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For as long as humans have been making art, they have turned to the
sun as the source of light, warmth and life itself. It appears as a
symbol of limitless power, as the personification of gods and of
Christ, and as a harbinger of change. Artists have also used the
sun as a means of exploring light and color and as an entrée into
discussions about climate. The first of its kind, this catalog
investigates visual representations of the sun from antiquity to
the present day. It is divided into seven roughly chronological
sections that look at both epoch-spanning and period specific
examples, including symbolic, allegorical representations, the
iconography of mythological subjects, and mimetic qualities such as
typology, phenomenology, and emotional effect. It includes more
than two hundred stunning reproductions of well- and lesser-known
works. Incisive and enlightening texts explore how solar symbolism
figured in pre-Christian objects through 17th-century depictions of
the “Sun King” Louix XIV; how artists such as Rubens and Monet
employed the sun in their narrative paintings; how the
Impressionists first investigated the sun’s effects on a
landscape; how Neo-Impressionist such as Seurat experimented with
color based on the Newtonian analysis of the solar spectrum; and
how 20th-century artists incorporated a broad array of abstract,
surrealistic, and transformative modes of solar representation into
a variety of media.
During the 1860s, Claude Monet, Camille Pissarro, Pierre-Auguste
Renoir, and Alfred Sisley joined forces to revolutionize art with
light- flooded landscapes that dispensed with the conventional
imagery of the time. In 1874, with their penchant for working out
of doors in order to capture fleeting sensory impressions directly
on the canvas, they came to be known as the "Impressionists."
Berthe Morisot, Paul Cezanne, and Gustave Caillebotte became
affiliated with the new tendency as well. More than a decade later,
artists such as Paul Signac and Henri-Edmond Cross developed their
pioneering ideas further, and in 1901, during his first year in
Paris, the young Pablo Picasso too drew inspiration from the
Impressionist style. No comparable collection provides such a
comprehensive overview of Impressionist landscape painting and its
development as the one assembled in recent decades by Hasso
Plattner, founder of the Museum Barberini. On its basis, Ortrud
Westheider, the director of the Museum Barberini, presents the
history of French Impressionism. With its focus on the transitory
moment, the artistry of the Impressionists continues to exert a
powerful fascination. Guided by the interplay between light and
atmosphere, they created exquisite and timeless images whose
innovative spirit and vitality continue to delight viewers today.
From his first compositions to the colorful flower images of his
late years, Vincent van Gogh repeatedly painted still lifes. In
this genre, he could try out various pictorial techniques - from
depicting space through light and shadow to experimentation with
color. Although many of his still life compositions employed
traditional approaches to the genre, he ultimately formulated an
unmistakably unique artistic style. This lavishly illustrated book
revisits the development of Van Gogh's career and focuses on his
still-life paintings, offering new insights into the working
process and creative evolution of one of the most radical
innovators in the history of modern art.
Following World War II, Western painting went in completely new
directions. A young generation of artists turned their backs on the
dominant styles of the interwar period: Instead of figurative
representation or geometric abstraction, painters in the orbit of
Abstract Expressionism in the US and Art Informel in Western Europe
pursued a radically impulsive approach to form, color, and
material. As an expression of individual freedom, the spontaneous
artistic gesture gained symbolic significance. Large-scale
color-field compositions created a meditative space for ruminating
the fundamental questions of human existence. The exhibition and
catalogue examine the two sister movements against the background
of a vibrant transatlantic exchange, from the 1940s through to the
end of the Cold War. This lavishly illustrated volume brings
together works by more than 50 artists, amongst them Alberto Burri,
Jean Dubuffet, Helen Frankenthaler, K. O. Goetz, Franz Kline, Lee
Krasner, Georges Mathieu, Joan Mitchell, Ernst Wilhelm Nay, Barnett
Newman, Jackson Pollock, Judit Reigl, Mark Rothko, Hedda Sterne,
Clyfford Still, and Jack Tworkov.
In the 19th century, numerous photographers chose the same motifs
as Impressionist painters: the forest of Fontainebleau, the cliffs
of Etretat or the modern metropolis of Paris. They, too, studied
the changing light, seasons and weather conditions. From its
inception, photographers pursued artistic ambitions, as evidenced
by their experimentation with composition and perspective, by means
of various technical procedures. Until the First World War, the
relationship between photography and painting was characterized
both by competition and mutual influence. The exhibition and
catalogue examine these interactions and illuminate the development
of the new medium from the 1850s to its establishment as an
autonomous art form around 1900. With contributions by: Dominique
De Font-Reaulx, Monika Faber, Matthias Kruger, Ulrich Pohlmann,
Esther Ruelfs, Helene Von Saldern, Bernd Stiegler, and Daniel
Zamani.
