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Munch’s pictorial worlds – the initial impetus for modernism
Edvard Munch’s radical modernity in painting was a challenge for
his contemporaries. This applied in particular to the art scene in
Berlin around 1900 which the Norwegian Symbolist artist influenced
profoundly. In return, he received support there and was able to
continue to develop his work. The publication is lavishly
illustrated and describes knowledgeably the story of Munch and
Berlin. In 1892 the Association of Berlin Artists invited the
still-unknown Edvard Munch (1863–1944) to an exhibition. The
public was shocked by the colourful, sketch-like pictures. The
artist enjoyed the furore and moved to the city on the Spree, where
he repeatedly sojourned until 1908. Here he learned the techniques
for printed graphics and presented for the first time paintings in
several continuous series which would become central to his oeuvre.
In Berlin, before long, the concept of the “Magic of the North”
(Stefan Zweig) was no longer associated with romantic or
naturalistic fjord landscapes, but with Munch’s psychologically
concentrated pictorial worlds.
The 1930s in Germany and Austria were marked by economic crisis,
political disintegration, and social chaos. This beautifully
illustrated catalog surveys the development of the arts in these
two countries between the two world wars. Presenting nearly 150
paintings and works on paper, this book reveals artistic
developments that foreshadowed, reflected, and accompanied the
beginning of World War II. Works by Max Beckmann, Otto Dix, Max
Ernst, Oskar Kokoschka, and Alfred Kubin are presented alongside
pieces by lesser-known artists such as Friedl Dicker- Brandeis,
Albert Paris Gutersloh, Karl Hubbuch, Richard Oelze, Josef Scharl,
Franz Sedlacek, and Rudolf Wacker. This book features essays about
the appropriation of artistic idioms, the reactions of artists
toward their historical circumstances, and major political events
that shaped the era.
Der schottische Bildhauer und Graphiker Eduardo Paolozzi
(1924-2005) war Mitbegrunder der britischen Pop-Art. Bereits in den
1950er Jahren sorgte er mit innovativen Collagen, in die er
Bildmotive aus Popularkultur und Werbung integrierte, fur Aufsehen
- und schrieb fortan Kunstgeschichte. Seine international
erfolgreichen, irritierenden Werke bewegen sich haufig an der
Schnittstelle zwischen Mensch und Maschine und bezeugen sein
Interesse an Wissenschaft und Technik. Mit ausgefallenen
kunstlerischen Verfahren wie Siebdruck oder Sampling forderte er
nicht nur die asthetischen Konventionen seiner Zeit heraus. Die
Graphiken und Skulpturen zeigen auch seine intensive Suche nach
einer Ikonographie der Konsum- und Industriegesellschaft.
Ausstellung und Katalog schliessen unmittelbar an die vielgeruhmte
Paolozzi-Schau in der Londoner Whitechapel Gallery an. Im Fokus
dieses Bandes stehen Paolozzis experimentelle Werkphasen der
funfziger bis siebziger Jahre sowie sein produktiver Aufenthalt in
West-Berlin von 1974/75.
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