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In welcher Weise und in welchem Mass haben die Ergebnisse des Newtonschen Experiments der Farbbrechung Einfluss auf die Bildende Kunst des 18. und 19. Jahrhunderts genommen? Diese Fragen stehen im Zentrum der Beitrage, welche die Malpraxis, die Theoriebildung zur Farbe, die neuen graphischen Reproduktionstechniken, die steigende Sehkompetenz, die Materialitat von Farbe, die Verfeinerung der Darstellungsdetails und die Rolle optischer Instrumente untersuchen. Die Irritation im 18. Jahrhundert entstand aus der nicht eindeutigen Trennung in Licht- und Pigmentfarben. Fur die Kunstler hatte die alte Farbtrias - Blau, Rot, Gelb - weiterhin Bestand. Nichtsdestotrotz ist eine Verfeinerung des Sehens zu konstatieren, wie zunehmende Differenzierungskompetenz, die nicht nur neue graphische Techniken hervorbrachte, die im 19. Jahrhundert zur Fotographie fuhren sollten, sondern auch die Asthetisierung verstarkte. Beitrage von: Ulrike Boskamp, Werner Busch, Erna Fiorentini, John Gage, Bettina Gockel, Ursula Klein, Carolin Meister, Jutta Muller-Tamm, Annik Pietsch, H. Otto Sibum, Monika Wagner, Marc Wellmann"
This volume illustrates the development of art in Central Europe from 1830 - 1860 - a period which begins in the age of Biedermeier but extends well beyond it. It shows by means of a selection of representative works how art at this time developed independently and was not restricted to the historical Biedermeier era. DESCRIPTION "Is that Biedermeier?", we often ask of pictures which date from the same period but do not look typically Biedermeier. The publication concentrates on these works in particular by showi ng the wide range of painting in the years between 1830 - 1860 through portraits, landscapes and genre pictures. The main focus lies on Austrian painters like Ferdinand Georg Waldmuller, Rudolf von Alt and Friedrich von Amerling, together with artists from N orthern Italy, Hungary, Bohemia and Slovenia including Giuseppe Tominz, Jozsef Borsos, Bedrich Havranek and Francesco Hayez. There are also references to the changes in style in furniture production at that time, which also demonstrated a remarkable divers ity.
Adolph Menzel (1815-1905) is widely regarded as the epitome of realist art. From the very beginning of his career, he captured the beauty and horror of reality with unflinching precision, and he was a consummate master of atmosphere. A man of very short stature, Menzel was excluded from many aspects of life, and so his struggle with reality was also a struggle to assert himself. Werner Busch's comprehensive new study sheds light on the biographical and historical events that shaped Menzel's work and the course it took. Menzel's paintings of the life of Frederick the Great still dominate our image of the monarch. Their modern perspective, however, neither glorified the king nor found favor with the Prussian royal family. After witnessing the horror of war in the aftermath of the Battle of Koniggratz, Menzel abandoned history painting. In Paris, he discovered the energy and bustle of the heroless metropolis; for the remainder of his career, he devoted himself to painting scenes of contemporary life. In this lavishly illustrated book, Werner Busch examines the artist's multifaceted oeuvre and brings the long nineteenth century into aesthetic focus.
This anthology outlines a research project at the Angermuseum in Erfurt and forms the start of a new assessment of the landscape painter Friedrich Nerly (1807-1878) from Erfurt, who spent the main years of his career in Italy, particularly in Venice. If one wants to do justice to the phenomenon of Nerly, it is necessary to take a look at the changes in artistic, economic, and social contexts. Nerly's oeuvre should be connected with the innovative painting practices and finding of motifs of the early plein-air painters as well as with sales strategies that reacted to the globalization of the art market and tourism. In line with research on cultural transfer, questions, for instance, regarding the achievements that Nerly brought to Italy or inspirations that he found in his home country emerge cross-nationally.
Mobilitat und Naturerfahrung sind zwei wesentliche Angelpunkte der Landschaftskunst im 19. Jahrhundert. Reisen in nah und fern fuhrten zu neuen kunstlerischen Arbeitspraktiken und verhalfen unter anderem der OElstudie zu grossem Erfolg. Mehr noch wurde die aufkommende Reiselust, wie sie etwa in dem beruhmten Handbuch von Pierre-Henri de Valenciennes bereits 1800 propagiert wurde, zum Ideal der Aus- und Identitatsbildung des Landschaftsmalers. Der Wunsch nach Naturnahe, die Suche nach Neuem und das Bedurfnis nach kunstlerischem Austausch machten die Landschaftsmalerei zu einer europaischen Kunstform par excellence. Im vorliegenden Band thematisieren internationale und renommierte Fachleute die besondere Arbeitssituation des reisenden Landschaftsmalers, seine Sehnsucht nach nahem oder fernem Unbekannten und beschaftigen sich mit zeichnerischen und malerischen Aneignungsstrategien. Denn letztlich fuhrte der neue Arbeitsmodus auf Reisen zu einem neuen Landschaftsbild.
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