Movements

By Alfred Ehrhardt "...an island of tranquil beauty in a cultural sea that was becoming increasingly barbaric." —Martin Parr, The PhotobookThe reprint of the book Das Watt (The Tidelands) from 1937, as an exclusive facsimile edition by Éditions Xavier Barral...is an ode to nature and a masterpiece of book art." —BINT, Photobooks Alfred Ehrhardt (1901–1984) taught at the Bauhaus between 1928 and 1933 alongside scenographer Oskar Schlemmer and painters Josef Albers and Wassily Kandinsky. Accused of Bolshevism in 1933 by the Nazis, Erhardt was forced to leave the Bauhaus. At that time he was working in painting, drawing and printmaking, but his exile precipitated a turn toward photography and film, of which the fundamentals he taught himself. In 1934, after leaving Germany, Ehrhardt produced his first photographic reportage—a series of spare, enigmatic images taken on the windswept sand dunes of the Curonian Spit along the Lithuanian-Russian border. This gorgeously produced book presents his works from that time. Strongly influenced by his years of modernist training at the Bauhaus, Ehrhardt’s photographs focus on the clear geometric patterns abundant in this seaside wilderness. Maritime landscapes, shells, corals and crystals offered a plethora of subjects from which Ehrhardt could produce stark, stylized compositions. Hardcover96 pagesText in German, French, and EnglishEditions Xavier Barral, 20140.8 x 10 x 12 inchesISBN 9782365110266Landscape Photography, Experimental Photography, Bauhaus

Alfred Ehrhardt: Das Watt

By Friedrich Wolfrum and Co. The novelty of Art Nouveau derived in part from its innovative approach to the very concept of art. More than just a style, it eliminated the barriers between fine and applied arts and embodied a new way of thinking about modern society and production methods. Art Nouveau attempted nothing less than the redefinition of the meaning and nature of art. This multipurpose treasury features luxuriant patterns and designs that date from the early twentieth century, the heyday of Art Nouveau. Featuring both allover patterns and stand-alone designs, it consists of 49 full-page illustrations, plus eleven pages with numerous individual images. Handsomely reproduced from a rare Viennese publication, this inexpensive volume offers a sumptuous assortment of authentic designs from a revolutionary art movement. Paperback64 pagesDover Publications, 2005 8.4 x 0.2 x 10.7 inchesISBN 9780486445113Art Nouveau, Graphic Design, Decorative Arts

150 Full-Color Art Nouveau Patterns and Designs

By Riichi Miyake Photography by Keiichi Tahara At the turn of the 20th century, architecture took an imaginative leap. As new construction materials and technologies met such far-flung stimuli as the Far East, Nirvana, and the unleashed unconscious of Freudian psychoanalysis, buildings by the likes of Gaudí, Horta, Hoffmann, Loos, and Mackintosh instilled structure with the sinuous lines of nature, surfaces with a fairy tale shimmer, and spaces with an ethereal wash of light or shadowy, mysterious hush.In this dramatic portfolio, architectural photographer Keiichi Tahara travels across Europe to present the finest examples of this Art Nouveau architecture. From the glamorous facade of the Grand Hotel Europa to the elaborate sweep of a staircase or the perfect poise of a single chandelier, Tahara captures the intricate details as much as the holistic spatial effects of these ambitious, marvelous structures. With an eye attuned to the style’s organic detailing, he surveys its floral patterns, vine-like balustrades, and the soft, hollow interiors that seem to summon us into some primordial place.Drenched in sunshine or draped in dramatic shadows, Tahara’s pictures excel in evoking not only the unrivalled aura of these buildings but also the particular, fin-de-siècle spirit of their age, caught on the axel of a century, and characterized by reflection and yearning, as much as technological, philosophical, and political advance. Texts by Riichi Miyake accompany Tahara’s pictures to describe the buildings’ floor plans, designs, and the broader context of their dreamlike environments. Hardcover966 pages (spanning 3 volumes)Text in English, French, and GermanTaschen, 201712 x 5.5 x 17.5 inchesISBN 9783836530576Fin-de-Siècle, Art Nouveau, Architecture

Keiichi Tahara: Architecture Fin-de-Siècle

By Thomas Negovan Wicked Pursuits: The Art of Der Orchideengarten Vol. 8 thoroughly covers the entirety of the magnificent and macabre illustrations in issues #7-12 of Der Orchideengarten magazine from 1921, its final year of publication. The illustrations are captured from high-resolution scans made from a pristine collection in the Century Guild museum archive, and the accompanying text documents our extensive research to support the artworks and verify the artists whose names were not credited in the magazine. About Der Orchideengarten Magazine: Der Orchideengarten is a legendary supernatural horror magazine, published in Germany from January 1919 until November 1921. Founded four years before the iconic American magazine Weird Tales launched in March 1923, Der Orchideengarten is considered to be the first fantasy magazine. Published after the First World War when German art was at its height of decadence and debauchery, the magazine included a wide selection of new and reprinted stories by both German-language and foreign writers ranging from suspense and terror to crime and the eerily-erotic. While the literary content is historically significant, many of the stories have been reprinted in multiple places across the last century; we have focused our attention on what has gone undocumented: the incredible artworks that illustrated these stories. The artworks range from peculiar medieval etchings to occult woodblocks to expressionist visions- all balancing the romantic and the gothic with hyper-elegant sophistication. Paperback80 pages | full-color illustrationsOriginally Published between 1919-1921Century Guild, 20225.5 x 8.5 inchesISBN 9781947528185Horror Magazine, Interwar Design

Wicked Pursuits: The Art of Der Orchideengarten Vol. 8

By Thomas Negovan Jugendstil 1896: German Art Nouveau Illustrations features a selection of artworks from the first year of the magazine Jugend - the namesake of the jugendstil movement. Over two hundred rare and fantastic illustrations, as well as German Art Nouveau vignettes and framing elements, are included in this limited edition three volume book set. These works are often mystical in nature, sometimes whimsical, other times eccentric– but always beautiful and fascinating. To ensure maximum clarity and detail, all of the images in these books are captured directly from original books and magazines in the Century Guild collection using high-resolution photography and professional grade scans. The illustrations are supported with narrative about the period, as well as information about the artists and images; in many cases, we've been able to thoroughly research and identify artists often not attributed and identify historical background that had been previously unpublished. Included in this set: Jugendstil 1896: German Art Nouveau Illustrations Volume 1Jugendstil 1896: German Art Nouveau Illustrations Volume 2Jugendstil 1896: German Art Nouveau Illustrations Volume 3 Paperback80 pages | Full color illustrationsOriginally published in 1896Century Guild, 20246 x 9 inches eachISBN 9781947528284Art Nouveau, Jugendstil

Jugendstil 1896: German Art Nouveau Illustrations Box Set

By James M. BradburneWhen a puppet breaks the "fourth wall"- that is, the capacity for emotional involvement of a successful performance - it wins the trust of the audience, giving the show the power to blur the division between stage and world, between art and life. Understanding this were those artists, leading figures in the world of Art and Figure Theater, who looked to "creative play" as a source of aesthetic inspiration to seek new modes of visual expression.This volume and the accompanying exhibition Puppets and the Avantgarde. Picasso - Depero - Klee - Sarzi, curated by James M. Bradburne - from November 2023 at the Fondazione Palazzo Magnani in Reggio Emilia - open up a space for the imagination by tracing the cultural and social role of puppets in the European avant-garde at the beginning of the 20th century. An itinerary that places alongside the great names of Pablo Picasso, Fortunato Depero and Paul Klee, that of Otello Sarzi, a poetic figure who marked the artistic and educational history of Reggio Emilia. In order to understand their appeal, puppets are examined in the broadest sense: puppets operated from above – common in the palaces of princes and the drawing rooms of the bourgeoisie; and puppets manipulated from below – inhabitants of the popular world of fairs and the public square.Hardcover324 pagesText in Italian and EnglishIdea Books, 202325.5 x 21.5 cmISBN 9791254930762Movements, Avant-Garde

