The collection of Rolf Horn is one of the most important private collections of German art of classical modernism. To Rolf Horn, the direct expressiveness of a piece of art was the decisive test of his purchasing decisions. Works by Emil Nolde, Christian Rohlfs and Kathe Kollwitz, as well as sculptures created by Ernst Barlach in Guestrow, Germany are part of the collection that has been housed in the Schleswig-Holstein Gottorf Castle since 1995. As beneficence to the Gottorfer Castle, a generous selection is now for the first time available for public viewing in the Berlin Bruecke Museum. This illustrious catalog is equipped with compact monographs on individual artists and creates an intensive compendium of essays on German art in the first half of the 20th Century and arouses interest in the artifacts of distant nations. German text.

This book on Mondrian, one of the great pioneers of abstract art, analyzes the interrelation between his paintings and his theories on art and life as expressed in public writings and (largely unpublished) letters. Mondrian's art was not based on reasoning or calculation - on the contrary, intuition was central to his concept of the artistic process - but he always felt a strong urge to position his art in a wider cultural and philosophical context. Crucial to Mondrian's thought was the Theosophical notion of evolution, which required the destruction of the old to make room for the new, in life, in society and in art.
"Mondrian: The Art of Destruction" concentrates on the paintings, the artist's major achievement, examining the influences that shaped his art: Fauvism and Cubism c.1910, the work of Bart van der Leck, De Stijl and the Parisian art world during the 1920s. Mondrian appears not as an isolated figure, but as an artist who took a keen interest in the world around him, a veritable avant-garde painter who saw his role as a creator of a new, modern culture.

English Description: Christian Wilhelm Ernst Dietrich is one of the most important German painters of the 18th Century. To mark the 300th Birthday of this extraordinary artist, this monograph of his life and work is published. Dietrich s importance has been largely forgotten in the wake of the changing artistic tastes in the 19th Century. German Description: Christian Wilhelm Ernst Dietrich gehort zu den wichtigsten deutschen Malern des 18. Jahrhunderts. Anlasslich seines 300. Geburtstages stellt eine Monografie Leben und Werk dieses aussergewohnlichen Kunstlers erneut vor, dessen Bedeutung im Zuge des sich wandelnden Kunstgeschmacks im 19. Jahrhundert weitgehend in Vergessenheit geraten ist."

A pioneering artist, influential teacher and a crucial catalyst for Abstract Expressionism in New York, Hans Hofmann (1880-1966) is one of the most important abstract painters of the twentieth century. Following stints in Munich, Paris (where he befriended Picasso, Braque, Gris and Robert Delaunay), Hofmann established himself in the United States in 1932, setting up art schools in New York and Provincetown, where, over the next 40 years, his pedagogy was to significantly influence three generations of postwar American artists, among them Helen Frankenthaler, Red Grooms, Alfred Jensen, Lee Krasner, Louise Nevelson and Frank Stella. Hofmann's painting, with its loose accumulations of brushstrokes and energetic tensions of rectangles, also proved a galvanizing precedent for Pollock, de Kooning, Motherwell and Newman. This publication surveys Hofmann's life and work in all of its rich dimensionality, from his painting to his theoretical writings.

Along with Turner, no artist has sought more than Claude Monet (1840-1926) to capture light itself on canvas. Of all the Impressionists, it was the man Cezanne called "only an eye, but my God what an eye!" who stayed completely true to the principle of absolute fidelity to the visual sensation, painting directly from the object. It could be said that Monet reinvented the possibilities of color, and whether it was through his early interest in Japanese prints, his time in the dazzling light of Algeria as a conscript, or his personal acquaintance with the major painters of the late 1800s, what Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations were the late series of water lilies, painted in his own garden at Giverny, that, in their moves towards almost total formlessness, are really the origin of abstract art. This biography does full justice to this most remarkable and profoundly influential of artists, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.

Combining high-quality production with magnificent fine art, this gorgeous month-to-view year planner features on its cover a design based on Sir Edwin Landseer's iconic The Monarch of the Glen, a breathtaking artwork from the National Gallery of Scotland's collection, making it a perfect gift or special treat just for you.

Combining high-quality production with magnificent fine art, this gorgeous month-to-view year planner features on its cover a design based on L.S. Lowry's Coming from the Mill, making it a perfect gift or special treat just for you.

