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Niki de Saint Phalle (Hardcover)
Zurcher Kunstgesellschaft, Kunsthaus Zurich, Schirn Kunsthalle Frankfurt; Text written by Christoph Becker, Bice Curiger, …
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R1,055
Discovery Miles 10 550
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Ships in 12 - 17 working days
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Her sensual Nanas-buxom, colorful female figures laid the
foundation for her international success beyond the art world: Niki
de Saint Phalle. But the self-taught artist's creative spectrum is
much broader, and her unconventional oeuvre, ranging from painting
and drawing to assemblages, performances, theatre, film, and
architecture, is more subversive and critical of society than is
widely assumed. Based on her efforts to process her own feelings,
she addressed social and political issues, critically questioning
institutions and role models in ways that are as relevant today as
they have ever been. The exhibition and the publication shed new
light on the artist's exceptional personality and uncover the
wide-ranging oeuvre of the popular outsider-that is always
surprising and eccentric, emotional, dark and brutal, humorous and
cheerful.
French sculptor Aristide Maillol (1861-1944) is sometimes referred
to as the "Cezanne of sculpture" as he, like Paul Cezanne in
painting, paved the way for abstraction. Though Maillol began as a
painter, he produced an impressive collection of sculptures, many
featuring women, over the course of his career. This book,
published in conjunction with a comprehensive Maillol exhibition at
the Kunsthaus Zurich, examines how the male gaze operates in
Maillol's art and the changing perceptions of this gaze from the
19th century to today. A photo essay by Franca Candrian contrasts
Maillol's Venus au collier with works by modern and contemporary
women artists from the Kunsthaus Zurich's collection. An essay by
feminist art historian and curator Catherine McCormack explores the
presence of art depicting female nudes - in contemporary museums.
Supplemented by an introduction by Philippe Buttner, curator of
Kunsthaus Zurich's permanent collection, the book thus offers a
fresh and unique view of Maillol and his art. Text in English and
German.
David Chipperfield's new building for the Kunsthaus Zurich now
stands in all its splendour on Zurich's Heimplatz, opposite the old
museum building of 1910 designed by Karl Moser. Its opening to the
public in October 2021 will make the Kunsthaus Zurich Switzerland's
largest art museum. Following the two previous volumes on Kunsthaus
Zurich's architectural history and the design for turning it into
an art museum for the 21st century, this book documents the genesis
of David Chipperfield's extension from proposal through political
debates about the entire project to completed structure. It
features a foreword by David Chipperfield and an essay by Christoph
Felger, executive architect for the project at David Chipperfield
Architects Berlin, that discusses the design concept, the promise
made with it, and its fulfilment. A conversation between Christoph
Felger, the director of the City of Zurich's Building Surveyor's
Office Wiebke Roesler, and Kunsthaus Zurich's director Christoph
Becker, and architecture critic Sabine von Fischer, as well as
numerous illustrations and plans sound out this new volume.
Romanticism, Realism, Impressionism - these are still the most
important stylistic labels which acted as slogans for French
painting during the 19th century. At that time Delacroix, Courbet,
Manet and many others left the "straight and narrow" of painting,
the academic-neo-classical manner. Highly controversial at the
time, today these painters are celebrated worldwide as precursors
of Modernism. The situation is very different when it comes to the
Salon painters like Meissonier, Cabanel, Gerome and Bouguereau, who
were highly regarded at the time. Today they have been consigned to
the fringes, especially in the German-speaking region -
unjustifiably, because they play an outstanding role with regard to
our understanding of developments in art at the time.
In October 2021, David Chipperfield’s new extension of the
Kunsthaus ZĂĽrich will open for the public. The new wing doubles
the museum’s space for art display. Perhaps more importantly, it
offers the opportunity to present larger parts of the museum’s
permanent collection in a new light and in new groupings. The
Chipperfield building is now home to the renowned Merzbacher,
Hubert Looser, and Emil BĂĽhrle collections, all on permanent loan
to the museum. The formidable selection of French impressionist
paintings in the Emil BĂĽhrle Collection combined with Kunsthaus
Zürich’s own holdings of that period constitutes the largest
display of impressionist art outside France. In addition,
Surrealism, art from the post-war period, Pop Art, and contemporary
art now have the prominent space they deserve. This new book offers
an introduction to the curatorial concept as well as concise essays
on key aspects of Kunsthaus Zurich’s permanent collection.
Lavishly illustrated with views of the new exhibits and individual
art works, it is an attractive invitation to visit Switzerland’s
largest art museum.
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Matisse - Metamorphoses (Paperback)
Kunsthaus Zurich; Contributions by Sandra Gianfreda, Claudine Grammont, Gaku Kondo, Bärbel KĂĽster, …
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R1,054
Discovery Miles 10 540
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Ships in 12 - 17 working days
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Henri Matisse (1869-1954) is adored worldwide as a revolutionary
painter and loved for his collages, or papiers découpés, the
icons of his late work. His paintings and drawings for a long time
overshadowed his achievements as a sculptor. Yet his Back Series,
four bas-reliefs showing a nude, created between 1908 and 1930, are
widely recognised as a milestone in modern sculpture. Starting out
from the naturalistic depiction, Matisse gradually transformed it
to reach a radically abstracted figure. Each of the four original
plaster casts represents a decisive moment of this artistic
process. This transformative process has parallels in Matisse's
painting and drawing. Published in conjunction with a major
exhibition at Kunsthaus ZĂĽrich marking the artist's 150th
anniversary, this is the first book to explore the relation between
metamorphosis and feedback in both main fields of the artist's
work. Documents of his diverse sources of inspiration for his
sculptures - photographs of nudes, examples from African and
ancient art - as well as images featuring Matisse at work as
sculptor, round out this volume. It is a welcome addition to any
art library, highlighting the llesser known side of this modern
master. Text in French.
