Search results for ""Author Josef Helfenstein""

The Kunstmuseum Basel is the largest and most significant public art collection in Switzerland - and is also listed as a heritage site of national significance. It is also one of the oldest publicly accessible art collections in the world. Housed in three venues across Basel, the museum has artworks from the 15th century to the present day, including the largest collection of works by the Holbein family. Other artists and movements are also well represented, including Rembrandt, Impressionist artists such as Monet and Renoir, as well as modernist painters such as Klee and Picasso. Kunstmuseum Basel also has an active contemporary art programme, with acquisitions by William Kentridge and Lynette Yiadom-Boakye discussed in this book. Richly illustrated with engaging commentaries and insights by the museum's director, Josef Helfenstein, Director's Choice: Kunstmuseum Basel is an excellent highlights tour of this renowned collection and an introduction to the history of western art.

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The Cubist Cosmos traces the development of Cubism between 1907 and 1917. The publication reveals the boundless innovative power of the works of Pablo Picasso and Georges Braque. It also shows how the Cubist pictorial language was received and advanced by the artists of the Parisian avant-garde – such as Fernand Léger and Sonia Delaunay – and how it evolved into colourful large-format pictures. The volume reflects not only the enormous range of this stylistic direction but also its revolutionary potential, which went on to influence the further development of twentieth-century art. In chronologically and thematically devised chapters the publication shows how the influence of folk art and archaic sculpture as well as the works of Paul Cezanne initially became increasingly evident in the paintings of Picasso and Braque. From 1908 crystalline, geometric elements as it were, appear. Until 1911 the characteristic prismatically fragmented forms and an almost colourless austerity dominated. The new pictorial language was taken up by artists like Juan Gris, Fernand Leger, Robert and Sonia Delaunay and Henri Le Fauconnier, who developed and presented it in large formats in the Salon exhibitions of the Paris art world.

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American artist Walter De Maria is associated with Minimal, conceptual, installation, and land art. He is best known for The Lightning Field, 1977, a long-term installation in western New Mexico made up of four hundred pointed stainless steel poles arranged in a grid over an area measuring one mile by one kilometer. Despite the role he has played in contemporary art over the past fifty years, few books have been dedicated to the artist. Featuring new paintings and sculptures and never before published texts, this volume explores in detail the works in the artist's first major museum exhibition in the United States: "Walter De Maria: Trilogies" at the Menil Collection.In the expansive new work the Bel Air Trilogy, 2000–11, De Maria has combined exacting geometry with the entirely unexpected element of three impeccably restored 1955 Chevrolet Bel Air two-tone hardtops. Each car is pierced by a twelve-foot-long stainless steel rod in the shape of a circle, square, or triangle that runs through the front and rear windshields. The Bel Air Trilogy is joined by De Maria's austere tripartite sculpture with moveable spheres, the Channel Series, 1972, and The Statement Series, 1968/2011. Building upon his large-scale 1968 canvas The Color Men Choose When They Attack The Earth, for The Statement Series, the artist created two additional monochrome paintings with engraved stainless steel plates that complement the original piece. The works in this volume are a testament to De Maria's ongoing investigation of the conceptual, the dramatic, the monumental, the minimal, and the real. Together these three trilogies challenge and broaden our understanding of the artist's work.Distributed for The Menil CollectionExhibition Schedule:The Menil Collection(09/16/11-01/08/12)

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As one of the founding figures of Impressionism, Camille Pissarro exerted considerable influence over the movement’s other members, such as Paul Cézanne, Claude Monet, Paul Gauguin, Edgar Degas, and Mary Cassatt. This publication focuses on Pissarro’s collaborations with these and other artists. It also celebrates the avant-garde quality of his painting, particularly in his contributions to Neo-Impressionism. Focusing on his role in the revolutionary Impressionist movement of the 1870s, the book traces Pissarro’s work in dialog with his fellow artists, particularly Cezanne and Gauguin, and also reveals his influence on works by Alfred Sisley, Georges Seurat, Paul Signac and others. In addition to pages of exquisite reproductions of works by Pissarro and his contemporaries, this volume features illuminating essays on fascinating aspects of the life and work of this prolific artist. Readers will come away with a new understanding of how Pissarro’s unique talent for collaboration and unity was vital to the development of French painting in the late 19th century.

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Visualizing Hidden Structures in Art and Society In her artistic practice, Andrea Buttner combines art history with social and ethical issues. Since the early 2000s, she has been exploring a wide range of themes such as work, poverty, shame and care in monastic forms of coexistence, but also arts and crafts as a political field. Examining the ambivalent tension between aesthetics and ethics, the internationally renowned artist uses various conceptual methods. Best known for her large-scale woodcuts, Buttner has since used a variety of media, including etching, painting, photography and video installations, glass art and textiles. For her publications and exhibitions, Buttner composes her works thematically to create site-specific installations that can be experienced as gradually unfolding narratives.

