Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

When the European Fluxus group disbanded in 1964 after two eventful years, Tomas Schmit (1943-2006), who had participated in the group's actions as a performer, gradually withdrew from performing. From 1966 he devoted himself primarily to writing and drawing. But the idea of the stage as a place where an action is performed in front of and with an audience did not disappear from his art. From then on, Schmit staged "the performance of drawing" on paper. The close interlocking of performance and drawing practice that characterizes Schmit's entire oeuvre will be brought into focus for the first time in the exhibition of the Kupferstichkabinett, which will take place in the fall of 2021, and in the accompanying catalog. At the same time, the project reflects the manifold spectrum of Schmit's nearly 40 years of comprehensive drawing and language art.

Hardly any other epoch in art history has been marked by as many profound changes as the Late Gothic was in the fifteenth century. Inspired by Netherlandish role models, depictions of light and shadow, body and space, became increasingly more realistic. Everyday life found entry into the arts. With the invention of printing, images and texts were distributed to an extent previously unheard of. Artists such as Nicolaus Gerhaert and Martin Schongauer became widely known and influenced the development of the visual arts throughout Europe and across all genres. Featuring a wide selection of works, the Staatliche Museen zu Berlin present the first extensive exhibition of Late Gothic art in the German-speaking regions. Its comparison and contrast of the various genres turns the catalogue into a handbook for the arts at the threshold of the modern era.

This volume collects the fifteen oil paintings in Picasso's "Les Femmes d'Alger" series, which are scattered in museums around the world.

Picasso’s study of the old masters forms an impressive focus of his late work. At the beginning of this new interest stood the works series Les Femmes d’Alger, which was on view in Paris, Munich, Cologne and Hamburg in 1955 and which today is scattered across several continents. The volume presents the series within the context of its reference works by Delacroix and Matisse.

Pablo Picasso was 73 years of age during that winter when he created the unique ensemble of fifteen oil paintings, over 100 drawings and lithographs during his study of Eugene Delacroix’ The Women of Algiers in their Apartment (1834, 1849) and works by Henri Matisse like Odalisque with Red Trousers (1924/25) within the space of just three months. In addition to the cycle, this lavishly illustrated volume will also present the reference works and their reception. Two Algerian writers introduce a modern aspect with their contributions to the catalogue.

Few artists are able to work successfully on both large and small scales, but throughout his career Calder brilliantly moved from the miniature to the monumental and back again. This publication focuses on the enormous stabiles he created mostly for public places, as well as his elegant hanging mobiles in sheet metal, miniature standing mobiles, and chess sets, shedding light on the social and performative aspects of his work. Essays explore how Calder approached the effects of kinetics and space, solidity and transparency, stasis and activity, volume and void. The book also looks at how Calder's small-scale sculptures echoed the public spectacle of his larger pieces, creating a "private drama" that encouraged direct participation. Whatever the size, Calder's works employed movement and interaction in unpredictable ways, and this enlightening book helps readers appreciate the important continuity of his oeuvre.

Lying between deserts, mountain chains and seas, Iran developed a fascinating cultural landscape. 360 objects from the time of the first advanced civilisations during the 3rd millennium BC until the end of the Safavid Empire in the early 18th century illustrate the outstanding significance of Iran as the initiator and centre of intercultural exchange. Exquisite artworks from the Sarikhani Collection in London and the Staatliche Museen zu Berlin invite visitors to embark on a journey in time through the cultural heritage of Iran. The highlights include the great pre-Islamic empires of the Achaemenids and the Sassanids, the establishment of a Persian-Islamic culture, the masterly artistic achievements of the 9th to the 13th centuries and the Golden Age of the Safavids. They are brought together as in a multifaceted kaleidoscope in the copious illustrations and provide insight into the art of the courts and the urban elites.

The five museums on the Museumsinsel in Berlin - including the recently reopened Neues Museum - are presented in a magazine format. An attractive coffee table book with architectural photographs as well as reproductions of the most important works in the different collectio

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. 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.

David Chipperfield's spectacular reconstruction of the Neues Museum marks a further stage in the conservation and modernisation of the Museum Island in Berlin. The original museum, erected from 1841 to 1859 to designs by Friedrich August Stuler, was itself a notable attraction, celebrated for its use of the latest construction technology and for its conception as a total work of art in which architecture, pictorial imagery and the exhibits worked together to acquaint visitors with 'exotic' cultures ranging from the ancient world to the more recent past. All parts of the building that survived the Second World War and a half-century of neglect as a ruin have been carefully conserved. They are joined by outstanding modern additions made in sympathy with the original. The Neues Museum can now take its place as a building worthy of the UNESCO World Heritage site. This book traces the genesis of the building, describes its former and current splendour and explains its significance. The author also outlines the heated debate over the right way to reconstruct the museum.