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Torn Modernism illuminates an important moment in the history of
the Kunstmuseum Basel's collection. In 1937 the Nazi cultural
policy denounced thousands of works as "degenerate" and forcibly
removed from German museums. The Third Reich's Ministry of
Propaganda correctly assumed that a portion of such works would
find buyers abroad, in this way certain artworks deemed
"internationally exploitable" reached the art market via various
channels. Georg Schmidt (1896-1966), the museum's director at the
time, managed in 1939 to acquire the Painting Animal Destinies by
Franz Marc (1880-1916) and twenty avant-garde masterpieces all at
once. In the catalogue, renowned experts trace the events based on
the seizures in German museums and explain the historical contexts.
The actors of the institutions and the art market are presented,
and the Nazi regime's act of cultural violence is revealed, which
resulted in an artificial fragmentation of Modernism into art that
was "exploitable" on the one hand, and art that had been destroyed
or forgotten on the other. Contributions on the auction of the
Galerie Fischer in Lucerne, on Georg Schmidt's approach, and on the
classification of the acquisitions in the context of Basel's
collection history bring specific Swiss aspects into focus.
Shadows and light, high drama and the supernatural, these elements
are hallmarks of Henry Fuseli's paintings. Accom- panying a
long-overdue show of Fuseli's works inspired by literary sources,
this book addresses his appreciation of Greek tragedy,
Shakespearian drama, and Milton's monumental verse epos Paradise
Lost. While most of the criticism around Fuseli focuses on his
nightmarish visions indicative of the emerging era of Dark
Romanticism, this book examines the dramatic elements both in
subject matter and style of his paintings, which include themes of
triumph and despair rendered in sharp contrast and explosive
expression. Illustrated with brilliant reproductions, the essays in
this book explore Fuseli's world of literary sources as well as his
new approach to the stage arts, and how the enthusiasm for
Shakespeare in the 18th century played a part in the conception and
marketing of Fuseli's work, thus creating a more comprehensive
understanding of his background, time, and world view.
The Cubist Cosmos traces the development of Cubism between 1907 and
1917. The publication reveals the boundless innovative power of the
works of Pablo Picasso and Georges Braque. It also shows how the
Cubist pictorial language was received and advanced by the artists
of the Parisian avant-garde – such as Fernand Léger and Sonia
Delaunay – and how it evolved into colourful large-format
pictures. The volume reflects not only the enormous range of this
stylistic direction but also its revolutionary potential, which
went on to influence the further development of twentieth-century
art. In chronologically and thematically devised chapters the
publication shows how the influence of folk art and archaic
sculpture as well as the works of Paul Cezanne initially became
increasingly evident in the paintings of Picasso and Braque. From
1908 crystalline, geometric elements as it were, appear. Until 1911
the characteristic prismatically fragmented forms and an almost
colourless austerity dominated. The new pictorial language was
taken up by artists like Juan Gris, Fernand Leger, Robert and Sonia
Delaunay and Henri Le Fauconnier, who developed and presented it in
large formats in the Salon exhibitions of the Paris art world.
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