Search results for ""author schiele"

Like Sarah Bakewell''s How to Live and Andrea Wulf''s Magnificent Rebels, Mortal Secrets is a lively and accessible portrait of a major figure - Sigmund Freud - and the unprecedented era of creativity that shaped his ideasSome cities are like stars. When the conditions are right, they ignite, and they burn with such fierce intensity that they outshine all their rivals. From 1890 and through the early years of the 20th century, Vienna became a dazzling beacon. The city was powered by an unprecedented number of extraordinary people - artists Klimt and Schiele, thinkers such as Theodor Herzl, and fashion icons like the glamorous Empress Sisi. Conversations in coffee houses and salons spurred advances in almost every area of human endeavour: science, politics, philosophy, and the arts. The influence of early 20th century Vienna is still detectable all around us - but the place where it is at its strongest is in our heads. The way we think about

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Sharp angles, strange forms, lurid colors, and distorted perspectives are classic hallmarks of Expressionism, the twentieth century movement that prioritized emotion over objective reality. Though particularly present in Germany and Austria, the movement’s approach flourished internationally and is today hailed as one of the most influential shifts in art history. With leading groups Die Brücke (The Bridge) and Der Blaue Reiter (The Blue Rider), and key players such as Wassily Kandinsky, Egon Schiele,and Emil Nolde, the Expressionists disowned Impressionism, which they regarded as “man lowered to the position of a gramophone record of the outer world”, to depict instead a raw and visceral experience of life as it was felt, rather than seen on the surface. Their paintings brim with emotive force, conveyed in particular through intense and non-naturalistic color palettes, loose brushwork, and thick textures. Covering the group’s stylistic tendencies, influences, and most important protagonists, this introductory book explores the Expressionist panorama of moods, ideas, and emotions and their abiding quest for deep authenticity.

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In the historical period of new beginnings starting in the 1950s, the collector Rudolf Leopold (1925‒ 2010), with pioneer - like foresight and a keen sense of art, was able to do someting few others of his ilk succeeded in doing: build up a large, both aesth etically sophisticated and art historically relevant collection of international renown. The biography paints a picture of Rudolf Leopold as a fascinating collector. It is based on the personal memories of his son, Diethard Leopold, and the latter’s conve rsations with his father, relatives and contemporaries, as well as with competitors of his father. It is the lasting record of a lifelong effort to preserve what has defined a cultural period. Beginning with Schiele as core artist, his collection includes numerous major works by the likes of Klimt, Kokoschka, Gerstl, Egger - Lienz, and Kubin as well as by German Expressionists. Important furniture, arts and crafts, jewelry, and African and Japanese art complement the collection.

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Among the most celebrated works of Modigliani’s brief but brilliant career are his large-format nudes. Drenched in color and glowing with the artist’s deep appreciation of women and the female form, these works ushered in a new era of nude portraiture, while also causing an enormous scandal. This stunning exhibition catalog offers a new perspective on this aspect of Modigliani’s work by examining for the first time his portraits of emancipated women sporting coupe garçonnes haircuts and wearing loin cloths. Modigliani was one of the first chroniclers of the femme moderne, which also influenced his nude painting and the scandal they caused. Featuring lavish reproductions and astute texts by leading scholars, this volume also examines Modigliani’s cultural context in European Classicism, from Toulouse-Lautrec and Cezanne to the work of his contemporaries, including Paula Modersohn-Becker, Gustav Klimt, Egon Schiele, Jeanne Mammen and Wilhelm Lehmbruck; and traces his impact on future European Modernism and New Objectivity.