Puppets and the Avantgarde | Marionette e Avan Guardia

Original Price: $50.95 UP TO 20% ADDITIONAL SAVINGS FOR MEMBERS Edited by Timothy O. Benson and Éva Forgács The avant-garde movements of Central Europe were an integral part of modernism’s evolution as it reached its peak throughout the continent during the 1920s. Written documents—manifestoes, artists’ statements, and reviews—were the lifeblood of these movements and, during the periods when political events conspired to isolate them, one of their few means of communication and exchange. Much of this crucial evidence has become lost to us, and the artistic avant-gardes of Central Europe have been a blind spot of modernist studies. Until their narratives have been recovered, the story of modernism will remain incomplete. In this book an international team of scholars has selected an essential compendium of documents that take an important step toward regaining this lost perspective. Between Worlds contains primary documents of the avant-gardes in Austria, the Czech lands, Germany, Hungary, Poland, Romania, and Yugoslavia from 1910 to 1930. The manifestoes and magazines of Western European radical art circles are well known to Western scholars, but few have researched the pages of magazines such as Zenit, Integral, Punct, 75 HP, Tank, and Ma. We know about Italian Futurism but not about Polish Futurism. Few Westerners are aware that French surrealist magazines drew much of their inspiration from Czech publications. The hundreds of documents in the book, almost all of them translated into English for the first time, bring back into circulation landmark texts by the major writers, editors, artists, magazines, and movements of Central Europe. With this publication they are restored to their rightful place in the pantheon of modernism. Between Worlds is distributed for the Los Angeles County Museum of Art. Please note that Rare/Out-of-Print titles are very limited in stock. Hardcover736 pages | 32 illustrationsMIT Press, 20026.6 x 2 x 9.9 inchesISBN 9780262025300Avant-garde, Modernism

Between Worlds: A Sourcebook of Central European Avant-Gardes, 1910-1930

By Magdalena Droste In a fleeting fourteen year period, sandwiched between two world wars, Germany’s Bauhaus school of art and design changed the face of modernity. With utopian ideals for the future, the school developed a pioneering fusion of fine art, craftsmanship, and technology to be applied across painting, sculpture, design, architecture, film, photography, textiles, ceramics, theatre, and installation.As much an intense personal community as a publicly minded collective, the Bauhaus was first founded by Walter Gropius (1883–1969), and counted Josef and Anni Albers, Wassily Kandinsky, Paul Klee, Oskar Schlemmer, Gunta Stölzl, Marianne Brandt and Ludwig Mies van der Rohe among its members. Between its three successive locations in Weimar, Dessau and Berlin, the school fostered charismatic and creative exchange between teachers and students, all varied in their artistic styles and preferences, but united in their idealism and their interest in a “total” work of art across different practices and media.This book celebrates the adventurous innovation of the Bauhaus movement, both as a trailblazer in the development of modernism, and as a paradigm of art education, where an all-encompassing freedom of creative expression and cutting-edge ideas led to functional and beautiful creations. Hardcover96 pagesTaschen, 20158.4 x 0.5 x 10.4 inchesISBN 9783836560146Applied Arts, Bauhaus

Bauhaus (Basic Art Series 2.0)

By Frank Whitford"Concise, well constructed, entertaining and eminently readable"—Architects’ Journal"A much needed and very lucid account"—The Times Educational SupplementThe aesthetic of our contemporary environment, including everything from housing developments to furniture and websites, is partly the result of a school of art and design founded in Germany in 1919, the Bauhaus. While in operation for only fourteen years before being shut down by the Nazis in 1933, the school left an indelible mark on design as well as the practice of art education throughout the world.Placing the Bauhaus into its socio-historic context, Frank Whitford traces the ideas behind the school’s conception and describes its teaching methods. He examines the activities of the teachers, who included artists as eminent as Paul Klee, Josef Albers and Wassily Kandinsky, and the daily lives of the students. This remains the most accessible and highly illustrated introduction to perhaps the most significant design movement of the last hundred years. Paperback216 pagesThames & Hudson, 20206 x 8.4 x 0.7 inchesISBN 9780500204627Movements

Bauhaus (World of Art)

By Mark Escherich, Elke Dallmann, Susanne Knorr, Ulrich WielerIn 2019, the Bauhaus institutions are celebrating the 100th anniversary of the founding of the pioneering school. In the six years up to the move to Dessau in 1925, the first Bauhaus in Weimar left few but notable traces, even beyond the city limits throughout Thuringia. In addition to the World Heritage Sites of the Bauhaus in Weimar, the unknown Bauhaus is in hidden places in Erfurt, Probstzella, Gera or Greiz. In rural areas, former Bauhäusler and their students devoted themselves to projects that in many cases have been unjustly forgotten. The volume invites you to search for clues, to get to know the unknown, early Bauhaus in its effects and after-effects. For example, it is the work and production facilities in the state that ensured that the Bauhaus idea was embedded in the school environment well beyond the Bauhaus in Weimar. Bauhaus coordinates weaves a network of what is built and designed, of events and people, creating a vivid picture of the Weimar Bauhaus era and its most important places of activity in the region, which want to be rediscovered 100 years after the founding of the Bauhaus. Mark Escherich, Elke Dallmann, Susanne Knorr and Ulrich Wieler With a foreword by Gerd Zimmermann With an inserted folding map of the Bauhaus locations in Weimar and Thuringia.Paperback104 pages | 52 black-and-white illustrationsText in GermanIdea Books, 20194.17 x 0.47 x 6.1 inchesISBN 9783944425108Art History, Design

Bauhaus-Koordinaten

By Oliver Zybok, et al.Works from the Stifting Bauhaus Dessau CollectionDespite the famous pedagogical philosophy and teachers of the Bauhaus, the school’s students have never received their due recognition. This historic publication includes works by Theo Balden, Eugen Batz, Max Bill, Marianne Brandt, Werner Drewes, Werner Gilles, Werner Graeff, Carl Marx, Erich Mende, Karl Peter Röhl, Wera Meyer-Waldeck and Fritz Winter.Hardcover192 pages | 179 color illustrationsText in English and GermanHatje Cantz, 20149.1 x 0.8 x 11.2 inchesISBN 9783775736008Bauhaus, Art Theory, Anthology

Bauhaus. Die Kunst der Schüler (Bauhaus. The Art of the Students)

Edited by Walter Gropius and László Moholy-Nagy. A facsimile of the gorgeous Bauhaus edition of Malevich's classic treatise on Suprematism. Kasimir Malevich (1879–1935) debuted his new creative theory of basic geometric shapes with the publication of his Suprematist manifesto in 1915. He later published a follow-up entitled The Non-Objective World in 1927, which further elucidated his vision of an art that emphasized the “primacy of pure feeling.” With Suprematism, Malevich strove to move his artistic focus away from representation, choosing instead to evoke emotion through a fundamental grammar system of squares, circles and other basic shapes. Though he was not an official member of the Bauhaus, Malevich’s emphasis on simplified forms provided an important link between the school of design and the Suprematist movement.As part of the publisher’s ongoing Bauhausbücher series, Lars Müller’s facsimile edition of Malevich’s text is translated into English with the original design and typography. Hardcover102 pages | 92 black-and-white illustrations7 x 9 inchesLars Müller Publishers, 2021ISBN 9783037786642Bauhaus, Facsimile

Kasimir Malevich: The Non-Objective World (Bauhausbücher 11)

Edited by Ute Eggeling & Michael Beck With essays by Volker Adolphs, Tayfun Belgin, Eva Dewes, Janina Dahlmanns, Mara Folini, Helmut Friedel, Gisela Geiger, Cathrin Klinsohr-Leroy, Ulrich Luckhardt, Mario-Andreas von Luttichau, Osamu Okuda, Christian Ring, and Aya Soika. From the first exhibition of German expressionism they saw in Venice, Swiss couple Gabriele and Anna Braglia, fascinated by the vivid colors and great expressive power of the artworks, set about to acquire select paintings, watercolors, and drawings from the movement. Their treasure trove of German expressionism was made accessible to the public in Lugano, Switzerland, in September 2015. This exquisitely produced publication accompanies the exhibition of their exceptional collection, providing a comprehensive overview of approximately fifty works of art. From Paul Klee, Emil Nolde, and the Blaue Reiter artists to Lyonel Feininger and Max Pechstein, the paintings in the Swiss Braglia Collection represent important contributions to German expressionism. Reproduced here in full-page color illustrations, these works are complemented by essays from international experts on the movement. An ideal book for lovers of German expressionism and art in general, Nolde, Klee & Der Blaue Reiter will be appreciated for its pictorial reproductions, its charming and enlightening essays, and as a catalog for this outstanding collection. Hardcover232 pagesHirmer Publishers, 20169.5 x 1.1 x 11.8 inchesISBN 9783777424972Expressionism, Blue Rider

