This volume presents over 200 'secret masterpieces' of classic modernism held in the R&H Batliner Art Foundation's archives. Embracing paintings, drawings, sculpture and ceramics, it features reproductions of rarely seen works by Monet, Matisse, Bacon, Lichtenstein, Kokoschka, Picasso, Klee, Chagall and Giacometti, among others.

The correspondence between artist Hans Purrmann (1880-1966) and author Karl Scheffler (1869-1951) offers the reader a unique insight into the debates between an artist and his critic from the 1920s through the Third Reich and up to the early post-War era. Between 1906-1933 Scheffler was the editor of Kunst und Kunstler in Berlin, one of Germany's most prestigious art magazines, and he accompanied the successful artist in a series of exhibition discussions and monographic articles. For his part, Purrmann expressed his views in the magazine. Accordingly, there were texts about artists and the art trade or on South Pacific art. The two men's understanding of trends in art and art theories formed the basis of their friendship and for questions on art.

The painter and graphic artist Joseph Mader (1905-1982), who was shaped by his encounter with the works of Max Beckmann around 1928, was just beginning his career in 1933 and was thus confronted with the question of adapting and distancing himself. His isolation made him an artist of the "lost generation", who never had the chance to position himself in the art market prior to the "Third Reich". Mader continued his artistic career admidst the political discussions surrounding the art oft he postwar era as a figurative painter. He juxtaposed a love of "what is visible", the mysterious harmony of creation, with Beckmann's hard-hitting view of the "objectivity" of the world. Mader's life and work are an appeal to reassess thins generation's evaluations of art and society.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Der Briefwechsel des Malers Hans Purrmann (1880-1966) und seiner Frau und Kunstlerkollegin Mathilde Vollmoeller-Purrmann (1876-1943) der Jahre 1909 bis 1914 erzahlt die spannende Geschichte aus der Anfangszeit ihrer Kunstlerehe in Paris. Verbunden in ihrer Leidenschaft fur die Malerei haben Hans Purrmann und Mathilde Vollmoeller ihren festen Platz im Pariser Netzwerk der Klassischen Moderne.