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American artist Jean-Michel Basquiat (1960–1988) quickly became one of art history’s most luminescent personalities; his friendships with Andy Warhol, Keith Haring, and Madonna, as well as his tragic death at the age of twenty-seven, are the stuff of legend. This retrospective publication traces the artist’s unique career and pinpoints his important position in art history. Basquiat’s works are marked by the kind of intensity and energy that also determined the course of his brief life. In just eight years—comparable to the career of Egon Schiele—Basquiat not only managed to create an extensive oeuvre, but also to establish new figurative and expressive elements alongside Conceptual and Minimal Art. At the age of twenty-one, he became the youngest artist ever to be invited to the documenta, while his work also anticipated that of Germany’s Junge Wilde movement and the art of the nineties. (German edition ISBN 978-3-7757-2592-7) Exhibition schedulde: Fondation Beyeler, Riehen/Basel, May 9–September 5, 2010

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Friedrich Neitzsche imagined himself belonging to a society of visionaries, thinkers, architects, poets, musicians, and artists running ahead of the mainstream. They were condemned to be misunderstood or ignored in the present, but their work would become significant in the future. To them he addressed the aphorism from which Massimo Cacciari’s book takes its name, saying “It is only after death that we will enter our life and come alive, oh, very much alive, we posthumous people!” Cacciari isolates Vienna as the European capitol of posthumous people at a crucial turning point in Western thinking, as the nineteenth century ended. There he finds Ludwig Wittgenstein, together with Peter Altenberg, Robert Walser, Lou Andreas-Salomé, Adolf Loos, Martin Buber, Egon Schiele, Karl Kraus, Gustav Klimt, and many others. Cacciari treats this extraordinarily rich concentration of activity as the hub upon which European culture wheeled into the twentieth century. He reaches directly to the intellectual content in each of the various figures he discusses.

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Taxonomies of Orientalism in art, from Piotr Uklanski Celebrated Polish-born artist Piotr Uklanski (born 1968) established himself in the mid-1990s with a diverse body of work examining the ever-changing relationship between identity, history and culture. Continuing this investigation, Uklanski’s new book, Ottomania, traces the phenomenon of Orientalist portraiture over the past 500 years. This book contains over 200 paintings, drawings, prints and photography—images of men in turbans, theatrically embellished masculine dress, richly decorated fabrics, the codification of facial hair and the romantic settings of Ottoman or Persian court life—from Rembrandt, Zurbarán, Liotard, Tiepolo, Rubens, Delacroix, Schiele, Matisse, Picasso, de Chirico, Dalí, Balthus and Leonor Fini. Uklanski orders the works roughly by theme, demonstrating how Western artists exploited key Orientalist signifiers, in dress, setting and pose, in order to portray their sitters—men, women and children—as worldly, romantic and in other ways exotic.

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Friedrich Neitzsche imagined himself belonging to a society of visionaries, thinkers, architects, poets, musicians, and artists running ahead of the mainstream. They were condemned to be misunderstood or ignored in the present, but their work would become significant in the future. To them he addressed the aphorism from which Massimo Cacciari’s book takes its name, saying “It is only after death that we will enter our life and come alive, oh, very much alive, we posthumous people!” Cacciari isolates Vienna as the European capitol of posthumous people at a crucial turning point in Western thinking, as the nineteenth century ended. There he finds Ludwig Wittgenstein, together with Peter Altenberg, Robert Walser, Lou Andreas-Salomé, Adolf Loos, Martin Buber, Egon Schiele, Karl Kraus, Gustav Klimt, and many others. Cacciari treats this extraordinarily rich concentration of activity as the hub upon which European culture wheeled into the twentieth century. He reaches directly to the intellectual content in each of the various figures he discusses.

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From the 1860s through to the early 20th century the rise of Japonisme and the Art Nouveau movement meant that few could ignore or resist the obsession with all things Japanese. Superbly crafted and often highly decorated Japanese objects – lacquer, metalwork, ceramics, enamels and other decorative items – excited, stimulated and inspired Western artists and craftsmen to produce their own works. Arts of the Meiji period (1868–1912) were displayed at international exhibitions, galleries of influential dealers and at fashionable stores in London, Paris and Vienna. This book includes many examples of the superlatively designed and executed decorative arts of the Meiji periods from the Khalili Collection, the greatest collection of Meiji period art in the world. Artists such as Van Gogh, Whistler, Monet, Manet, Klimt and Schiele were all, to varying degrees, influenced by the arts of Japan. Van Gogh said that he owed his inspiration to Japanese art, but even he was probably not aware of just how much art in Europe had already been greatly influenced by that of Japan.