Nolde, Klee & Der Blaue Reiter: The Braglia Collection

By Florian Heine Brimming with stunning reproductions and illuminating texts, this handy and accessible book is the perfect introduction to one of European modern art’s most important movements. Founded in Munich in 1911, the Blue Rider Group was a revolutionary collective of artists that pioneered German Expressionism. Including Wassily Kandinsky, Franz Marc, Natalia Goncharova, Gabriele Münter, and Marianne von Werefkin, the group rejected the prevailing formal and academic artistic trends of their time, sought to break free from the constraints of traditional painting, transcend the material world, and explore emotional and spiritual truths in their art. This book spotlights 35 important works that embody the artists’ pioneering achievements and radical innovations. It features stunning reproductions that highlight the movement’s use of luminous colors, symbolic forms, and expressive brushwork. Paperback112 pagesPrestel, 20246.75 x 0.39 x 8.25 inchesISBN 9783791377339Blue Rider, German Expressionism

The Blue Rider (Masters of Art)

By Dieter BuchhartWith contributions by William Jeffett and Eric RobertsonThe first book to explore the mutual influence of the groundbreaking modernists Kurt Schwitters, Joan Miró, and Hans Arp. Featuring approximately 100 key works, along with numerous reference images, this book explores the work of Kurt Schwitters, Joan Miró, and Hans Arp and the ways in which the artists influenced each others’ artistic pursuits. It examines the artists’ shared commitment to geometric forms over natural ones and their individual strategies for fusing painting and sculpture to mine the depths of assemblage. United by an impulse to renew and transform art, to "assassinate" painting, Schwitters, Miró, and Arp experimented with collage and assemblage in order to build on the achievements of Cubism and break with prior traditions. Not only did their work resonate within their own artistic circles, but it continues to inspire subsequent generations to this day. Hardcover192 pagesPrestel, 20169.3 x 1 x 12.1 inchesISBN 9783791355924Artist Monograph, Art History, Mixed Media, Modernism, Cubism

Schwitters Miró Arp

By Irene Gammel "Irene Gammel's Baroness Elsa mounts an enthusiastic case for her as one of the great unsung modernists."—Village Voice"The Baroness could not have asked for a more thoughtful and engaged monument than Gammel's book."—The New York Times Book Review Elsa von Freytag-Loringhoven (1874-1927) is considered by many to be the first American dadaist as well as the mother of dada. An innovator in poetic form and an early creator of junk sculpture, "the Baroness" was best known for her sexually charged, often controversial performances. Some thought her merely crazed, others thought her a genius. The editor Margaret Anderson called her "perhaps the only figure of our generation who deserves the epithet extraordinary." Yet despite her great notoriety and influence, until recently her story and work have been little known outside the circle of modernist scholars. In Baroness Elsa, Irene Gammel traces the extraordinary life and work of this daring woman, viewing her in the context of female dada and the historical battles fought by women in the early twentieth century. Striding through the streets of Berlin, Munich, New York, and Paris wearing such adornments as a tomato-soup can bra, teaspoon earrings, and black lipstick, the Baroness erased the boundaries between life and art, between the everyday and the outrageous, between the creative and the dangerous. Her art objects were precursors to dada objects of the teens and twenties, her sound and visual poetry were far more daring than those of the male modernists of her time, and her performances prefigured feminist body art and performance art by nearly half a century. Paperback562 pagesThe MIT Press, 20037 x 1.3 x 9 inchesISBN 9780262572156Dada

Baroness Elsa: Gender, Dada, and Everyday Modernity

By Lucy R. Lippard A protest against the brutality of World War I and a rejection of traditional culture and aesthetics, the Dada movement proclaimed itself as anti-art. In the visual arts, literature, and graphic design, the Dadas shocked and scandalized audiences of the early 1900s with their expressions of disillusionment with politics and society. This select anthology reconstructs the movement's anarchic history and its harsh, vivid spirit by presenting the prose, poetry, and polemic of the artists themselves and their poet friends. Focusing chiefly on visual artists, this collection ranges from Tristan Tzara's manifesto and Jean Arp's declaration of Dada principles to statements by Man Ray and Jean Cocteau. It features interviews with Hannah Höch and Marcel Duchamp, in addition to articles by Max Ernst, Richard Hülsenbeck, Marcel Janco, Hans Richter, George Grosz, and other prominent figures. Editor Lucy R. Lippard—a well-known feminist art critic, author, and theorist—provides brief biographies for each contributor. These absorbing and provocative insights into Dada philosophy illustrate the movement's enduring vitality and its continuing power to affect modern art. Paperback192 pagesDover Publications, reprint edition 2007Original publish date 19715.4 x 0.4 x 8.4 inchesISBN 9780486456997Dada, Art Theory

Dadas on Art; Tzara, Arp, Duchamp and Others

By Matthew Biro"Matthew Biro’s spirited account of the cyborg in the Berlin Dada movement reveals how artists imagined new forms of hybrid identity and challenged contemporaries to reflect on their own technologically-mediated lives. Engaging with politics, perception, embodiment, and the urban experience to define what it means to be human, Dada artists developed constellations of questions that remain central to artistic practices today. Brushing history against the grain, as Benjamin urged us to do, Matthew Biro combines formal analysis with critical theory to understand Weimar Germany’s profound cultural legacy." —Maria Tatar, Harvard University"Impressively well-researched, The Dada Cyborg provides a series of insightful readings of various montage works and activities in order to reconstruct the Dada movement as one with which we—as citizens of a cyborgian age—should be deeply familiar." —Lutz Koepnick, author of Framing Attention: Windows on Modern German CultureIn an era when technology, biology, and culture are becoming ever more closely connected, The Dada Cyborg explains how the cyborg as we know it today actually developed between 1918 and 1933 when German artists gave visual form to their utopian hopes and fantasies in a fearful response to World War I.In what could be termed a prehistory of the posthuman, Matthew Biro shows the ways in which new forms of human existence were imagined in Germany between the two world wars through depictions of cyborgs. Examining the work of Hannah Höch, Raoul Hausmann, George Grosz, John Heartfield, Otto Dix, and Rudolf Schlichter, he reveals an innovative interpretation of the cyborg as a representative of hybrid identity, as well as a locus of new modes of awareness created by the impact of technology on human perception. Tracing the prevalence of cyborgs in German avant-garde art, Biro demonstrates how vision, hearing, touch, and embodiment were beginning to be reconceived during the Weimar Republic.Biro’s unique and interdisciplinary analysis offers a substantially new account of the Berlin Dada movement, one that integrates the group’s poetic, theoretical, and performative practices with its famous visual strategies of photomontage, assemblage, and mixed-media painting to reveal radical images of a “new human.”Paperback 336 pages | 50 black-and-white photos7 x 10 inches University of Minnesota Press, 2009ISBN 9780816636204Dada, Avant-Garde

