Bildliche Darstellungen des Propheten Mohammed gab es in Europa schon lange vor dem sogenannten "Karikaturenstreit". Bereits im fruhen Buchdruck erscheint Mohammed als Personifikation der abendlandischen Vorstellungen vom Islam und zugleich als eine faszinierende, schillernde Figur von gesellschaftlicher Relevanz. Anhand von Druckgraphiken in Koranubersetzungen und Biographien des Propheten aus funf Jahrhunderten beschreibt die Studie die Konstanten und Wandlungen der Mohammedbilder in ihrem jeweiligen historischen Kontext. Damit leistet das Buch einen bildwissenschaftlichen Beitrag zur Eroerterung von Alteritatskonstruktionen, zur Frage von Religionsdarstellungen in der bildenden Kunst und zur Geschichte des Islambildes in Westeuropa.

The production of this book stems from two of the editors' longstanding research interests: the representation of architecture in print media, and the complex identity of the second phase of modernism in architecture given the role it played in postwar reconstruction in Europe. While the history of postwar reconstruction has been increasingly well covered for most European countries, research investigating postwar architectural magazines and journals across Europe - their role in the discourse and production of the built environment and particularly their inter-relationship and differing conceptions of postwar architecture - is relatively undeveloped. Modernism and the Professional Architecture Journal sounds out this territory in a new collection of essays concerning the second phase of the reception and assimilation of modernism in architecture, as it was represented in professional architecture journals during the period of postwar reconstruction (1945-1968). Professional architecture journals are often seen as conduits of established facts and knowledge. The role mainstream publications play, however, in establishing 'movements', 'trends' or 'debates' tends to be undervalued. In the context of the complex undertaking of postwar reconstruction, the shortage of resources, political uncertainty and the biographical complexities of individual architects, the chapters on key European architecture journals collected here reveal how modernist architecture, and its discourse, was perceived and disseminated in different European countries.

The first publication to focus on the Art Institute's outstanding collection of American modernism, this volume includes over 175 important paintings, sculptures, decorative-art objects, and works on paper made in North America between World War II and 1955. Together they fully reflect the history of American art in these decades, including examples of early modernism, Social Realism, Surrealism, and Abstract Expressionism. Among the paintings are such iconic works as Hopper's Nighthawks and Wood's American Gothic, along with notable pieces by Davis, De Kooning, Hartley, Lawrence, Marin, O'Keeffe, Pollock, and Sheeler. Among the sculptors represented are Calder, Cornell, and Noguchi. Spectacular decorative artwork by the Eameses, Grotell, Neutra, Saarinen, F. L. Wright, and Zeisel are also featured. Reproduced in full color, each work is accompanied by an accessible and up-to-date text, complete with comparative illustrations. The introduction traces the formation of this important collection by a number of noted curators, collectors, and patrons. Distributed for the Art Institute of Chicago

The architecture of post-war Modernism poses particular challenges for building research and heritage preservation. Should its methods be adapted to the often prefabricated nature of the buildings? How should we rate these buildings, of which there are still a great many in existence, in terms of monument preservation? What challenges does modernizing them pose? Can individual components be replaced with mass-produced items without this detracting from the building's heritage-listed status? What are the risks in relation to certain materials that have since come to be classified as toxic? What strategies of knowledge distribution should be applied for buildings of post-war Modernism? At the MONUMENTO in Salzburg in 2018 and 2020, seasoned experts addressed these fundamental issues of preserving listed buildings with reference to selected projects.