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Some 40 carefully chosen juxtapositions of masterpieces by both artists trace a dialogue that ranks among the most fascinating in art history. This publication brings Pablo Picasso's (1881-1973) encounter with the Cretan-born old master Doménikos Theotokópoulos, better known as El Greco (1541-1614), vividly to life. El Greco’s unmistakable painting style won him considerable fame in his day. Soon after his death, however, his work was largely forgotten. It was only around 1900 that an El Greco revival was launched, with Picasso serving on the front lines. His engagement with the Greek-Spanish master not only went far deeper than has previously been assumed but also lasted much longer. From his first encounter with El Greco's works shortly before 1900 until the end of his life, Picasso not only referenced but engaged in a fascinating artistic dialogue with the old master.

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At the beginning of the 20th century, a group of artists around Henri Matisse and André Derain were carrying out revolutionary colour experiments. The art critic Louis Vauxcelles gave them their name in 1905: the "Fauves". Translated into English, this means something like "beasts" or "wild animals". This catalogue is being published for the first survey exhibition on the Fauves staged in Switzerland for decades. It presents the expressive painting style and unusual colour combinations employed by Matisse, Derain and their companions in the years 1904 to 1908, situating them in the aesthetic and socio-political debates of that time. The male connotation of the term Fauves already suggests the exclusion of women artists on a conceptual level. The exhibition and catalogue challenge this traditional view and draw attention to female protagonists on the Paris art scene. Richly illustrated and supplemented by new art-historical research contributions, the publication offers an insight into the diversity of the colourful painting by the "beasts". Fauvism – the first avantgarde movement of the 20th century Brilliant colour experiments in a break with academic conventions Exhibition: Kunstmuseum Basel, New building, September 2, 2023 to January 2, 2024 Look inside https://issuu.com/deutscher_kunstverlag/docs/look_inside_matisse_derain_and_friends

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Eine Gruppe von Künstlern um Henri Matisse und André Derain führte zu Beginn des 20. Jahrhunderts revolutionäre Farbexperimente durch. Der Kunstkritiker Louis Vauxcelles gab ihnen 1905 ihren Namen: „Fauves". Ins Deutsche übersetzt bedeutet es so viel wie „Bestien" oder „wilde Tiere". Anlässlich der ersten Überblicksschau zu den Fauves seit Jahrzehnten in der Schweiz erscheint der Katalog, der die expressive Malweise und die ungewöhnlichen Farbkombinationen von Matisse, Derain und ihren Weggefährten in den Jahren 1904 bis 1908 vorstellt und sie in den ästhetischen und sozio-politischen Debatten der Zeit verortet. Der männlich konnotierte Begriff der Fauves suggeriert bereits auf begrifflicher Ebene den Ausschluss von Künstlerinnen. Ausstellung und Katalog stellen diese traditionelle Sichtweise infrage und machen auch auf Akteurinnen in der Pariser Kunstszene aufmerksam. Reich bebildert und ergänzt um neue kunsthistorische Forschungsbeiträge bietet das Buch einen Einblick in die Vielfalt der farbenreichen Malerei der „Wilden". Der Fauvismus – die erste Avantgarde-Bewegung des 20. Jahrhunderts Großartige Farbexperimente im Bruch mit akademischen Konventionen Ausstellung: Kunstmuseum Basel, Neubau, 2. September 2023 bis 21. Januar 2024 Blick ins Buch https://issuu.com/deutscher_kunstverlag/docs/blick_ins_buch_matisse_derain_und_ihre_freunde

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The first comprehensive look at Rauschenberg’s Cardboard series, a previously unexplored realm of the artist’s oeuvre Robert Rauschenberg (b. 1925) began to investigate the boundaries between painting and sculpture in the 1950s, working with a variety of found objects in his Combine paintings and freestanding Combines. Later, in his Cardboard series (1971–72), he confined himself to the use of cardboard boxes, eliminating virtually all imagery, reducing the palette to a near monochrome, and commenting in subtle ways on the materialism and disposability of modern life. This book is the first to focus exclusively on Rauschenberg’s rarely seen Cardboards, along with related works from his Made in Tampa Clay, Cardbirds, Egyptian, and Venetian series. Approximately eighty-eight Cardboards and related sculptural pieces, many from the artist’s personal collection, are reproduced in the book. Full provenance and exhibition history are provided for each work, along with a complete bibliography. In addition, distinguished scholar Yve-Alain Bois offers an insightful essay that discusses the Cardboards and situates these lesser-known but critical pieces within the context of Rauschenberg’s long and creative career.Distributed for The Menil CollectionExhibition Schedule:The Menil Collection, Houston (February 23 – May 13, 2007)

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