The Dada Cyborg - Visions of the New Human in Weimar Berlin

By Michael White "With Generation Dada, White has presented readers with a powerful new portrait of an avant-garde that flourished in one of the most fraught cities of the early twentieth century." —Catherine Craft, Burlington Magazine“In a well researched, detailed examination of the Berlin avant-garde in the context of WWI, White . . . offers a fresh analysis of the key events and personal relationships that helped form the artistic practices of some of the central figures of the German Dada movement. In an informative but refreshingly accessible style, the author manages to pay close attention to the intricacies of cultural and historical context as well as the formal elements of the works themselves . . . demonstrating a keen eye for the relationship between content and form.” —ChoiceFor the Berlin Dadaists, their identity as a collective—Club Dada, to members—was an integral part of their artistic practice. But the circumstances that brought together the likes of George Grosz, John Heartfield, Raoul Hausmann, and Johannes Baader—renamed Propaganda Marshall, Monteurdada, Dadasoph, and Oberdada within the organization—have remained largely unexamined until now. Drawing on extensive archival research, this book documents the group'ss beginnings in wartime Berlin and reveals how these relationships influenced its provocative acts, which were inextricably tied to the era's chaos and brutality. Studying how the Dadaists saw themselves as a new generation—in contrast to their pacifist forebears, the Expressionists—the book sheds light on key developments and events, such as the First International Dada Fair, held in Berlin in 1920. It also offers the first serious consideration of the group's role in constructing its own legacy, even as the works were deliberately rooted in the ephemeral.Michael White is reader in the history of art at the University of York and is best known internationally for his research on the early-20th-century De Stijl group in the Netherlands. Hardcover382 pages | 20 color and 130 black-and-white illustrationsYale University Press, 20137.8 x 1.2 x 10 inchesISBN 9780300169034Art History, Dada, German History

Generation Dada: The Berlin Avant-Garde and the First World War

Edited by Roland Marz With contributions by Peter-Klaus Schuster, Ronald Marz, Olaf Peters, Anke Daemgen, and Andrea Hollmann This exhibition presented a selection of important paintings from the Nationalgalerie, Berlin, one of Germany's major collections of twentieth-century art. Major Expressionist and Neue Sachlichkeit artists represented include Max Beckmann, Otto Dix, George Grosz, Erich Heckel, Ernst Ludwig Kirchner, Emil Nolde, Max Pechstein, and Karl Schmidt-Rotluff. Arranged thematically and with in-depth explanatory texts, the catalog traces the evolution of German art as it moved from the mountains to city life, from optimism to bitter disillusionment. Essays by key scholars and curators examine these artists’ varied responses to their country’s abrupt encounter with industrialization and urbanization. Please note that this book is Out of Stock. Hardcover164 pagesNeue Galerie New YorkPrestel, 200411.5 x 9.6 x 0.8 inches ISBN 9783791330419Neue Galerie Exhibition Catalogue, Expressionism

SOLD OUT - Arcadia and Metropolis: Masterworks of German Expressionism from the National Galerie Berlin

Edited by Pamela Kort Filled with irreverent wit, comical elements, and absurdist humor, the comic-grotesque has fascinated artists since ancient times. However, it was not until the late nineteenth century that it reemerged as a novel modernist method. This catalog begins with Arnold Böcklin's comic-grotesque pictorial compositions, and brings together a dazzling array of artists-including Paul Klee, Max Klinger, Alfred Kubin, Emil Nolde, and Max Ernst-who, inspired by his example, forged a unique aesthetic with enormous consequences for modern German art. Essays consider the connection between the visual arts and the rise of cabaret culture and satirical journals. In addition, the authors examine the legacy of the comic-grotesque in relation to the denunciation of Böcklin's art and its eventual reemergence in the work of the Dadaists. Please note that Rare/Out-of-Print titles are very limited in stock.Hardcover208 pagesNeue Galerie New YorkPrestel, 200411.5 x 9.6 x 1 inchesISBN 9783791331959Neue Galerie Exhibition Catalogue, Modernism, Dadaism, Essays

Comic Grotesque: Wit and Mockery in German Art, 1870-1940

Edited by Olaf Peters "An excellent collection of most of the works that made up the Nazi’s notorious 1937 Degenerate Art Exhibition." ―The Daily Beast This book accompanies the first major museum exhibition devoted to a reconstruction of the infamous Nazi display of modern art since the presentation originated by the Los Angeles County Museum of Art in 1991. During the Nazi regime in Germany, "degenerate art" was the official term for much of the most important modern art of the day. "Degenerate art" was defined by the Nazi regime as artwork that was not in line with the National Socialists' ideas of beauty. Their condemnation extended to works in nearly every major art movement: Expressionism, Dada, New Objectivity, Surrealism, Cubism, and Fauvism. Banned artists included Max Beckmann, Paul Klee, and Oskar Kokoschka. Richly illustrated, Degenerate Art elucidates the historical and intellectual context of the notorious exhibition in Munich in 1937, which spurred the attack on modern art. The book contains reflections on the genesis and evolution of the term "degenerate art" and details of the National Socialist policy on art. Art works from the exhibition Degenerate Art are compared to works of art from The Great German Art Exhibition, which was held at the same time and displayed the works of officially approved artists. The book also presents the after-effects of the attack on modernism that are felt even today. Please note that Rare/Out-of-Print titles are very limited in stock.Hardcover320 pagesNeue Galerie New YorkPrestel, 20149.5 x 1.3 x 11.2 inchesISBN 9783791353678Neue Galerie Exhibition Catalogue, Modernism, Art History, Essays

SOLD OUT - Degenerate Art: The Attack on Modern Art in Nazi Germany 1937 Exhibition Catalogue

Preface by Ronald S. Lauder and Renee PriceWith contributions from Leonhard Helten, Sharon Jordan, Olaf Peters, Jana Nentwig, Dorothy Price, Jurgen Muller and Adelheid Rasche This lavishly illustrated book examines Berlin in depth during a period of explosive growth between the two world wars. Between 1871 and 1919, the population of Berlin quadrupled, and the city became the political center of Germany, as well as the turbulent crossroads of the modern age. This was reflected in the work of artists, directors, writers, and critics of the time. As an imperial capital, Berlin was the site of violent political revolution and radical aesthetic innovation. After the German defeat in World War I, artists employed collage to challenge traditional concepts of art. Berlin Dadaists reflected upon the horrors of war, and the terrors of revolution and civil war. Between 1924 and 1929 as the spirit of modernity took hold, jazz, posters, magazines, advertisements, and cinema played a central role in the development of Berlin’s urban experience. The concept of the “Neue Frau”—the modern, emancipated woman–helped move the city in a new direction. Finally, Berlin became a stage for political confrontation between the left and the right and was deeply affected by the economic crisis and mass unemployment at the end of the 1920s. This book explores in numerous essays and illustrations the artistic, cultural, and social upheavals in Berlin between 1918 and 1933, and places them in a broader historical framework.Hardcover400 pages | 400 color illustrations, 40 black-and-white illustrationsNeue Galerie New YorkPrestel Verlag, 20159.6 x 1.7 x 11.5 inchesISBN 9783791354903Neue Galerie Exhibition Catalogue, Art History, Dadaism, Modernism

Berlin Metropolis: 1918-1933 Exhibition Catalogue

Edited by Olaf PetersWith contributions by Stefanie Heckmann, Andreas Huyssen, Alfred Pfabigan, and Ernst Ploil This generously illustrated and comprehensive book examines German and Austrian artists in the 1930s as they reacted to a time of crisis and dissent.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 Gütersloh, 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. This catalogue carries key works of known artists like Max Beckmann, Otto Dix, Max Ernst, Oskar Kokoschka and Alfred Kubin and less known artist like Friedl Brandeis, Albert Pari Gütersloh. Hardcover288 pagesNeue Galerie New York Prestel, 20189.6 x 1.3 x 11.5 inchesISBN 9783791357607Neue Galerie Exhibition Catalogue, Art History, Essays