The book investigates the theme of Modernism (1920-1960 and its epigones) as an integral part of tangible and intangible cultural heritage which contains the result of a whole range of disciplines whose aim is to identify, document and preserve the memory of the past and the value of the future. Including several chapters, it contains research results relating to cultural heritage, more specifically Modernism, and current digital technologies. This makes it possible to record and evaluate the changes that both undergo: the first one, from a material point of view, the second one from the research point of view, which integrates the traditional approach with an innovative one. The purpose of the publication is to show the most recent studies on the modernist lexicon 100 years after its birth, moving through different fields of cultural heritage: from different forms of art to architecture, from design to engineering, from literature to history, representation and restoration. The book appeals to scholars and professionals who are involved in the process of understanding, reading and comprehension the transformation that the places have undergone within the period under examination. It will certainly foster the international exchange of knowledge that characterized Modernism

American Moderns on Paper presents a selection of approximately 100 of the finest watercolors, pastels, and drawings by leading American modernists from the Wadsworth Atheneum's renowned collection of American art. Works by Sloan, O'Keeffe, Hopper, Marin, Dali, and Wyeth, among many others, serve as notable examples of the various styles and subjects pursued by artists in America from 1910 to 1960. The catalogue entries are accompanied by artist biographies. Organized chronologically, and generously illustrated throughout, the catalogue is introduced by two essays exploring the historical significance of the collection and the importance to American modernists of working on paper, rather than canvas. Providing a rich history of the collection, the volume illuminates not only its historic roots, but also the concurrent national evolution of interest in watercolor and drawings. Published in association with the Wadsworth Atheneum Museum of Art Exhibition Schedule: Amon Carter Museum, Fort Worth, TX (2/27/10-5/30/10) Portland Museum of Art, Portland, ME (6/22/10-9/12/10) Wadsworth Atheneum Museum of Art, Hartford, CT (10/2/10-1/2/11)

Joze Plecnik (1872-1957) studierte bei Otto Wagner in Wien. 1911 ubernahm er den Lehrstuhl von Jan Kotera in Prag. Seine Wiener Bauten sind Landmarken, in Prag wurde er zum Architekten der Prager Burg, und in den 1920er-Jahren begann er den Umbau seiner Heimatstadt Ljubljana. UEber Plecnik wurde viel geforscht und publiziert. Valenas Betrachtungen zeigen jedoch neue Aspekte seines Schaffens auf: sein Wirken in Prag, den Einfluss der roemisch-italienischen Inspiration in seinem Werk, den Umgang mit "naturlichem" Gelande, die Rolle des Bestands bei der Entwicklung neuer liturgischer Raumkonzepte in Kirchenumbauten und die Frage, inwiefern es bei "Plecniks Ljubljana" angemessen ist, von humanistischem Stadtumbau zu sprechen - die Themen des neuen Plecnik-Buchs sind fur Einsteiger und Experten gleichermassen interessant.

The Bauhaus master Johannes Ittenis one of the prominent protagonists of early Modernism in twentieth-century art. Few people are aware of the close links between his beginnings as an artist and his experience of landscape and nature in the town of Thun and Lake Thun. Johannes Itten gained decisive impulses for the development of his concept of art and his path towards abstraction through various stations and sojourns in Thun and its surroundings. By means of examples of the representations of nature in his early work the publication shows in scholarly depth how Itten discovered his own, very personal and later internationally famous approach to art and painting style and presents his pictorial transformation of natureextending through to the artist's late works.

With an emphasis on painting and sculpture made in the United States between 1910 and 1950, this gorgeously illustrated volume offers a rich introduction to American modernism through the world-class collection of the Philadelphia Museum of Art. The lively text, which includes previously unpublished archival photos, examines the roles that the museum and the city of Philadelphia played in promoting modernism from its inception. Works by internationally acclaimed artists from the circle of photographer and gallerist Alfred Stieglitz, including Arthur Dove, Marsden Hartley, Georgia O'Keeffe, and Charles Sheeler, are featured here alongside works by artists left outside the mainstream of art history. The book draws visual connections across works by these artists while creating compelling juxtapositions that tell a story of modern American art that is unique to the Philadelphia Museum of Art. Published in association with the Philadelphia Museum of Art Exhibition Schedule: Philadelphia Museum of Art (04/18/18-09/03/18)