Ortrud Westheider Ordre des livres

This lavishly illustrated exhibition catalog features seventy career-spanning works by the French avant-garde painter, one of the twentieth century's great colorists and a major proponent of Fauvism. After his participation at the Paris Salon d'Automne of 1905, Maurice de Vlaminck (1876-1958) quickly established himself as a leading figure of the French avant-garde. More than any other member of the Fauves, he keenly identified with the attribute of wildness and early on propagated the image of a modern artist rebel who resolutely turned his back on the rules of academic painting. His central source of inspiration was the oeuvre of Vincent van Gogh, whose works Vlaminck studied at the large solo exhibition which took place at the Bernheim-Jeune Gallery in 1901. Van Gogh's training as an autodidact as well as his burgeoning myth as an artist genius and social outsider strengthened this identification, which would remain key throughout Vlaminck's later career. This catalog provides a wide-ranging overview of the painter's entire oeuvre: from the first compositions he executed at the beginning of the 20th century, through the experiments with Cubism that were inspired by Cézanne and Picasso, to some of his very last landscapes. Throughout, the book recalls Vlaminck's vital contribution to the development of 20th-century painting, notably his role as one of the most important precursors of Expressionism.

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 together hundreds of 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.

Eine faszinierende Facette des Impressionismus Die Landschaftsmalerei hat in den Niederlanden ihren Ursprung. Der Realismus der Alten Meister des 17. Jahrhunderts blieb der Maßstab. Mit der in Frankreich entwickelten Malerei unter freiem Himmel erhielten die niederländischen Maler des 19. Jahrhunderts neue Impulse. Die Haager Schule fing die sich wandelnden Lichtstimmungen der Natur in hohen Wolkenhimmeln mit vielen Grauschattierungen ein. Ab den 1880er Jahren wurden im Wechselspiel mit impressionistischen Einflüssen aus Frankreich die Stadtlandschaft und das moderne Leben ein Thema, bevor mit dem Pointillismus die Entfesselung der Farbe die Malerei bestimmte. Die Publikation, eine umfassende und bahnbrechende Betrachtung der Holländischen Malerei des 19. Jahrhunderts, versammelt zahlreiche Werke von etwa 40 Künstlerinnen und Künstlern, darunter Johan Barthold Jongkind, Vincent van Gogh, Jacoba van Heemskerck und Piet Mondrian.

Munchs Landschaften als Spiegel der Natur und seines Seelenlebens Die erste große Publikation über Edvard Munchs Landschaften fokussiert sich auf sein Naturverständnis. Einerseits verstand er sie als sich zyklisch erneuernde Kraft, andererseits sah er die Landschaft als Spiegel seiner seelischen Zerrissenheit. Munch entwickelte ein pantheistisches Naturverständnis, das er auf die norwegischen Küsten und Wälder projizierte. Die dramatischen Wetterverhältnisse in seinen Gemälden erhalten vor dem Hintergrund der aktuellen Klimakrise eine überraschende Brisanz. Der Katalog versammelt rund 90 Werke, u. a. aus dem Munchmuseet, Oslo, dem Museum of Modern Art, New York, dem Dallas Museum of Art, der Staatsgalerie Stuttgart, dem Museum Folkwang, Essen, und dem Von der Heydt-Museum, Wuppertal. Publikation des Museums Barberini, Potsdam, in Zusammenarbeit mit dem Clark Art Institute, Williamstown, und dem Munchmuseet, Oslo.

This lavishly illustrated volume looks at the myriad ways in which the burgeoning art of photography dialogued with Impressionist painting. In the 19th century, numerous photographers chose the same motifs as Impressionist painters: the forest of Fontainebleau, the cliffs of Étretat 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-Réaulx, Monika Faber, Matthias Krüger, Ulrich Pohlmann, Esther Ruelfs, Helene Von Saldern, Bernd Stiegler, and Daniel Zamani.

This book gives new insights into the flowering of radical abstraction after 1945, focussing on the creative interplay between painters in the wider orbit of Abstract Expressionism and Art Informel.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 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. Götz, 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.