Before the Fall: German and Austrian Art of the 1930s Exhibition Catalogue

Original Price: $45.00 UP TO 20% ADDITIONAL SAVINGS FOR MEMBERS Edited by Jill Lloyd and Michael Peppiatt The paintings of Vincent van Gogh (1853-1890) became the epitome of modern, international art during the period after his death up to the outbreak of World War I. In no other country was Van Gogh so admired as he was in Germany: Ernst Ludwig Kirchner and other artists of Die Brücke were fascinated by Van Gogh's brushwork and strongly contrasting colors as well as by the dynamic aura of his glowing palette. Vasily Kandinsky and the artists of Der Blaue Reiter esteemed Van Gogh for rejecting visible reality and penetrating the essence of nature. Austrian artists Egon Schiele and Oskar Kokoschka, on the other hand, were especially impressed by the soulful expression of Van Gogh's art and his insightful psychological portraits. This catalog examines the enormous influence of Van Gogh on German and Austrian Expressionism. It presents numerous masterpieces by Van Gogh and the Expressionists, including extremely powerful works by the painters of Die Brücke, Der Blaue Reiter, and the Viennese avant-garde. Please note that Rare/Out-of-Print titles are very limited in stock. Hardcover180 pagesNeue Galerie New YorkHatje Cantz, 200711.4 x 9.7 x 0.9 inches ISBN 9783775719162Neue Galerie Exhibition Catalogue, Expressionism, Die Brücke, Blue Rider

Van Gogh and Expressionism Exhibition Catalogue

By Norbert Wolf “This comprehensive overview incorporates an impressive range of reproductions.” —The Independent Sharp angles, strange forms, lurid colors, and distorted perspectives are classic hallmarks of Expressionism, the twentieth century movement that prioritized emotion over objective reality. Though particularly present in Germany and Austria, the movement’s approach flourished internationally and is today hailed as one of the most influential shifts in art history.With leading groups Die Brücke (The Bridge) and Der Blaue Reiter (The Blue Rider), and key players such as Wassily Kandinsky, Egon Schiele, and Emil Nolde, the Expressionists disowned Impressionism, which they regarded as “man lowered to the position of a gramophone record of the outer world”, to depict instead a raw and visceral experience of life as it was felt, rather than seen on the surface. Their paintings brim with emotive force, conveyed in particular through intense and non-naturalistic color palettes, loose brushwork, and thick textures.Covering the group’s stylistic tendencies, influences, and most important protagonists, this introductory book explores the Expressionist panorama of moods, ideas, and emotions and their abiding quest for deep authenticity. Hardcover96 pagesTaschen, 20158.4 x 0.5 x 10.3 inchesISBN 9783836505284Expressionism

Expressionism (Basic Art Series 2.0)

Edited by Fabio Benzi and Renske Cohen Tervaert Contributions by Fabio Benzi, Maria Elena Versari, Manuel Barrese, Verena Krieger, Sjoerd Van Faassen, Monica Cioli, Francesco Tedeschi, Christine Poggi, Lotte Johnson, Niccolo` D’agati, Eugenia Paulicelli, Günter Berghaus, Marta Braun, Matteo Fochessati, Gianni Franzone, Silvia Barisione, Paolo Bolpagni and Alberto Cibin A new, expansive study on Futurism which explores for the first time its relationships with other European avant-gardes during 1912 to 1939Futurism & Europe: The Aesthetics of a New World examines for the first time the many interconnections between Futurism and other European avant-gardes as varied as the Bauhaus in Germany, De Stijl in the Netherlands, Omega Workshops in Britain, Constructivism in Russia and Esprit Nouveau in France. Featuring over twenty essays by an international team of experts, this expansive book covers a range of topics and mediums including painting, sculpture, architecture, interior and stage designs, graphic work, fashion, theatre and cinema, as well as a diverse variety of functional objects from furniture and carpets to ceramics and toys.Spanning various avant-gardes from 1912 to 1939, artists featured include Italian futurists such as Giacomo Balla, Umberto Boccioni and Fortunato Depero, alongside other European artists including Sonia Delaunay, Le Corbusier, Fernand Léger, Walter Gropius, Alexander Rodchenko, Fritz Lang, László Moholy-Nagy, Wassily Kandinsky, Hans Arp, Duncan Grant, Natalia Goncharova and Vladimir Tatlin. Broad in scope, this pioneering book examines the intersections between Futurism and other European avant-garde movements in their shared quest for a new aesthetic, triggering a lively exchange of new ideas, friction and rivalry. Hardcover384 pages | 400 color illustrations8.87 x 11.80 inchesYale University Press, 2023ISBN 9780300272406Futurism, European Art

Futurism & Europe The Aesthetics of a New World

von Cathrin Klingsöhr-Leroy Künstlerbildnisse im Kreis von Brücke und Blauem Reiter Die Künstlergruppen Brücke und Blauer Reiter wollten die Welt mit ihren Bildern verändern. Wer waren diese Revolutionäre der Kunst und wie sahen sie sich selbst? Der Band zeigt Selbstbildnisse der Malerinnen und Maler sowie Porträts und Fotos, die sie gegenseitig von sich fertigten, und spürt so der Entwicklung eines radikal neuen Künstlerselbstverständnisses nach.Indem Malerinnen und Maler der Avantgarde den Bruch mit dem traditionellen Kunstbegriff provozierten, mussten sie sich selbst neu erfinden. Dieses neue, zunehmend individualisierte Selbstverständnis, das sich in den Porträts niederschlägt, spiegelt sich auch in Tagebüchern, Briefen, Programmen und Streitschriften. Die Gegenüberstellung der unterschiedlichen Bildnisse zeigt den spannenden Prozess der Selbstinszenierung, das Ringen mit Traditionen, das Gemeinsame der Künstlerfreunde, aber auch ihr Bedürfnis nach Abgrenzung.Hardcover152 SeitenText in GermanHirmer Verlag GmbH, 20229.5 x 12 x 1 inchesISBN 9783777437927German Expressionism, Brücke und Blauer Reiter

Ich Bin Mein Stil

By Charles Dellheim "This is a magisterial book. Wide-ranging yet closely focused, detailed yet suspenseful, it should be required reading for all who make art or collect it. Gracefully written and sumptuously illustrated throughout, Belonging and Betrayal is an important—even indispensable—contribution to the field."—Nicholas Delbanco, author of Why Writing Matters"A major contribution to understanding a profound Jewish goal to belong and succeed, only to be betrayed by willful acts by Nazis and their collaborators. This impressive book will engage you, surprise you, anger you, and above all, enrich you." —Richard I. Cohen, The Hebrew University of Jerusalem, author of Jewish Icons"Brilliantly evocative and deeply researched, Charles Dellheim’s Belonging and Betrayal is a superb addition to the ongoing discussion on art ownership, theft, and restoration." —David H. Lynn, editor emeritus of The Kenyon ReviewSince the late 1990s, the fate of Nazi stolen art has become a cause célèbre. In Belonging and Betrayal, Charles Dellheim turns this story on its head by revealing how certain Jewish outsiders came to acquire so many old and modern masterpieces in the first place—and what this reveals about Jews, art, and modernity. This book tells the epic story of the fortunes and misfortunes of a small number of eminent art dealers and collectors who, against the odds, played a pivotal role in the migration of works of art from Europe to the United States and in the triumph of modern art. Beautifully written and compellingly told, this story takes place on both sides of the Atlantic from the late nineteenth century to the present. It is set against the backdrop of critical transformations, among them the gradual opening of European high culture, the ambiguities of Jewish acculturation, the massive sell-off of aristocratic family art collections, the emergence of different schools of modern art, the cultural impact of World War I, and the Nazi war against the Jews.Hardcover688 pages7 x 10 inches Brandeis University Press, 2021ISBN 9781684580569 Modernism, Jewish Studies, History

