This book examines the art and writings of Wassily Kandinsky, who is widely regarded as one of the first artists to produce non-representational paintings. Crucial to an understanding of Kandinsky's intentions is "On the Spiritual in Art," the celebrated essay he published in 1911. Where most scholars have taken its repeated references to "spirit" as signaling quasi-religious or mystical concerns, Florman argues instead that Kandinsky's primary frame of reference was G.W.F. Hegel's "Aesthetics," in which art had similarly been presented as a vehicle for the developing self-consciousness of spirit (or "Geist," in German). In addition to close readings of Kandinsky's writings, the book also includes a discussion of a 1936 essay on the artist's paintings written by his own nephew, philosopher Alexandre Kojeve, the foremost Hegel scholar in France at that time. It also provides detailed analyses of individual paintings by Kandinsky, demonstrating how the development of his oeuvre challenges Hegel's views on modern art, yet operates in much the same manner as does Hegel's philosophical system. Through the work of a single, crucial artist, Florman presents a radical new account of why painting turned to abstraction in the early years of the twentieth century.

The complex facets of Cubism remain relevant subjects in art history today, a century after Pablo Picasso and Georges Braque developed the revolutionary style. This impressive collection of essays by international experts presents new lines of inquiry, including novel readings of individual objects or groups of works through close visual, material, and archival analysis; detailed studies of how Cubism related to intellectual and political movements of the early 20th century; and accounts of crucial moments in the reception of Cubism by curators, artists, and critics. Generous illustrations of paintings, drawings, and sculptures, some familiar but others virtually unknown, support this wide range of approaches to the pioneering works of Picasso, Braque, Fernand Leger, Juan Gris, and others. Distributed for the National Gallery of Art, Center for Advanced Study in the Visual Arts

This extensive catalog is published on the occasion of the special exhibition of Pablo Picasso in Muenster, and is dedicated to the theme of the studio painting in the work of the great Spaniard. In these paintings, Picasso repeatedly reflected on his own art, providing an intimate insight into his creative process. This catalog spans almost 70 years, starting with two drawings from the early work of the artist to the erotically charged work of the late 60s. One focus is a series of 30 photographs by David Douglas Duncan that show Picasso during the creation of an oil painting, impressively documenting the manner in which the artist works. Additionally, for the first time, a group of eleven original Picasso pallets is published, which give the viewer an intimate look inside the studio of the artist. Using rare proofs, Picasso's determination of motif is made visible. Over 160 works by Picasso, including paintings, sculptures, drawings, prints and photographs, are on display. They are on loan from major institutions and private collections in Germany, France, Spain, Britain and Switzerland, including the Centre Pompidou in Paris and the Museu Picasso in Barcelona. German text. German description: Das umfangreiche Katalog-Buch erscheint anlasslich der Sonderausstellung ueber Pablo Picasso in Muenster und widmet sich der Thematik des Atelierbildes im Werk des groaen Spaniers. In ihr reflektiert Picasso immer wieder ueber seine eigene Kunst und ermoglicht somit intime Einblicke in seinen Schopfungsprozess. Das Thema des Atelierbildes zieht sich wie ein roter Faden durch die Arbeiten des groaen Spaniers. So spannt das Katalog-Buch einen Bogen von fast 70 Jahren, beginnend mit zwei Zeichnungen aus dem Fruehwerk des Kuenstlers bis hin zu erotisch aufgeladenen Arbeiten aus den spaten 60er Jahren. Einen Schwerpunkt bildet eine Serie von 30 Fotografien von David Douglas Duncan, die Picasso wahrend der Entstehung eines Olgemaldes zeigen und so auf eindrueckliche Art die Arbeitsweise des Kuenstlers dokumentieren. Erstmals in diesem Umfang wird eine Gruppe von elf Originalpaletten Picassos veroffentlicht, die dem Betrachter einen intimen Blick in das Atelier des Kuenstlers gewahren. Anhand von seltenen Zustands- und Probedrucken wird Picassos kuenstlerische Motivfindung sichtbar. Zu sehen sind ueber 160 Werke von Picasso, darunter Gemalde, Skulpturen, Zeichnungen, Graphiken und Fotografien. Diese stammen aus namhaften Institutionen und Privatsammlungen in Deutschland, Frankreich, Spanien, Groabritannien und der Schweiz, darunter etwa das Centre Pompidou in Paris und das Museu Picasso in Barcelona.