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Poets and intellectuals brushed shoulders in bustling coffeehouses, young avant-gardists heralded a new era in social and sexual liberalism, waltzes resounded through the Ringstrasse, the Vienna Secession preached: “To every age its art — to every art its freedom;” and tremors warned of looming political disintegration when the Austrian capital passed into a new century. Across economics, science, art, and music, Vienna blossomed into a “laboratory of modernity,” one which nurtured some of the greatest artistic innovators—from Egon Schiele’s unflinching nude portraits to Gustav Klimt’s decadent Portrait of Adele Bloch-Bauer I, from the ornamental seams and glass floors of Otto Wagner to Ditha Moser’s calendars adorned in golden deities. Discover the zeitgeist, the scandals, and the extraordinary protagonists in this introduction to a transformative epoch. Across painting, sculpture, architecture, and design, we explore all the movers and shakers through insightful profiles and crisp double-page reproductions. Marking the centenary of the deaths of some of its brightest talents, this collection joins Vienna in its 2018 celebration of Modernism.

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The poster is a versatile marketing tool widely used from the 19th century to today for everything from political events to movies. A good poster has many layers, it goes beyond advertising and makes statements about style, history, fashion, and taste at the time. It is these layers that can turn a poster into a work of art. This book showcases 480 posters by more than 200 artists and designers and tells a comprehensive history of the poster. The book includes art nouveau, Bauhaus, pop art, and contemporary posters from preeminent artists such as Alphonse Mucha, Egon Schiele, Pablo Picasso, and Andy Warhol and from noted designers ranging from Lucian Bernhard and A.M. Cassadre to Saul Bass, Tadanori Yokoo, and Stefan Sagmeister. The book also introduces many other leading poster designers whose names are less well-known. Contemporary advertisements for Calvin Klein, United Colors of Benetton, and Coachella are also explored. By tracing the history of the poster, this book shows social developments throughout the world and illuminates how art styles have changed over time.

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A celebration of over 100 years of queer creativity, featuring 70 outstanding works of drawing, painting, photography, sculpture and installation. Over the last century, many artists have made works that challenge dominant models of gender and sexuality. The results can be sexy or serious, satirical or tender, discreetly coded or defiantly outspoken. This beautiful book illustrates the wide variety of queer art from around the world – exploring bodies and identity, love and desire, prejudice and protest through drawing, painting, photography, sculpture and installation. 70 outstanding works - from 1900 to the present – reveal how queer experiences have differed across time and place, and how art has been part of a story of changing attitudes and emerging identities. Featuring works by, among others, Egon Schiele, Duncan Grant, Claude Cahun, Hannah Hoch, Frida Kahlo, David Hockney, Glenn Ligon, Zanele Muholi, Allyson Mitchell and Tomoko Kashiki – all of whom subverted the norms of their day via bold, new forms of expression, A Queer Little History of Art is a celebration of over 100 years of queer creativity.

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Michelangelo’s nude drawings are celebrated for their depiction of the heroic figure. Emanating exceptional strength, monumentality, and vigorous emotions, his nudes became the standard bearers for centuries of figure drawing. This book examines the legacy of that ideal, through highly engaging texts and luminous reproductions of drawings, prints, and sculptures. In addition to key works by Michelangelo—including drawings for the Sistine Chapel, the unfinished fresco of the Battle of Cascina, and the tomb of Pope Julius II—readers will discover works by Raphael, Dürer, Rembrandt, Rubens, Klimt, and Schiele. Each chapter highlights a significant aspect of Michelangelo’s ideal of the human body and investigates its influence and adaptation by his contemporaries and subsequent artists. Topics such as depictions of Adam and Eve, the Crucifixion and the Pietà, and motifs from mythology such as the Labors of Hercules; how Michelangelo’s methods were taught in art schools from the 17th to the 19th century; the emergence of woman as subject; and the decline of the idealized human figure during modernism. These side-by-side comparisons provide generous insights into how artists portrayed the human body—as a model of virtue and heroism, and as a conveyor of vice and fragility. Together these texts and examples provide the perfect resource for students of the human form and of the history of western art.