English Description: Joannis Avramidis is a protagonist of modern sculpture. His geometrically severe figures show, in inimitable classicism, the human being as the measure of abstract figuration. Werner Hofmann's book covers the timeless design principles of a body of work developed from the energies of the corporeal. The formal language of the Greek sculptor Joannis Avramidis, who was born in Georgia in 1922, is based on geometric constructions that allow the eternally valid to be seen as the law-governed constant in the individual. The structures that result serve no norm, however, but integrate the variety of particularities in bodily forms of a finely nuanced structure. In the proportion of the parts to the whole, and in the basic form to its offshoots, there appear clear and concentrated figures of confident monumentality. The 'rhythm of severity' is their unmistakable distinguishing feature, and something which the artist Avramidis has made entirely his own. In this rhythm are expressed corporeality and statics, sensuality and detachment, the sophistication and immutability of the classic standard. In his book, Werner exemplifies the criteria of seeing which these works require, integrating them into the genesis of their structure and shows the totality of the uvre in the variety of its themes and ideas. In the process, the approach via the drawing shows itself to be the essential precondition for the understanding of the sculpture. This richly and sensitively illustrated book allows access to works whose classically calmed strength, through museums and numerous public places, has long been anchored in the awareness of modern art. German description: Joannis Avramidis ist ein Protagonist der modernen Plastik. Seine geometrisch strengen Figuren zeigen in unnachahmlicher Klassizitat den Menschen als Mass abstrakter Figuration. Werner Hofmanns Buch erschliesst die zeitlosen Gestaltungsprinzipien eines aus den Energien des Korperhaften entwickelten Werks

In the early 1920s, a group of Dutch artists and architects influenced by some of the ideas of Dada, formed a movement called De Stijl (The Style). The Story of De Stijl presents work by Piet Mondrian, Theo van Doesburg, Gerrit Rietveld, and the other members of this influential group, as well as archival photographs of the artists. The authors - experts in this seminal abstract style that encompassed painting, sculpture, architecture, interior design, and more - explore the evolution of the movement not just through traditional art-historical analysis, but also through anecdotes, conversations, articles, and other contemporary sources. With more than 325 colour illustrations, The Story of De Stijl makes clear the lasting importance and influence of this once avant-garde movement.

When she died in 1955, Geddes was described as 'the greatest stained glass artist of our time' whose monumental directness of treatment (whatever the scale) constituted 'a revival of the mediaeval genius'. Yet a full appreciation of her powerful figurative art was limited to a relative few. Although critics praised the deeply spiritual and uncompromising skill of her craftsmanship - 'Nowhere in modern glass is there a more striking example of a courageous adventure in the medium' (her 1919 Duke of Connaught War Memorial in Ottawa), her 'power of simplifying without loss of meaning' (her great Wallsend Crucifixion window of 1922), and 'the fine sensibility and deep intelligence' of her majestic 64-light Te Deum rose window to the king of the Belgians (1934-8) - her often out-of-the-way windows need to be seen in situ. Battling with ill health, like her better-known pupil and contemporary, Evie Hone, she became a major figure in the Irish Arts and Crafts movement and 20th-century British stained glass revival, a medieval-modernist of rare intellect, skill and aesthetic integrity. This profusely illustrated contextual study of her life and work draws on hitherto unpublished primary sources to represent her unique artistic achievement during the turbulence of two world wars.

'During the Second World War, I worked in an empty building by the Thames. It had been used by the Thames Conservancy Board. When war came, they moved out and I was moved in. I stayed there for most of the war. I never went down to an air raid shelter. I was too busy trying to make people laugh about wartime bread and sausages, instead of crying about them.' - Mabel Lucie Attwell Mabel Lucie Attwell was one of Britain's best-loved artists with her work touching generations, from those who grew up with her classic characters, Bunty and the Boo-Boos, to those who have read Charles Kingsley's The Water Babies, which she famously illustrated. Her art has found its way into homes across the world through figurines, bathroom plaques and gift cards featuring her charming designs. Yet, many of her most poignant and humorous illustrations were created to cheer a world at war. She painted prolifically throughout the First and Second World Wars, with postcards featuring her child-like characters and tongue-in-cheek captions that were typical of her saucy sense of humour. Despite suffering loss and hardship herself during the wars she continued to encourage people to 'smile through the tears'. This book which brings a collection of her wartime postcards together exclusively for the first time, pays tribute to the indomitable spirit of this incredible woman and to her art that cannot fail to raise a smile today for young and old alike.