Belonging and Betrayal: How Jews Made the Art World Modern

By Robin Schuldenfrei "One of the most interesting and essential texts on modernism to be written in the last decade. . . . Schuldenfrei has made a fairly niche art historical subject incredibly approachable with brilliant but accessible text. . . . [Objects in Exile] is a phenomenally well researched and important text on the subject and should be required reading for anyone interested in modern art and design."---Angelina Lippert, New York Journal of Books "A thought-provoking read that sheds light on the hidden narratives of objects and their profound influence on our collective heritage."-- "Metropolis" In the fraught years leading up to World War II, many modern artists and architects emigrated from continental Europe to the United States and Britain. The experience of exile infused their modernist ideas with new urgency and forced them to use certain materials in place of others, modify existing works, and reconsider their approach to design itself. In Objects in Exile, Robin Schuldenfrei reveals how the process of migration was crucial to the development of modernism, charting how modern art and architecture was shaped by the need to constantly face—and transcend—the materiality of things. Taking readers from the prewar era to the 1960s, Schuldenfrei explores the objects these émigrés brought with them, what they left behind, and the new works they completed in exile. She argues that modernism could only coalesce with the abandonment of national borders in a process of emigration and resettlement, and brings to life the vibrant postwar period when avant-garde ideas came together and emerged as mainstream modernism. Examining works by Walter Gropius, László Moholy-Nagy, Lucia Moholy, Herbert Bayer, Anni and Josef Albers, and others, Schuldenfrei demonstrates the social impact of art objects produced in exile. Shedding critical light on how the pressures of dislocation irrevocably altered the course of modernism, Objects in Exile shows how artists and designers, forced into exile by circumstances beyond their control, changed in unexpected ways to meet the needs and contexts of an uncertain world. Hardcover352 pages | 76 color + 82 black-and-white illustrations Princeton University Press, 20247.5 x 10.5 inchesISBN 9780691232669 Modernism

Objects in Exile: Modern Art and Design across Borders, 1930–1960

Edited by Konstantin Akinsha With preface by Ronald S. Lauder, foreword by Renée Price,and essays by Konstantin Akinsha, Vivian Endicott Barnett, Natalia Murray, Irina Romanova, Jane Sharp, and Aleksandra Shatskikh This book explores the direct connections and collaborations of German and Russian artists and the affinities between both countries’ artistic development. Russian Modernism maps the Russian version of expressionism and puts it in the context of the history of 20th century art. Russian Modernism is dedicated to the radical modernist movements in Russian and German art during the early years of the 20th century. Their development was parallel and often intertwined. Artists such as Vasily Kandinsky or Alexej von Jawlensky are claimed by the Germans but remain Russian artists for the Russians. The Burluk brothers, who became celebrities of the Russian radical art scene, participated in the first exhibition of the Blauer Reiter. Russian artists travelled to Germany and lived there, while their German counterparts were aware of what was shown in Moscow exhibition halls. The diverse art movement “expressionism” was formed in Germany at the beginning of the 1910s and was given the name by the critic Herwarth Walden. Members of groups such as Die Brücke and the Blauer Reiter were initially influenced by the French Fauves movement, and their Russian contemporaries also tried to find new artistic truth in Paris, ‘la Ville Lumière’. However, both in Germany and Russia the new French influence underwent radical transformation. Beautifully illustrated and designed, this book provides an insight into the work of Russian and German artists in the early years of the 20th century. Hardcover208 pages | 160 color illustrations, 100 black-and-white illustrationsNeue Galerie New YorkPrestel, 20159.3 x 11.2 in.ISBN 9783791354583Neue Galerie Exhibition Catalogue, Russian Modernism, Movements

Russian Modernism: Cross-Currents of German and Russian Art, 1907-1917 Exhibition Catalogue

Edited by Ulrike Groos and Anja Richter Text by Jan Bürger Whether in the visual arts, literature, cinema, science or fashion–in the crises after World War I, the fascination with “types” was largely influenced by a debate that was pervasive in the Weimar period: the search for the “face of the era.” People were looking for new role models, and the portraits by artists of the New Objectivity movement such as Otto Dix, George Grosz, Jeanne Mammen and Hanna Nagel testify to this. Many of the clichéd images, such as those of the “new woman” or the “worker,” however, continue to have an effect in the present, reminding us with their classification of individuals of a problem that lives on in today’s bigotry.A broad spectrum of contributors from art history, medical history, media studies, and sociology venture into a detailed investigation of the historical context of the 1920s and the complex interactions between art and its time. An installation developed especially for the exhibition by contemporary artist Cemile Sahin, born in 1990, spans an arc to the present.FEATURED ARTISTS:Atelier Gerstenberg, Hans Baluschek, Rudolf Bergander, Albert Birkle, Richard Birnstengel, Friedrich Bochmann, Steffi Brandl, Gottfried Brockmann, Friedrich Busack, Heinrich Maria Davringhausen, Dodo (Dörte Clara Wolff), Erich Drechsler, Kate Diehn-Bitt, Rudolf Dischinger, Otto Dix, Erich Drechsler,Hermann Fechenbach, Conrad Felixmüller, Fred Goldberg, Otto Griebel, George Grosz, Hans Grundig, Lea Grundig, Elsa Haensgen-Dingkuhn, Hainz Hamisch, Olga Hayduk, Nini und Carry Hess, Heinrich Hoerle, Karl Hubbuch, Lotte Jacobi, Grethe Jürgens, Alexander Kanoldt, Annelise Kretschmer, Bernhard Kretzschmar, Paula Lauenstein, Lotte Lesehr-Schneider, Elfriede Lohse-Wächtler, Jeanne Mammen, Hanna Nagel, Gerta Overbeck, Lotte B. Prechner, Kurt Querner, Anton Räderscheidt, August Sander, Christian Schad, Josef Scharl, Rudolf Schlichter, Wilhelm Schnarrenberger, Georg Scholz, Friedrich Seidensticker, Alice Sommer, Cami Stone, Erika Streit, Ernst Thoms, Adolf Uzarski, Kurt Weinhold, Erik Winnertz,Richard Ziegler and Cemile SahinHardcover304 pages | 180 illustrationsHatje Cantz, 2023Text in German and English11.8 x 9.1 inchesISBN 9783775756006New Objectivity, Portraiture

Look at the People!/Sieh Dir Die Menschen An!: The New Objectivity "Type" Portrait in the Weimar Period

Original Price: $75.00 UP TO 20% ADDITIONAL SAVINGS FOR MEMBERS Edited by Olaf Peters On the eve of its subject's centennial, this richly illustrated and meticulously researched catalog celebrates—and reconsiders—one of the twentieth century's most significant artistic movements. Gustav F. Hartlaub’s 1925 exhibition “Neue Sachlichkeit” (New Objectivity) for the Kunsthalle Mannheim was a pivotal event that showcased a new artistic movement in Germany, characterized by its critical realism, social commentary, and detailed depiction of contemporary life; it marked a significant departure from Expressionism’s emotional intensity. But it was divided by two philosophies—the unflinching and socially critical Verists (Otto Dix, George Grosz, Georg Scholz, and others) and the Classicists (Alexander Kanoldt, Georg Schrimpf, and Christian Schad) who focused on harmony and beauty. This wide-ranging survey explores the tension between these camps and interprets it as a coherent chapter in art history. Essays by leading experts shed new light on the movement through the lens of regionality while considering a wide spectrum of media: architecture, design, drawings, film, paintings, photography, and philosophy. Their illuminating texts are accompanied by stunning reproductions of works such as Otto Dix’s Portrait of the Lawyer Dr. Fritz Glaser; Georg Scholz’s Of Things to Come; and Marcel Breuer’s Chair B 33. Impeccably produced and researched, this volume captures the ways that the New Objectivity proponents mirrored the Weimar period’s cultural, political, and social complexities. Hardcover304 pages | 200 color illustrationsPrestel Publishing, 20259.3 x 11.2 inchesISBN 9783791377926Neue Galerie Exhibition Catalogue

Neue Sachlichkeit / New Objectivity Exhibition Catalogue

Edited by Lærke Rydal Jørgensen and Kirsten Degel Foreword by Kirsten Degel and Poul Erik Tøjner Included text by Anthony Lane, Catherine Wermester, Werner Möller, Herbert Molderings, Patrick Rössler, Angela Lampe, Christopher Isherwood, Alfred Döblin, Irmgard Keun, Bertolt Brecht, Marieluise Fleisser, Vicki Baum, and Hans Fallada A sweeping journey through the roaring art and culture of the Weimar Republic. At the center of this volume are the Neue Sachlichkeit (New Objectivity) artists—Otto Dix, George Grosz and Albert Renger-Patzsch—and the groundbreaking photographer August Sander, in particular his famed series People of the 20th Century, which portrayed both prominent and anonymous Germans from all parts of society in a simple and matter-of-fact pictorial style. Sander and the Neue Sachlichkeit artists both pursued an anti-Expressionist aesthetic, embracing social engagement and a rejection of romantic idealism. The Cold Gaze also looks at the extraordinary writers associated with the Weimar Republic, such as Vicki Baum, Bertolt Brecht, Alfred Döblin, Hans Fallada, Erich Kästner and Christopher Isherwood. Further points of focus by a range of contributing writers include Germany’s Americanization during this period; Marcel Breuer’s innovations in furniture design; the invention and ascent of the Futura font; the Weimar cult of technology; and much more.This richly illustrated catalog unfolds a period that was at once euphoric and harsh, an extraordinary moment in modernity birthed in the shadows between two world wars.Hardcover128 pages | 70 color and 77 black-and-white photosLouisiana Museum of Modern Art, 202310.25 x 8.5 inches ISBN 9788793659599 New Objectivity, German Art