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The year 1910 marks an astonishing, and largely unrecognized, juncture in Western history. In this perceptive interdisciplinary analysis, Thomas Harrison addresses the extraordinary intellectual achievement of the time. Focusing on the cultural climate of Middle Europe and paying particular attention to the life and work of Carlo Michelstaedter, he deftly portrays the reciprocal implications of different discourses - philosophy, literature, sociology, music, and painting. His beautifully balanced and deeply informed study provides a new, wider, and more ambitious definition of expressionism and shows the significance of this movement in shaping the artistic and intellectual mood of the age. "1910" probes the recurrent themes and obsessions in the work of intellectuals as diverse as Egon Schiele, Georg Trakl, Vasily Kandinsky, Georg Lukacs, Georg Simmel, Dino Campana, and Arnold Schoenberg. Together with Michelstaedter, who committed suicide in 1910 at the age of 23, these thinkers shared the essential concerns of expressionism: a sense of irresolvable conflict in human existence, the philosophical status of death, and a quest for the nature of human subjectivity. Expressionism, Harrison argues provocatively, was a last, desperate attempt by the intelligentsia to defend some of the most venerable assumptions of European culture. This ideological desperation, he claims, was more than a spiritual prelude to World War I: it was an unheeded, prophetic critique.

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The diverse contributors to this issue of Plough Quarterly focus on what it means to be a peacemaker. Peacemaking, they show, is a riskier and more ambitious undertaking than we may have imagined. Today we must wage peace where thousands of children are being murdered by militias or forced to fight as soldiers. We need peacemakers in divided cities from Paris to Baltimore, peacemakers in a culture with little tolerance for Christian witness, and peacemakers in churches riven by ideological fights and petty grudges, not to mention making peace with our spouses, and with ourselves. Hear from active peacemakers on the frontlines of these battles and explore insights on peacemaking from Thomas Merton, Dorothy Day, Badshah Khan, Jeannette Rankin, Charles Spurgeon, André Trocmé, Peace Pilgrim, Albert Schweitzer, Dietrich Bonhoeffer, and Eberhard Arnold. And as always, Plough Quarterly includes world-class art by the likes of Marc Chagall, Egon Schiele, Lisa Toth, Carl Larsson, Ben Shahn, Mikalojus Konstantinas Čiurlionis, Paul Klee, Antonello da Messina, and others. Plough Quarterly features stories, ideas, and culture for people eager to put their faith into action. Each issue brings you in-depth articles, interviews, fiction, poetry, book reviews, and art to help you put Jesus’ message into practice and find common cause with others.

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Desperately Young introduces the masterpieces left behind by some of the greatest rising stars in fine art - all of whom died before their thirtieth birthday. Precocious talent seeps from each artist's work, along with a sense of unfulfilled potential. Informative biographies detail their legacies, while their tragic deaths lead us to wonder what heights they might've reached, had their lives not been cut short. Richly illustrated, Desperately Young presents prime examples of each artist's work, demonstrating how our cultural heritage is just a little narrower for their loss. From Europe to America to Japan and the Indian Subcontinent, the mid-14-hundreds to the late 20th century, this book hails the acknowledged greats and introduces those who died before they could leave an indelible mark on history. A compendium of 109 artists who fell prey to sickness, warfare, heartbreak or bad luck, Desperately Young is the only book to provide an in-depth study of artists who died young. Contents: With works from Tommaso Masaccio, Frédéric Bazille, Thomas Girtin, Egon Schiele, Henri Regnault, Ernst Klimt, Jeanne Hébuterne, Kaita Murayama, Hermann Stenner, Maurycy Gottlieb, Fyodor Vasilyev, Marie Bashkirtseff, Richard Parkes Bonington, Luisa Anguissola, Walter Deverell, August Macke, Pauline Boty and Jean-Michel Basquiat - among many others.