The completion of David Chipperfield's distinctive new building for
Kunsthaus Zurich in December 2020 has nearly doubled the museum's
overall space. In combination with the preceding refurbishments of
the earlier buildings, this has made it fit to meet the demands of
an art museum in the 21st century. A sequel to The Architectural
History of the Kunsthaus Zurich 1910-2020, this book
comprehensively introduces the new Kunsthaus Zurich, demonstrating
how the task of building an art museum in the 21st century can be
fulfilled. Concise texts, statements by protagonists and by future
users and visitors as well as numerous illustrations trace the
project's evolution and the construction process and look at the
completed building from various perspectives. The book also
highlights what features contemporary museum infrastructure has to
offer and the architectural and urban design qualities it requires,
and what financial and organisational challenges the entire
undertaking implied. A conversation between experts exploring the
expanded museum's impact on its immediate neighbourhood and
Zurich's urban fabric as a whole rounds out the volume.
David Chipperfield's new building for the Kunsthaus Zurich now
stands in all its splendour on Zurich's Heimplatz, opposite the old
museum building of 1910 designed by Karl Moser. Its opening to the
public in October 2021 will make the Kunsthaus Zurich Switzerland's
largest art museum. Following the two previous volumes on Kunsthaus
Zurich's architectural history and the design for turning it into
an art museum for the twenty-first century, this book documents the
genesis of David Chipperfield's extension from proposal through
political debates about the entire project to completed structure.
It features a foreword by David Chipperfield and an essay by
Christoph Felger, executive architect for the project at David
Chipperfield Architects Berlin, that discusses the design concept,
the promise made with it, and its fulfilment. A conversation
between Christoph Felger, the director of the City of Zurich's
Building Surveyor's Office Wiebke Roesler, and Kunsthaus Zurich's
director Christoph Becker, and architecture critic Sabine von
Fischer, as well as numerous illustrations and plans sound out this
new volume. Text in French.
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Matisse - Metamorphoses (Paperback)
Kunsthaus Zurich; Contributions by Sandra Gianfreda, Claudine Grammont, Gaku Kondo, Bärbel KĂĽster, …
|
R1,055
Discovery Miles 10 550
|
Ships in 12 - 17 working days
|
Henri Matisse (1869-1954) is adored worldwide as a revolutionary
painter and loved for his collages, or papiers découpés, the
icons of his late work. His paintings and drawings for a long time
overshadowed his achievements as a sculptor. Yet his Back Series,
four bas-reliefs showing a nude, created between 1908 and 1930, are
widely recognised as a milestone in modern sculpture. Starting out
from the naturalistic depiction, Matisse gradually transformed it
to reach a radically abstracted figure. Each of the four original
plaster casts represents a decisive moment of this artistic
process. This transformative process has parallels in Matisse's
painting and drawing. Published in conjunction with a major
exhibition at Kunsthaus ZĂĽrich marking the artist's 150th
anniversary, this is the first book to explore the relation between
metamorphosis and feedback in both main fields of the artist's
work. Documents of his diverse sources of inspiration for his
sculptures - photographs of nudes, examples from African and
ancient art - as well as images featuring Matisse at work as
sculptor, round out this volume. It is a welcome addition to any
art library, highlighting the lesser known side of this modern
master.
The completion of David Chipperfield's distinctive new building for
Kunsthaus Zurich in December 2020 has nearly doubled the museum's
overall space. In combination with the preceding refurbishments of
the earlier buildings, this has made it fit to meet the demands of
an art museum in the 21st century. A sequel to The Architectural
History of the Kunsthaus Zurich 1910-2020, this book
comprehensively introduces the new Kunsthaus Zurich, demonstrating
how the task of building an art museum in the 21st century can be
fulfilled. Concise texts, statements by protagonists and by future
users and visitors as well as numerous illustrations trace the
project's evolution and the construction process and look at the
completed building from various perspectives. The book also
highlights what features contemporary museum infrastructure has to
offer and the architectural and urban design qualities it requires,
and what financial and organisational challenges the entire
undertaking implied. A conversation between experts exploring the
expanded museum's impact on its immediate neighbourhood and
Zurich's urban fabric as a whole rounds out the volume. Text in
French.
Ernst Ludwig Kirchner's move from Dresden to Berlin in 1911 marked
a turning point in his art. Under the influence of the most modern
metropolis in Europe, during the years between 1912 and 1915 the
artist created works whose exaggerated and condensed styl e could
be regarded as a true metaphor for the attitude to life during the
early years of the twentieth century. During this time of rapid
change the capital of the German Empire promised progress and
countless opportunities, but also danger and profound e xistential
fear. The city was not only the centre of industry, which continued
to grow unchecked, but also of increasing motorised traffic and,
with three million inhabitants, it was the biggest "city of
tenement blocks" in Europe. But Berlin was also the metropolis of
the arts, of hedonism, prostitution and accordingly of a sexuality
that could be lived to the full as never before. Berlin vibrated
with challenging energy and intellectual challenges. In this
melting pot of opportunities and risks Kirchner c reated pictures
of breathless, existential directness which he launched unerringly
at the conventions of the Wilhelminian age. The main area of focus
of the publication will lie on this dialectic and the resulting
tension. It will reproduce Kirchner's grea test masterpieces, and
in order to demonstrate the profound changes in his style, a
representative selection of his early works from Dresden will also
be shown alongside the paintings, drawing s and prints from the
time in Berlin.
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