The Cold Gaze: Germany in the 1920s

Edited by Jill Lloyd and Christian Witt-Dörring With this publication and its related exhibition, the Neue Galerie New York sheds new light on the subject of Vienna 1900 by revealing a common thread running through the fine and decorative arts of the period: the redefining of individual identity in the modern age. In fine art, decorative arts, and music, this entails both a dialogue between surface ornamentation and inner structure, and a search for a specifically modern, Viennese sense of self. Both the exhibition and the catalog also explore the new attitudes towards gender and sexuality that surface in Viennese literature and psychology at the time. With an interdisciplinary approach that covers not only art and design, but also music, literature, psychology, philosophy, and social history, a group of leading international scholars in the field reflects upon preoccupations of identity and how Vienna came to lead the way in so many fields. The book also treats the rise of modern and independent-minded patrons at the fin de siècle. Please note that Rare/Out-of-Print titles are very limited in stock. Hardcover288 pagesNeue Galerie New YorkHirmer, 201111.4 x 9.6 x 1.3 inchesISBN 9783777434414Neue Galerie Exhibition Catalogue, Austrian History, Art History

Vienna 1900: Style and Identity Exhibition Catalogue

By Rainer Metzger Poets and intellectuals brushed shoulders in bustling coffeehouses, young avant-gardists heralded a new era in social and sexual liberalism, waltzes resounded through the Ringstraße, the Vienna Secession preached “to every age its art, to every art its freedom,” and tremors warned of looming political disintegration when the Austrian capital passed into a new century.Across economics, science, art, and music, Vienna blossomed into a “laboratory of modernity,” one which nurtured some of the greatest artistic innovators―from Egon Schiele’s unflinching nude portraits to Gustav Klimt’s decadent Portrait of Adele Bloch-Bauer I, from the ornamental seams and glass floors of Otto Wagner to Ditha Moser’s calendars adorned in golden deities.Discover the Zeitgeist, the scandals, and the extraordinary protagonists in this introduction to a transformative epoch. Across painting, sculpture, architecture, and design, we explore all the movers and shakers through insightful profiles and crisp double-page reproductions. Marking the centenary of the deaths of some of its brightest talents, this collection joins Vienna in its 2018 celebration of Modernism.“In most cities, the streets are paved in asphalt―in Vienna, they’re made of culture.”—Karl Kraus Hardcover96 pagesTaschen, 20188.5 x 0.5 x 10.3 inchesISBN 9783836567053Austrian History, Art History

Vienna Around 1900

By Megan Brandow-Faller“Impeccably researched, The Female Secession is an invaluable contribution to scholarship on early twentieth-century Austrian art and to feminist art history. Brandow-Faller persuasively argues that the self-consciously feminine art produced by Women’s Academy artists should be understood as part of a feminist lineage that leads through the artwork of 1970s feminist artists such as Judy Chicago and Miriam Schapiro and on to that of craftivists of the twenty-first century.”—Bibiana Obler, author of Intimate Collaborations: Kandinsky and Münter, Arp and Taeuber“This beautifully illustrated study brings new attention to the overlooked achievements of women artists in Vienna in the early twentieth century. It is a much-needed contribution to design history that illuminates the role of gender in Central European art education and professional practice.”—Rebecca Houze, author of Textiles, Fashion, and Design Reform in Austria-Hungary Before the First World War: Principles of DressDecorative handcrafts are commonly associated with traditional femininity and unthreatening docility. However, the artists connected with interwar Vienna’s “female Secession” created craft-based artworks that may be understood as sites of feminist resistance. In this book, historian Megan Brandow-Faller tells the story of how these artists disrupted long-established boundaries by working to dislodge fixed oppositions between “art” and “craft,” “decorative” and “profound,” and “masculine” and “feminine” in art.Tracing the history of the women’s art movement in Secessionist Vienna—from its origins in 1897, at the Women’s Academy, to the Association of Austrian Women Artists and its radical offshoot, the Wiener Frauenkunst—Brandow-Faller tells the compelling story of a movement that reclaimed the stereotypes attached to the idea of Frauenkunst, or women’s art. She shows how generational struggles and diverging artistic philosophies of art, craft, and design drove the conservative and radical wings of Austria’s women’s art movement apart and explores the ways female artists and craftswomen reinterpreted and extended the Klimt Group’s ideas in the interwar years. Brandow-Faller draws a direct connection to the themes that impelled the better-known explosion of feminist art in 1970s America. In this provocative story of a Viennese modernism that never disavowed its ornamental, decorative roots, she gives careful attention to key primary sources, including photographs and reviews of early twentieth-century exhibitions and archival records of school curricula and personnel.Engagingly written and featuring more than eighty representative illustrations, The Female Secession recaptures the radical potential of what Fanny Harlfinger-Zakucka referred to as “works from women’s hands.” It will appeal to art historians working in the decorative arts and modernism as well as historians of Secession-era Vienna and gender history.Hardcover304 pages | 27 color, 60 black-and-white illustrations Penn State University Press, 20208 x 10 x 1 inchesISBN 9780271085043Art History, Women Studies, Vienna

The Female Secession: Art and the Decorative at the Viennese Women’s Academy

von Anna Grosskopf und Tobias HoffmannFrauen im Fokus: Der Band präsentiert 42 faszinierende Künstlerinnen, die in der namhaften Sammlung des Bröhan-Museums vertreten sind. Von den Malerinnen der Berliner Secession über die Frauen der Wiener Werkstätte bis zu Metall-, Keramik-, Möbel- und Textildesignerinnen der Bauhauszeit zeigt sich ein breites Panorama weiblicher Gestaltung.Hardcover224 Seiten, 150 Abbildungen in FarbeText in GermanHirmer Verlag, 20238.6 x 10.2 InchesISBN 9783777440095Movements, Wiener Werkstätte

Ansehen! Kunst und Design von Frauen 1880 - 1940

By Christian Witt-Dorring and Janis StaggsThe Wiener Werkstätte, founded by Josef Hoffmann, Koloman Moser, and Fritz Waerndorfer, was an artists’ and craftsmen’s collective that existed in Vienna from 1903 until 1932. The artists’ goal was to bring high-quality design and craft into all areas of life and to elevate everyday objects into pieces of art. During that time, the collective produced items in a variety of media including ceramics, furniture, glass, jewelry, metalwork, and textiles. The Wiener Werkstätte style influenced generations of architects from Bauhaus to Art Deco. This book features the work of well-known Wiener Werkstätte members such as Josef Hoffmann, Koloman Moser, and Dagobert Peche along with lesser known designers such as Gudrun Baudisch, Carl Otto Czeschka, and Ugo Zovetti. It also includes in-depth essays that explore the Wiener Werkstätte’s long history and legacy.Hardcover577 pagesNeue Galerie New YorkPrestel, 20179.5 x 2.2 x 11.5 inchesISBN 9783791357164Neue Galerie Exhibition Catalogue, Jewelry, Applied Arts, Design