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Although the Austrian poet Georg Trakl was born over a century ago, the mesmerising imagery and haunting visions of his highly sensitive and morbidly introspective poetry are as powerful today as they were when he poured forth his extraordinary and unclassifiable volume of work. A source of inspiration for artists, musicians and writers throughout the Expressionist period and beyond, Trakl's poetry – bleak, yet full of tenderness and hope, nightmarish yet eeriely beautiful – has steadfastly defied any coherent critical analysis.Will Stone's outstanding new translation, complete with contextualizing essays, promises to rekindle interest in the work of this seminal poet.GEORG TRAKL (1887-1914) was one of the most influential poets of his time. Born in Salzburg, Austria, he died at the tragically early age of 27 from an overdose of cocaine whilst being held for psychiatric observation in a military hospital in Krakow, Poland. WILL STONE is a poet and translator, whose translations of the work of Nerval, Rodenbach, Baudelarie, Verhaeren and Egon Schiele have been published in books and literary journals. He has published several pamphlet collections of poetry, and reviews by him have appeared in the TLS, Guardian and Independent on Sunday and in various literary magazines.This title is also available from Amazon as an eBook.

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The Neue Galerie New York opened in November 2001, showcasing its collection of Austrian and German art from 1890 to 1940. This publication is issued in celebration of the museum’s twentieth anniversary. The Austrian holdings encompass significant paintings by Gustav Klimt, Egon Schiele, Oskar Kokoschka, Carl Moll, and Richard Gerstl. Decorative arts made by the Vienna Werkstätte (Vienna Workshops, 1903- 32) are another area of strength, in particular the designs of Josef Hoffmann, Koloman Moser, and Dagobert Peche. The German holdings emphasize the Expressionist movement, with canvases by members of the Brücke, including Erich Heckel, Ernst Ludwig Kirchner, Max Pechstein, and Karl Schmidt- Rottluff. Artists affiliated with the Blaue Reiter (Blue Rider), such as Vasily Kandinsky, Paul Klee, August Macke, Franz Marc, and Gabriele Münter, figure prominently. The Neue Sachlichkeit (New Objectivity) movement is well represented by Max Beckmann, Otto Dix, George Grosz, and Christian Schad. Works by proponents of Dada, such as John Heartfield, Hannah Höch, and Kurt Schwitters, are a key interest. Iconic creations from the Bauhaus, including objects by Marcel Breuer, Marianne Brandt, Ludwig Mies van der Rohe, and Wilhelm Wagenfeld, as well as art by Lyonel Feininger, László Moholy-Nagy, and Oskar Schlemmer, are special highlights.

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In the Belgian artist Harold Ancart’s rich new body of work, he turns an immersive landscape of trees, mountains, and seas into a meditation on painting itself. Harold Ancart often paints subjects that naturally invite contemplation, such as the horizon, clouds, flowers, flames, and icebergs. His newest body of work captures the experience of landscape seen in motion or from a distance: trees blurred while driving past, an inky-black sea seen from a distance, an evocative Martian mountain range. Recalling René Magritte, Egon Schiele, Gustav Klimt, and Piet Mondrian, who approached this subject matter in distinct ways, Ancart blurs form and color, figure and ground, and figuration and abstraction. Reproduced here in magnificent foldouts, two multipanel canvases situate the viewer between a mountainscape and a seascape, both monumental in scale. Ancart segments the seascape with a stark horizon line, dividing sky and ocean. Like other comparable motifs within the artist's oeuvre, the vividly colored cloudy sky functions in an anthropomorphic way, alluding to the endless possibilities and personalities of organic forms. Including an interview with Bob Nickas, this catalogue offers insight into Ancart’s frank reflections on painting, writing, nature, and more. The publication also features a new essay by Laura McLean-Ferris. Taken together, the works in Harold Ancart: Traveling Light meditate on the expansive possibilities of painting.

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The endless expressive potential of the human body, from portraiture and social satire to fantasy and erotica The Expressionist Figure documents a collection amassed over more than 60 years and recently gifted to the Walker, which includes some 80 superlative works on paper that focus on the figure. Dating from 1900 to 2018, the drawings span more than a century of artistic experimentation in the US and Europe and were executed in mediums ranging from graphite, ink and crayon to pastel, gouache and collage. Among the artists represented are Milton Avery, Max Beckmann, Christo, Chuck Close, Edgar Degas, Willem de Kooning, Otto Dix, Marlene Dumas, Arshile Gorky, David Hockney, Jasper Johns, William Kentridge, Ernst Ludwig Kirchner, Paul Klee, Gustav Klimt, René Magritte, Henri Matisse, Joan Miró, Claes Oldenburg, Pablo Picasso, Sigmar Polke, Egon Schiele, Ben Shahn, Zak Smith and Andy Warhol. Published on the occasion of the first exhibition of this collection, this luxurious volume includes full-page color reproductions of each drawing along with a catalog entry detailing the history of each object. Also included are an essay by the collector on his passion for drawing, and curator Joan Rothfuss’ deeply researched short essays on 14 individual works. Both beautiful and substantive, The Expressionist Figure is a testament to the pleasure of building a collection and the rewards of sharing it.

