Munch’s pictorial worlds – the initial impetus for modernism Edvard Munch’s radical modernity in painting was a challenge for his contemporaries. This applied in particular to the art scene in Berlin around 1900 which the Norwegian Symbolist artist influenced profoundly. In return, he received support there and was able to continue to develop his work. The publication is lavishly illustrated and describes knowledgeably the story of Munch and Berlin. In 1892 the Association of Berlin Artists invited the still-unknown Edvard Munch (1863–1944) to an exhibition. The public was shocked by the colourful, sketch-like pictures. The artist enjoyed the furore and moved to the city on the Spree, where he repeatedly sojourned until 1908. Here he learned the techniques for printed graphics and presented for the first time paintings in several continuous series which would become central to his oeuvre. In Berlin, before long, the concept of the “Magic of the North� (Stefan Zweig) was no longer associated with romantic or naturalistic fjord landscapes, but with Munch’s psychologically concentrated pictorial worlds.

The 1930s in Germany and Austria were marked by economic crisis, political disintegration, and social chaos. This beautifully illustrated catalog surveys the development of the arts in these two countries between the two world wars. Presenting nearly 150 paintings and works on paper, this book reveals artistic developments that foreshadowed, reflected, and accompanied the beginning of World War II. Works by Max Beckmann, Otto Dix, Max Ernst, Oskar Kokoschka, and Alfred Kubin are presented alongside pieces by lesser-known artists such as Friedl Dicker- Brandeis, Albert Paris Gutersloh, Karl Hubbuch, Richard Oelze, Josef Scharl, Franz Sedlacek, and Rudolf Wacker. This book features essays about the appropriation of artistic idioms, the reactions of artists toward their historical circumstances, and major political events that shaped the era.

Der schottische Bildhauer und Graphiker Eduardo Paolozzi (1924-2005) war Mitbegrunder der britischen Pop-Art. Bereits in den 1950er Jahren sorgte er mit innovativen Collagen, in die er Bildmotive aus Popularkultur und Werbung integrierte, fur Aufsehen - und schrieb fortan Kunstgeschichte. Seine international erfolgreichen, irritierenden Werke bewegen sich haufig an der Schnittstelle zwischen Mensch und Maschine und bezeugen sein Interesse an Wissenschaft und Technik. Mit ausgefallenen kunstlerischen Verfahren wie Siebdruck oder Sampling forderte er nicht nur die asthetischen Konventionen seiner Zeit heraus. Die Graphiken und Skulpturen zeigen auch seine intensive Suche nach einer Ikonographie der Konsum- und Industriegesellschaft. Ausstellung und Katalog schliessen unmittelbar an die vielgeruhmte Paolozzi-Schau in der Londoner Whitechapel Gallery an. Im Fokus dieses Bandes stehen Paolozzis experimentelle Werkphasen der funfziger bis siebziger Jahre sowie sein produktiver Aufenthalt in West-Berlin von 1974/75.