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The art of Boris Lurie (* 1924, Leningrad) and Wolf Vostell (*
1932, Leverkusen) is determined by the break in civilization in
Germany in 1933, which made the German genocide of German and
European Jews (the Shoah) possible. Both artists make the Shoah the
subject of their work in a radical way. They work - initially
independently of one another - with the means of painting and
during the 1950s they resort to the stylistic devices of the first
avant-garde: Cubism, Dadaism, Surrealism. They strategically employ
collage and assembly techniques. Vostell later develops the subject
further in the media of happening and video art while Lurie takes
up writing. In 1964 the artists met in New York and entertained a
lifelong friendship.
English Description: The three artists to whom the exhibition is
devoted, Ferdinand Hodler, Aleksandr Deyneka and Neo Rauch, stand
in the twentieth century for the story of the utopia of the 'New
Man', from its conception to its failure or continued life as the
case may be. They exemplify with their artistic uvre the three
stages through which the concept has passed. The early years of the
twentieth century were marked by the life-reform movement, which
fed on the one hand from the ideas of Romanticism, and on the other
reactivated secularized Christian motifs in the nativity of the
'New Man'. The Swiss artist Ferdinand Hodler (1853-1918) was one of
the leading artistic exponents of this movement. In an artificially
created harmony with nature, his monumental figures set the surface
of the picture in rhythmic motion with silhouette-like expressive
gestures. One of Hodler's hitherto most important successors was
the Russian painter Aleksandr Deyneka (1899-1969). In his motifs,
but also in the body language and modelling of his characters, he
took his bearings from the eurhythmic movements of the Swiss
artist's figures, but placed them in prospering industrial
landscapes. Finally, the painter Neo Rauch (b. 1960), who grew up
and received his artistic training in communist East Germany, takes
up once more the type of the 'New Man' on which Hodler and Deyneka
had put their stamp. However, his figures exaggerate the aspect of
inhibited action, recognizable already in his predecessors, and
this aspect emerges, in the end, in aimless messing around in
absurd configurations. Here the utopia of the 'New Man' is turned
on its head to become a rejection of the belief in progress and of
all ideology. German description: Die drei Kuenstler der
Ausstellung, Ferdinand Hodler, Aleksandr Dejneka und Neo Rauch,
stehen im 20. Jahrhundert fuer die Geschichte der Utopie des -Neuen
Menschen- von seinem Entwurf bis zu seinem Scheitern bzw.
Nachleben. Sie verkorpern mit ihrem kuenstlerischen Werk
exemplarisch die drei Etappen, in denen sich dieser Prozess
vollzieht
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