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An engaging look at how the middle classes of fin-de-siècleVienna used innovative portraiture to define their identity During the great flourishing of modern art in fin-de-siècleVienna, artists of that city focused on images of individuals. Their portraits depict artists, patrons, families, friends, intellectual allies, and society celebrities from the upwardly mobile middle classes. Viewed as a whole, the images allow us to reconstruct the subjects’ shifting identities as the Austro-Hungarian Empire underwent dramatic political changes, from the 1867 Ausgleich (Compromise) to the end of World War I. This is viewed as a time when the avant-garde overthrew the academy, yet Facing the Modern tells a more complex story of the time through thought-provoking texts by numerous leading art historians. Their writings examine paintings by innovative artists such as Gustav Klimt, Oskar Kokoschka, and Egon Schiele alongside earlier works, blurring the conventionally-held distinctions between 19th-century and early-20th-century art, and revealing surprising continuities in the production and consumption of portraits. This compelling book features works not only by famous names but also by lesser-known female and Jewish artists, giving a more complete picture of the time.Published by National Gallery Company/Distributed by Yale University PressExhibition Schedule:The National Gallery, London(10/09/13–01/12/14)

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An instructive book that examines the practice of drawing for illustration through case studies and sketchbooks, written by one of the world’s foremost experts and teachers on the subject. This essential handbook explores the subject of drawing for illustration in-depth, with an emphasis on drawing as a skill and fundamental language that every illustrator should master. It aims to encourage students through examples and case studies, by showcasing the often-unseen world of draughtsmanship that underpins the finished graphic. From book illustration to graphic novels, caricatures to commercial design, it draws on contemporary sketchbooks, projects and historical examples to make the connection between the practice of drawing from observation and drawing from imagination. Martin Salisbury sets out by explaining the fundamentals of this exciting discipline, before outlining the basic principles of line, tone, composition and colour through inspiring examples. Different approaches to drawing including anecdotal, sequential and reportage are examined, to enable students to acquire their own personal visual language. Interviews with illustrators also provide invaluable insight into the creative process, as they outline their challenges and motivations, and what drawing personally means for them. Packed with visual inspiration, this book features detailed analysis of works by key illustrators from past and present including George Cruikshank, Egon Schiele, Ronald Searle and Sheila Robinson through to Laura Carlin, Alexis Deacon and Isabelle Arsenault, looking at the differing roles drawing plays in their particular illustrative languages and how styles have changed over time.

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A fresh look at the critical reception of Schiller's early dramas such as The Robbers and Don Carlos. The interpretation of the works of Friedrich Schiller, with Goethe one of the co-founders of German classicism, has long been a central concern of German critics. In a country known as 'the land of poets and thinkers,' the achievements of great writers have been a matter of national pride and identity. But special problems are raised by Schiller, whose dramas address political questions more directly than those of his fellow-classicist Goethe, yet tend toend in a manner that shifts the focus to a general moral or metaphysical level, leaving politically engaged readers dissatisfied. The reception of Schiller's works is thus not only a topic in the history of criticism, but forms achapter in the history of German political and national consciousness. Given this situation, Professor Pugh's study of the plays' fortunes at the hands of the various schools of German literary scholarship is useful both to literary scholars seeking orientation in the field and also to readers with a wider interest in German intellectual traditions. David V. Pugh is associate professor in the Department of German, Queen's University, Kingston, Ontario, Canada, and is the author of Dialectic of Love: Platonism in Schiller's Aesthetics.