English Description: The painter Heinrich Friedrich Fueger, born in Heilbronn, the son of a clergyman, first went to Vienna in 1774, and settled there in 1783 after spending several years in Italy. In 1795 he was appointed director of the Academy, in 1806 to be head of the Imperial Picture Gallery. Rococo at the outset, his style soon developed to become Neo-classical. Fueger's portraits are outstanding. He does justice to the individuality of his sitters, and they gave him access to the aristocracy. Stylistically, his later portraits emerge into Early Realism. Rooted in his age, Fueger saw his real remit as a painter of monumental history scenes, in which he sought to get away from the models and give expression to eternally valid higher truths in the interplay of form and content. Under Fueger's leadership, the Viennese Academy flourished, achieving renown throughout Europe. But in spite of his skill, and the high regard in which he was held in his own day, he has all but disappeared from public awareness. The present overview restores his proper art-historical importance with the help of outstanding works. German description: Der bedeutende klassizistische Maler Heinrich Friedrich Fueger war seinerzeit fuer seine virtuosen Portratminiaturen beruehmt. Als Direktor der Wiener Akademie genoss er hochstes Ansehen. Die Kunsthalle Vogelmann macht sein kunstvolles Schaffen in Ausstellung wie Kuenstlermonographie erstmals wieder umfassend prasent

Aleksandr Rodchenko (1891 -1956) was one of the driving forces of the Russian avant-garde. In his works - paintings, collages, photomontages, photographs, sculptures, advertising designs and typography - he captured the dynamic social changes that took place in the years immediately following the October Revolution: the design of a new world.

Le Wiener Werkstatte ("Ateliers viennois") est un mouvement creatif moderne majeur a bien des egards. Fondee en 1903 par Josef Hoffmann, Koloman Moser et Fritz Waerndorfer, cette alliance progressiste d'artistes et de designers chercha en particulier a remettre en question la societe industrielle par l'artisanat individuel, en s'efforcant de reunir les differentes composantes de la vie en une oeuvre unifiee et elegante. L'atelier, compose au depart de trois petites pieces, s'est rapidement etendu pour occuper un immeuble de trois etages, divise en departements consacres a l'orfevrerie, a la maroquinerie et a l'ebenisterie, mais aussi a la reliure et a la peinture. Les artistes s'y livraient a des experiences avec divers materiaux comme l'or, les pierres precieuses ou le papier mache, et appliquaient leurs motifs simples, souvent geometriques, a des domaines aussi varies que la ceramique, le textile, la typographie, la decoration d'interieur, le mobilier et la mode. A travers des commandes architecturales comme le Purkersdorf Sanatorium et le Palais Stoclet de Bruxelles, le groupe a pu realiser son ideal de "Gesamtkunstwerk", une oeuvre d'art totale dans laquelle chaque detail d'un environnement est concu comme partie integrante d'un tout coordonne. Bien que l'atelier n'ait vecu qu'une trentaine d'annees, il a joui d'un important succes commercial, a travers des boutiques installees a Karlsbad, Marienbad, Zurich, New York et Berlin. Il a aussi integre les creations de nombreux grands artistes de l'epoque, comme Gustav Klimt, Oskar Kokoschka et Egon Schiele. Aujourd'hui, ce mouvement des Ateliers viennois est reconnu pour son approche exhaustive de la pratique artistique et l'influence stylistique qu'il a exerce sur l'Art deco et le Bauhaus.

Catalogue of an important exhibition of photographs by Aldo Fallai, a leading figure of our times who trusts to the camera lens his extraordinary capacity to interpret the world of fashion and draw from it images of great suggestion and artistic relevance. The book is an exciting itinerary that summarises Fallai s activity from 1975 to 2013 in a city such as Florence, which was the undisputed capital of fashion, and which even now continues to attract the international market in a significant meshing of inspired production and artistic appeal. Moreover, Fallai s own work brings together the demands of reportage with frequent references to ancient art and the different contemporary trends. Texts by Sergio Givone, Michele Gremigni, Carlo Sisi, Martina Corgnati and Luigi Salvioli."