|
Showing 1 - 4 of
4 matches in All Departments
Norbert Bisky's artistic cosmos is as colorful as it is gruesome.
Many of his figurative paintings are suffused with densely packed
body parts-heads, torsos, arms-caught in flood waves and wedged
into one another. Orange skin tones, light pink, green, yellow, and
violet against radiant blue or somber black-brown dominate the
palette, an intense chromaticity that often contrasts with the
themes of the paintings: nude male bodies are torn apart, handsome
faces mangled. Bisky's powerful painting engenders ambivalent
feelings in which he explores the boundaries of representation. The
publication provides a first, long-overdue art-historical
examination of Bisky's oeuvre. Hubertus Gassner, Kathleen Buhler,
Dorothee Brill, and other authors pursue the questions prompted by
this vehement style of painting: Why this brutal treatment of the
body and its image? Why the decomposition of figuration and fixed
structures? Where is Bisky to be positioned? Exhibition: Kunsthalle
Rostock 16.11.2014-15.2.2015
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
Throughout his life, Edgar Degas (1834-1917) not only created his
famous pastels and paintings, but also a large number of
sculptures; those, however, were never shown to the public. This
catalog presents the complete inventory of 73 bronze casts,
complemented by a wide selection of drawings, pastels and
paintings. German text.
Imposing and famous sailing ships are the subject of countless
Dutch paintings of the 17th Century. But the works not only bear
witness to the skills of their creator; they are documents of
historical, topographical and meteorological events. Visibly
billowing sails, glorious and proud sailing ships, a ship heeled in
the swell and the salvation of banks never to be reached: Many of
the paintings of Dutch painters from the mid-17th Century give
impressions of maritime affairs that never occurred. These images
thus open a wide horizon of interpretations from different areas of
knowledge from the period. They document the range and richness of
Holland's marine culture in the 17th Century. The works stimulate
multiple interpretations: the ship as a metaphor for life, as a
symbol of the state, for the exploration of distant lands, as a
demonstration of foreign and trade policy in the 17th Century. This
book explains the various interpretations in selected examples
while at the same time laying bare the picturesque characteristics
of eachwork. In cooperation with the National Maritime Museum in
Greenwich, London, the exhibition brings together masterpieces from
the leading marine painters of the Golden Age, and show alongside
unique, large-scale seascapes the subtle drawings from the Print
Room of the Hamburg Kunsthalle. German text.
|
|