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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.
Hans Funk (1928-2002) made a name for himself as a draftsman
starting in the 1960s and 1970s. From his beginnings in Art
Informel, in his large-format pen-and-ink drawings he developed an
extensive and independent oeuvre that oscillates betweenrenouncing
and preserving form, between spontaneity and reflection. The artist
lived and worked in Luneburg in Lower Saxony, thus far away from
big cities and their art market protagonists. The volume now being
published by his son Tobias Funk presents the development of his
brilliant drawing art in eighty images. His drawing oeuvre is also
described in detail in three art-historical essays.
Hans Purrmann und Mathilde Vollmoeller-Purrmann zahlen zu den
bedeutenden Malerpaaren der Klassischen Moderne. Der Diskurs mit
anderen Kunstlerpaaren ihrer Zeit eroeffnet ein Spektrum
vielfaltiger Lebensbilder. Rollenverteilung in Partnerschaft und
Familie sowie Ausbildung, Alltag der kunstlerischen Arbeit oder
Stellung im Ausstellungswesen sind spannende Aspekte moderner
Kunstgeschichte. Hochkaratige Spezialist/-innen beleuchten Leben
und Werk von Sabine und Reinhold Lepsius, Marg und Oskar Moll, Leo
von Koenig und Mathilde Tardif, Carl Casper und Maria
Caspar-Filser, Wassily Kandinsky und Gabriele Munter, Alexej von
Jawlensky und Marianne von Werefkin sowie Max Beckmann und Minna
Tube. In diesem imposanten Panorama der Avantgarde werden neben der
Genderproblematik auch Netzwerke der Moderne sichtbar.
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.
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