Discover how painters such as Van Gogh, Mondrian, and Jacoba van
Heemskerck drew on the legacy of Dutch landscapes and realism to
put their own spin on the Impressionist movement. Impressionism may
have originated in France, but artists in late 19th- and early
20th-century Netherlands quickly made it their own. The genre’s
vibrant colors and focus on light and atmosphere were a perfect
complement to the country’s groundbreaking traditions of
landscape painting and realism. This exhibition catalog brings more
than a hundred works by nearly forty artists including Johan
Barthold Jongkind, Vincent van Gogh, Jacoba van Heemskerck, and
Piet Mondrian. It traces the birth of the Hague School, whose
practitioners captured the changing moods of light in the
coastline’s vast, grey skies. And it explores the Amsterdam
Impressionists, whose cityscapes offered realistic images of modern
life. Alongside vibrant reproductions of masterworks, a series of
lively essays explore a diverse array of topics, including Dutch
landscape painting within an international context; Dutch artist
settlements and communities; and iconography in Dutch
impressionism.
Capturing fleeting natural impressions played a central role in the
art of Claude Monet. He deeply engaged with the landscape and light
of different places, from the metropolis of Paris to the Seine
villages of Argenteuil and Giverny. This lavishly illustrated new
paperback edition explores the development of Monet's art from the
1850s to the 1920s, focusing on the places, both at home and on his
frequent travel, from which he drew inspiration for his painting.
In addition, the book traces the critical shift in Monet's art that
occurred when he began to focus on series of the same subjects such
as haystacks, poplars, and the water lilies and pond at his
meticulously designed garden in Giverny. Insightful and revealing,
the book deepens our appreciation of Monet's art and allows us to
experience anew his gift for bringing the natural world to life.
In der ersten Halfte des 19. Jahrhunderts entdeckten amerikanische
Maler die Vielfalt und Pracht der Neuen Welt. Sie sahen die Wildnis
ihrer noch jungen Nation als neuen Garten Eden, dessen Motive ihnen
eine Kunst jenseits europaischer Traditionen ermoglichte.
Palast, Kirchen und Kloster des Grossen Nowgorod brachten die
bedeutendsten Ikonen der ostkirchlichen Malerei hervor. Ihre
weltbekannten Meisterwerke vermitteln im vorliegenden Band ein
umfassendes Bild von Kunst und Kultur der alten Metropole. Im
mittelalterlichen Russland spielte Nowgorod eine herausragende
Rolle als wichtigster Handelsplatz auf dem Weg von Norden nach
Sueden und als Zentrum der altrussischen Kultur und Kunst. Dank
seines Reichtums und seiner Weltoffenheit, wurde Nowgorod im 11.
Jahrhundert zu einem Mittelpunkt, der Kuenstler und Geistliche vor
allem aus Byzanz und vom Balkan anzog. Die hohe Qualitat, die klare
Komposition, die voll geistiger Freude strahlende Farbgebung und
die Anschaulichkeit aus dem 15. Jahrhundert, dem goldenen Zeitalter
der Ikonen vermitteln das sichere Lebensgefuehl der Nowgoroder, die
stolz auf ihre reiche, unabhangige Stadt und alten Traditionen
waren. Zahlreiche Kirchen und Kunstwerke, darunter eine
vollstandige Ikonostase, wertvolle Ikonen, Goldschmiedearbeiten,
Textilien, Briefe auf Birkenrinde und diverse archaologische
Objekte, vergegenwartigen heute noch den Rang des Groaen Nowgorod .
Der umfassende Begleitband zur Ausstellung in Hamburg enthalt
Beitrage von: Walentin Janin, Engelina Smirnowa, Irina Solovjewa,
Heinz Spielmann, Tatjana Wilibahowa u.a.
Aleksandr Rodchenko (1891 -1956) was one of the driving forces of
the Russian avant-garde. In his works - paintings, collages,
photomontages, photographs, sculptures, advertising designs and
typography - he captured the dynamic social changes that took place
in the years immediately following the October Revolution: the
design of a new world.
Mannerism is the first art movement that is considered to have
simultaneously captured all of Europe. In the 16th century, artists
in Florence, Prague, Antwerp and Madrid no longer depicted the
idealized harmony of humans and the world, but started to mirror
the changes and upheavals of their time with loud colors,
exaggerated constructions of space, and skewed perspectives. This
volume presents 120 Mannerist works of art from the Szepmuveszeti
Muzeum in Budapest, including paintings by Jacopo Tintoretto,
Agnolo Bronzino, Giorgio Vasari, El Greco, Jan Brueghel the Elder,
and Hans von Aachen. German text.
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Discovery Miles 4 870
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