fauves and Robert and Sonia Delaunay, witnessed and absorbed the new art in Paris, the centre of European art. In his art school, founded in Munich in 1915, he became a mediator of French modernism and achieved international fame as an art teacher. In 1932 he emigrated to the United States and two years later opened the Han s Hofmann School of Fine Arts in New York. He influenced a new generation of American artists, including Jackson Pollock, Helen Frankenthaler and Barnett Newman.

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Our cities are atrophying: What was once an open system inhabitable by all and that was about freedom and self-determination is becoming a zone in which architecture focuses only on comfort and security: a walk-in investment portfolio of luxury properties, offices and token patches of green. The masses, meanwhile, continue to live in the endless housing developments of the suburbs. Accommodation is characterised by a mania for barricades and comfort. The construction industry is booming – and builds the same houses over and over again. But do those buildings have anything to do with the way in which most people want to live today, considering dramatic demographic, technological and social change? Where does the dream of the detached house come from? Which ideal form of living are we taught by children’s books, lifestyle magazines and DIY shops? Who benefits from us living the way we live? Niklas Maak shows how the interests of the construction industry, overextended policies mired in regulations and the habits of planners prevent us from rethinking construction, living arrangements and the city. This humorous, controversial and very well researched book is a precise economic analysis of the architectural world, a brilliant cultural history of living arrangements and a political manifesto for a new kind of architecture.

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When Paula Modersohn-Becker’s artistfriends examined her extensive estate afew weeks after her death, they were overwhelmed.They only gradually realised thatin the painter, who had died so young, theyhad had an outstanding artist in their midst.Modersohn-Becker was largely unrecognisedduring her lifetime but is regarded today asone of the pioneers of Expressionism.The sculptor Bernhard Hoetger was one of the few who recognised hertalent from an early stage. Hoetger’s memories of Paula Modersohn werepublished in 1920 as an authentic contemporary document in the seriesJunge Kunst. They are reprinted as a facsimile in this revised and extendededition. The volume is a bibliophilic highlight with an essay explaining theartist’s life and work from a present-day perspective, together with herbiography and some 40 illustrations of her most important works.

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His paintbrush set everything in motion: the landscape of Provence, the colourful still lifes, his portraits and the picturesque coast of southern France. More than any other artist, Paul Cézanne, the “Father of Modernism”, captured the light and the play of colours of the South in his pictures and lent them through his new pictorial language a liveliness and dynamism which continue to fascinate viewers to this day. Paul Cézanne (1839 – 1906) painted the Montagne Sainte-Victoire, a rocky massif near his birthplace Aix-en-Provence, some 80 times. The artist translated the interplay of sunlight and shadow on the constantly changing stone into pictures on the threshold of abstraction. Today they are seen as icons of art history and they underline Cézanne’s reputation as one of the most important pioneers of Classical Modernism. Countless artists, including Matisse, Derain, Picasso, Braque and Léger found inspiration in Cézanne’s ideas on colour modulation and pictorial composition. In this publication the author Christoph Wagner positions Cézanne as an artistic genius who opened up for future generations a completely new view of the world through his paintings and watercolours.

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In 1926 22 year - old Dutchman Willem de Kooning (1904 – 1997) travelled to the USA on a British freighter – without papers and hidden in the machine room. The young art student eked out a living by painting houses, signs and façades, before he was able aft er eight years to dedicate himself entirely to painting. In the United States he established contacts with the art scene and forged friendships with artists such as Arshile Gorky, Franz Kline, Clifford Still, Jackson Pollock, and Mark Rothko. Today De Ko oning belongs to the outstanding painters of Abstract Expressionism and together with Jackson Pollock is regarded as a pioneer of Action Painting. This publication vividly examines De Kooning’s life, marked by self - doubts, successes, new beginnings, excess es, and scandalous paintings, as well as the evolution of his artistic work. In addition, author Corinna Thierolf opens up exciting perspectives on De Kooning’s work by revealing entirely new, surprising relationships with the works of fellow artists such as Franz Marc, Piet Mondrian, or Wassily Kandinsky.

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In 1867, Monet (18401925) turned his back on tradition when he focused on the bustling life of Paris from the balcony of the Louvre. He was fascinated by the present in the growing French capital rather than the old masters. In a series of three paintings he created a new pictorial topic. The important works from Berlin, Den Haag and Oberlin come together in exhibitions and this lavishly illustrated book. Monet's cityscapes of Saint-Germain-l'Auxerrois, the Jardin de l'Infante and the Quai du Louvre are considered to be the earliest Impressionist city views. In them he casts a completely new artistic eye over the modern metropolis being rebuilt by Haussmann. By doing so he also inspired artists like Caillebotte and Pissarro to create their own cityscapes. A new subject was born which the publication reveals in all its beauty through the example of Monet's three principal works as well as others by famous Impressionist and Post-Impressionist artists. Artists include Claude Monet wit

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In a time like our own, where a young generation feels a great need to change our way of living, thinking and organizing ourselves, the publication on the artist group Brücke feels particularly relevant. These young artists also wanted to renew art and life in the German Imperial Empire and have ever since inspired younger generations of artists. In bright paintings with simplified forms and large fields of color they expressed rather their feelings than an external reality. They were interested in topics like man and nature, the naked body, portraits, self-portraits, the merging of life and art and life in the vibrant metropolis of Berlin. The catalogue discusses among others how we today perceive and can take on challenging themes like inspiration from African and Oceanian colonial cultural objects and of very young female models.

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