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The intellectual history of pragmatism traditionally posits that its origins are found in the works of C. S. Peirce, William James, and John Dewey. What if that story is only partially true? Ferdinand Canning Scott Schiller, the foremost first generation British pragmatist, was one of the most vocal proponents of pragmatism in the late 1800s and early 1900s. He penned over a dozen books, authored hundreds of essays and reviews, and sought to popularize the philosophy of practicalism. Yet in the years before and after his death, both he and his critics engaged in arguments that helped to erase him from the story of pragmatism. F. C. S. Schiller and the Dawn of Pragmatism: The Rhetoric of a Philosophical Rebel, by Mark J. Porrovecchio, is the first comprehensive biography of Schiller ever undertaken. It seeks to answer questions like: Why were Schiller's own arguments used against him? Why were his interests, philosophical and otherwise, central to his erasure? Why would the pragmatism of today gain by reclaiming a neglected figure from its past? A crucial part of understanding those questions relates to the rhetorical strategies at play in the arguments Schiller made. Pragmatism today is a vital and vibrant part of interdisciplinary discussions that range from philosophy, to religion, to science, to politics. But it is intellectually incomplete and historically inaccurate. Reclaiming Schiller means asking hard questions about the functions and scope of pragmatism. Though the answers will not suit everyone, they will help to make pragmatism—past, present, and future—more honest, more engaging, and more interesting.

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Discover art that dared to be different, risked reputations and put careers in jeopardy. This is what happens when artists take tradition and rip it up. ArtQuake tells the stories of 50 pivotal works that shook the world, telling the fascinating stories behind their creation, reception and legacy. The books begin with the rebels who struck out against Victorian conformism, daring painters and sculptors like Manet and Rodin, Van Gogh and Courbet, who experimented with expressionist and realist art styles as well as controversial subjects. Moving into the fin de siècle and the 20th century, we study the truly iconic works and turbulent lives of artists like Munch and Klimt, Picasso and Egon Schiele, whose work into abstraction, surrealism and cubism shocked and scandalized, but ultimately changed the course of western art forever. Moving into the second half of the 20th Century, we see spectacular works of conceptual rebellion, absurdity and political protest, from Andy Warhol and the Pop Art movement to Marina Abramovic, whose often visceral and violent works of performance art laid bare the savagery of the patriarchy and the human condition. In the 21st century, we see how iconoclastic creators have pushed the boundaries of art even further, from Banksy to Louise Bourgeoise, from self-destructing paintings to experimental works of computerized art. Complete with beautiful reproductions of their iconic works, as well as a glossary of terms and movements at the back, meet the huge egos, uncompromising feminists, gifted recluses, spiritualists, anti-consumerists, activists and satirists who have irrevocably carved their names into the history of art around the world. In telling the history of modern and contemporary art through the works that were truly disruptive, and explaining the context in which each was created, ArtQuake demonstrates the heart of modern art, which is to constantly question and challenge expectation. This book is from the Culture Quake series, which looks into iconic moments of culture which truly created paradigm shifts in their respective fields. Also available is FilmQuake, which tells the stories of 50 key films that consciously questioned the boundaries, challenged the status quo and made shockwaves we are still feeling today.

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Eisenbahnen sind aus dem Alltag nicht mehr wegzudenken. Doch während mehrheitlich die Züge als Transportmittel im Vordergrund stehen, rückt dieses zweibändige Werk die Eisenbahnschienen in das Zentrum der Betrachtung. Deren Weiterentwicklung ist auch heute noch längst nicht abgeschlossen. Sie müssen gewaltige Lasten tragen und dabei hohe Geschwindigkeiten aushalten. Zur Ausfall- und Unfallreduzierung beschäftigen sich die Autoren mit Schienenfehlern.Dieser zweite Band führt zunächst in die Grundlagen der Bruchmechanik ein – die Basis zur Analyse rissartiger Schienenfehler. Die verschiedenen Arten der bruchmechanischen Analyse und des Sicherheitsnachweises werden behandelt. Betrachtet werden u.a. die Effektivität der zerstörungsfreien Schienenprüfung, die Sicherheitsbewertungen zur Bestimmung zulässiger Rissgrößen, die Analyse kritischer Rissgrößen, die Geschwindigkeit des Risswachstums, die Auswirkungen der Rissgeometrie, die Ermittlung der Rissgrößen mit Hilfe der Monte-Carlo-Simulation sowie die erforderliche Sicherheitsbewertung und die Gefahr von Folgebrüchen.Darüber hinaus beschäftigen sich die Autoren intensiv mit bruchmechanischen Eigenschaften, insbesondere mit der Analyse und Bewertung rissartiger Defekte in Eisenbahnschienen. Sie analysieren die Beanspruchung der Schienenwerkstoffe und leiten aus der sicherheitstechnischen Bewertung der bruchmechanischen Analyse die zulässigen Rissgrößen und die Periodizität der zerstörungsfreien Prüfung ab. Im Fokus stehen der Einfluss der Verspannungstemperatur auf das Bruch- und Risswachstumsverhalten, die Rissausbreitung an Federstellen in Weichenschienen, die Ausbreitung von Rollkontaktermüdungsrissen und die Betriebsgefährdung durch Folgebrüche.Ein besonderes Extra dieses Werkes ist der enthaltene „Katalog der Schienenfehler“.

