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Burst! Abstract Painting After 1945
Daniel Zamani, Heidi Bale Amundsen; Mary Gabriel, Karen Kurczynski, Jeremy Lewison, …
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R700
Discovery Miles 7 000
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This volume examines the relationship between occultism and
Surrealism, specifically exploring the reception and appropriation
of occult thought, motifs, tropes and techniques by Surrealist
artists and writers in Europe and the Americas, from the 1920s
through the 1960s. Its central focus is the specific use of
occultism as a site of political and social resistance, ideological
contestation, subversion and revolution. Additional focus is placed
on the ways occultism was implicated in Surrealist discourses on
identity, gender, sexuality, utopianism and radicalism.
This volume examines the relationship between occultism and
Surrealism, specifically exploring the reception and appropriation
of occult thought, motifs, tropes and techniques by Surrealist
artists and writers in Europe and the Americas, from the 1920s
through the 1960s. Its central focus is the specific use of
occultism as a site of political and social resistance, ideological
contestation, subversion and revolution. Additional focus is placed
on the ways occultism was implicated in Surrealist discourses on
identity, gender, sexuality, utopianism and radicalism.
Where were Monet's famous "haystacks" located? Which position did
he choose to paint the villas of Bordighera? Where was Alfred
Sisley on the "Winter Morning" in 1874? And what does it look like
there today? From 2016 onwards, photographer Christoph Irrgang
traveled to the areas and places where Monet and other
Impressionists painted. He researched and photographed the places
where numerous works were created from the painters' perspective.
The juxtaposition of the paintings with photographs from today
reveal industrialization, modernization and urban development over
the past 150 years, but also astonishing similarities. The
photographs also provide a new and unique approach to the
Impressionist paintings. You can see the authentic places that were
in front of the painters more than a hundred years ago, and you can
see the change that has happened since then. Photography and
painting can be compared directly, and the interplay of eye and
brush can be traced. However, the world-famous masterpieces also
give their places a certain aura, and it is fascinating to see this
magic flow into the reality of the present. The book is published
on the occasion of the 5th anniversary of the Museum Barberini in
Potsdam, which has become one of the most dynamic, fascinating and
important institutions for Impressionist art.
For as long as humans have been making art, they have turned to the
sun as the source of light, warmth and life itself. It appears as a
symbol of limitless power, as the personification of gods and of
Christ, and as a harbinger of change. Artists have also used the
sun as a means of exploring light and color and as an entrée into
discussions about climate. The first of its kind, this catalog
investigates visual representations of the sun from antiquity to
the present day. It is divided into seven roughly chronological
sections that look at both epoch-spanning and period specific
examples, including symbolic, allegorical representations, the
iconography of mythological subjects, and mimetic qualities such as
typology, phenomenology, and emotional effect. It includes more
than two hundred stunning reproductions of well- and lesser-known
works. Incisive and enlightening texts explore how solar symbolism
figured in pre-Christian objects through 17th-century depictions of
the “Sun King” Louix XIV; how artists such as Rubens and Monet
employed the sun in their narrative paintings; how the
Impressionists first investigated the sun’s effects on a
landscape; how Neo-Impressionist such as Seurat experimented with
color based on the Newtonian analysis of the solar spectrum; and
how 20th-century artists incorporated a broad array of abstract,
surrealistic, and transformative modes of solar representation into
a variety of media.
Following World War II, Western painting went in completely new
directions. A young generation of artists turned their backs on the
dominant styles of the interwar period: Instead of figurative
representation or geometric abstraction, painters in the orbit of
Abstract Expressionism in the US and Art Informel in Western Europe
pursued a radically impulsive approach to form, color, and
material. As an expression of individual freedom, the spontaneous
artistic gesture gained symbolic significance. Large-scale
color-field compositions created a meditative space for ruminating
the fundamental questions of human existence. The exhibition and
catalogue examine the two sister movements against the background
of a vibrant transatlantic exchange, from the 1940s through to the
end of the Cold War. This lavishly illustrated volume brings
together works by more than 50 artists, amongst them Alberto Burri,
Jean Dubuffet, Helen Frankenthaler, K. O. Goetz, Franz Kline, Lee
Krasner, Georges Mathieu, Joan Mitchell, Ernst Wilhelm Nay, Barnett
Newman, Jackson Pollock, Judit Reigl, Mark Rothko, Hedda Sterne,
Clyfford Still, and Jack Tworkov.
In the 19th century, numerous photographers chose the same motifs
as Impressionist painters: the forest of Fontainebleau, the cliffs
of Etretat or the modern metropolis of Paris. They, too, studied
the changing light, seasons and weather conditions. From its
inception, photographers pursued artistic ambitions, as evidenced
by their experimentation with composition and perspective, by means
of various technical procedures. Until the First World War, the
relationship between photography and painting was characterized
both by competition and mutual influence. The exhibition and
catalogue examine these interactions and illuminate the development
of the new medium from the 1850s to its establishment as an
autonomous art form around 1900. With contributions by: Dominique
De Font-Reaulx, Monika Faber, Matthias Kruger, Ulrich Pohlmann,
Esther Ruelfs, Helene Von Saldern, Bernd Stiegler, and Daniel
Zamani.
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