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Kommentierung von 468 Briefen an Schiller aus der Entstehungszeit der klassischen Tragödien.

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Friedrich Schillers Lebenszeugnisse, das sind amtliche Dokumente und persönliche Hinterlassenschaften, die sich weder dem schriftstellerischen Werk noch dem persönlichen Briefwechsel zuordnen lassen, werden in diesem Band der Nationalausgabe erstmals geschlossen ediert. Das Leben "von der Wiege bis zur Bahre" begleitend, bietet dieser Band Zeugnisse aus den unterschiedlichsten Lebensphasen und -bereichen Schillers. Beginnend mit dem Marbacher Taufeintrag von 1759 und endend mit dem Eintrag im Weimarer Sterberegister 1805 werden, nach Themen geordnet, die überlieferten Dokumente seines beruflichen und privaten Werdegangs dargeboten und erläutert. Behandelt werden u. a. die Schulzeit an der Karlsschule in Stuttgart, die Lehrtätigkeit als Professor an der Universität Jena, Titelverleihungen, Ehrungen und Schillers Beteiligungen an Rechtsgeschäften. Die Vielfalt der Dokumente umfaßt die Lebensmittelrechnung ebenso wie das kaiserliche Adelsdiplom, das für und von Schiller ausgestellte Zeugnis, die Finanzkalkulation und die Abrechnung. Die bisher nur verstreut publizierten oder noch ungehoben in Archiven schlummernden Dokumente werden in diesem Band erstmals vollständig zusammengeführt. Er ergänzt damit die bisher in der Nationalausgabe edierten Schriften und Briefe Schillers und bietet umfangreiche Materialien, die das Bild von ihm bereichern und teilweise korrigieren werden.

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Die Briefe an Schiller, die hier kommentiert werden, sind in einer Zeit geschrieben worden, die im Zeichen geistiger (Kant) und politischer Umwälzungen (Französische Revolution) steht und bald durch schwere Krankheiten des Dichters überschattet wird. Wichtigster Korrespondenzpartner ist Christian Gottfried Körner.

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Band 39, Teil II bietet die Erläuterungen zu den Briefen an Schiller aus den Jahren 1801 und 1802, die im Band 39, Teil I enthalten sind. In diesen Zeitraum fallen Schillers Arbeit an der Tragödie »Die Jungfrau von Orleans« und deren Vollendung, Schillers letzte Reise nach Dresden und das letzte Wiedersehen mit seinem Freund Körner, Krankheit und Tod von Schillers Mutter, der Kauf des Hauses an der Esplanade in Weimar und der Umzug dorthin, Bau und Einweihung des Lauchstädter Theaters sowie Schillers Nobilitierung. Die insgesamt 369 Briefe von 111 Absendern spiegeln Schillers Leben im klassischen Weimar auf dem Höhepunkt seines poetischen Schaffens in vielfältigen Facetten wider und geben auch in Berichten aus Frankreich und Italien Einblick in die politischen, gesellschaftlichen und kulturellen Zustände in Europa vor zweihundert Jahren.

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Die Briefe an Schiller, die hier kommentiert werden, umfassen die Zeit von der Flucht des Dichters der »Räuber« bis zur Heirat Charlotte von Lengefelds.

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