Wiener Werkstätte 1903-1932: The Luxury of Beauty Exhibition Catalogue

Edited by Janis Staggs This publication accompanied the first major museum exhibition devoted exclusively to Wiener Werkstätte jewelry. It highlights masterpieces created by Josef Hoffmann, Koloman Moser, Carl Otto Czeschka, and Dagobert Peche, among others. Supplemental materials include design drawings, as well as historic photographs of prominent clients. There is a particular emphasis on fashion designer Emilie Flöge, confidante of Gustav Klimt, who assembled a large jewelry collection. The central essay by Neue Galerie Director of Curatorial and Manager of Publications, Janis Staggs examines the founding of the Wiener Werkstätte, the development of its working program, the role of key designers and patrons, and the legacy of this unique form. Hardcover118 pagesNeue Galerie New YorkHatje Cantz, 2008; Reprinted 201711.5 x 9.25 x 0.75 inchesISBN 9781931794190Neue Galerie Exhibition Catalogue, Jewelry

Wiener Werkstätte Jewelry

Edited by Lars Müller Although Piet Mondrian (1872–1944) was not an active member of the Bauhaus, his name is often mentioned in connection with the art school. Mondrian, cofounder of the De Stijl movement in the Netherlands, called for a strict reduction of visual language to orthogonal composition and primary colors, which met with great approval in Bauhaus circles. His rigorous geometric compositions of verticals and horizontals and strident palette of essential colors were important to numerous Bauhaus masters; Mondrian’s influence appeared in Bauhaus architecture, product design, typography, graphic design, painting and beyond. It is therefore not surprising that Mondrian’s essays on art theory, most of them written for the De Stijl journal, were translated into German and published as number five in the Bauhausbücher series. New Design starts with a philosophical foray into art, which Mondrian describes as a figurative expression of human existence—an expression which will find its natural conclusion in his own concept of a “New Design.” Mondrian then considers the relationship between painting and architecture and dares to take a far-reaching look at the future of Neoplasticism, which he imagines revolutionizing design and architecture around the world. Harry Holtzman's renowned translations of Mondrian's selected essays appear in New Design as a complete compilation for the first time. The publication is true to the content and design of the German first edition of 1925 and includes a brief scholarly commentary. Hardcover68 pagesLARS MÜLLER PUBLISHERS, 20197 x 9 inchesISBN 9783037785867Artist Monograph, Theory, Bauhaus

Piet Mondrian: New Design (Bauhausbücher 5)

von Karin Althaus, Sarah Bock, Lisa Kern, and Melanie WittchowDie Vielgestaltigkeit von Lebensläufen während der Weimarer Republik, der Zeit des Nationalsozialismus bis zur ersten documenta 1955 in der noch jungen Bundesrepublik Deutschland stehen im Zentrum der Publikation. Die Biografien der Künstler*innen berichten von Verfolgungsschicksalen und abgebrochenen Karrieren, Widerstand und Anpassung. Daneben werden das Zeitgeschehen und institutionelle Bedingungen thematisiert. Zahlreiche Autor*innen beleuchten Themen, die seit einigen Jahren intensiv erforscht werden. Die gewählten Schwerpunkte orientieren sich an der Sammlungs- und Ausstellungsgeschichte des Lenbachhauses. Damit ergibt sich ein Fokus auf die Kunststadt München, ergänzt durch prägende nationale und internationale Phänomene. Paperback 424 SeitenText in Germande Gruyter, 20229.40 x 6.60 x 1.20 inchesISBN 9783422990661

Kunst und Leben: 1918 bis 1955

By Karel TeigeTranslated by Greg EvansThe first English translation of Karel Teige’s “The Marketplace of Art“ in two volumes includes a critical introduction, inquiries, and extensive commentaries. Originally published in the Czech language in 1936, “The Marketplace of Art“ is the summation of Teige’s artistic, political, and theoretical work.Acclaimed as one of the leading theoreticians of avant-garde art and architecture between the two world wars, Teige’s more political writings still remain to be discovered. Written in 1936, in the context of the rising conservative right-wing culture, and during the intense debates between the avant-garde artists and the Communist Party, “The Marketplace of Art“ is a response to the capitulation of contemporary art to fascist and Stalinist currents. Teige discusses this reaction as something deeply inscribed into the culture of the bourgeoisie, which he claims is a culture “not able to create and inspire any other kind of art besides a hollow and pompous academism or sentimental kitsch.” Teige’s Marxist analysis of the art market shows in which way this culture is tied with capitalist institutions and he offers artistic and political strategies to oppose its absolutism. In today’s warmongering culture of authoritarian neoliberalism where the contemporary art market is run by oligarchs, Karel Teige’s radical critique of the art market is more relevant than ever.Edited and introduced by Sezgin Boynik and Joseph Grim Feinberg, the book is published in collaboration with Contradictions/Kontradikce Journal based in Prague. The commentary volume includes commissioned essays by Zbyněk Baladrán, Dave Beech, Jana Ndiaye Berankova, Michel Chevalier, Esther Leslie, John Roberts, and Paul Wood, as well as an inquiry on “The Marketplace of Art” with responses from František Dryje, Tomáš Hříbek, Rea Michalová, Šimon Svěrák, and Roman Telerovský.Paperback72 pages | 136 pagesRab Rab Press, 2022 4.9 x 8.2 inchesISBN 9789526938981Theory, Czech Criticism

The Marketplace of Art /  Commentary [Two Volume Set]

Original Price: $90.00 UP TO 20% ADDITIONAL SAVINGS FOR MEMBERS Edited by Lidia Gluchowska and Vojtech LahodaAn examination of the cultural and artistic consequences of post-WWI nationalism in Europe.World War I was a seismic event in Europe whose most concrete ramifications were the sweeping changes made to maps of the continent after 1918. A number of new, independent states were established in the wake of the Armistice, and these tectonic developments found varied expression in the arts, transforming the image of the continent both cartographically and artistically. This new edited collection focuses primarily on how modernism and the avant-garde responded to these geographic changes in Central and Eastern Europe, the Baltic States, and Scandinavia. The contributors explore the clashes between the national, the transnational, and the cosmopolitan as they played out in diverse artistic genres. In many countries across Europe, the struggle for national independence—which in many cases began in the nineteenth century and culminated only after World War I—had important cultural and artistic consequences, which are only beginning to be understood. This book—co-published with Artefactum—provides a crucial new lens to rethink the methodological tools used to understand the complexity and the multiplicity of avant-garde forms in twentieth-century Europe, encouraging scholars to reconstruct global cultural history without tired nationalistic approaches.Paperback321 pages | 151 color platesKarolinum Press, 20226.5 x 9.25 inchesISBN 9788024651217History, Art Criticism

Nationalism and Cosmopolitanism in Avant-Garde and Modernism: The Impact of World War I

Edited with text by Theodora Vischer Text by Tere Arcq, Andreas Beyer, Tamar Garb, Peter Geimer, Anna-Carola Krausse, Sylvie Patry, Uwe M. Schneede, Jennifer Thompson, and Hilda Trujillo. Gender interventions and formal innovations in female portraiture, through works by Berthe Morisot, Mary Cassatt, Paula Modersohn-Becker, Lotte Laserstein, Frida Kahlo, Alice Neel, Marlene Dumas, Cindy Sherman, Elizabeth Peyton This superbly conceived publication looks at nine women artists whose careers were devoted primarily to portraiture, analyzing both the work they produced and the unique ways in which each artist captured her subjects’ likenesses and the spaces they inhabited. These artists represent the development of modernist art since 1870; each has made significant contributions to art history as they complicate long-held notions of the gaze and explore the relationship between the self, the subject and the artist. Close-Up examines women painters and photographers who are known primarily for self-portraiture, such as Paula Modersohn-Becker, Frida Kahlo and Cindy Sherman; it also looks at female artists who depicted the daily lives of women and children in a creative environment that was largely disinterested in such subjects, such as Berthe Morisot, Mary Cassatt and Lotte Laserstein. Still other women—Alice Neel, Marlene Dumas and Elizabeth Peyton—embrace familiarity completely and depict friends and family as well as famous figures in their paintings. In essays by nine different authors, these artists and their subjects are considered individually and as part of a chronology of modern portraiture, with an emphasis on the dynamics of gender. Paperback344 pages | 215 color illustrationsHatje Cantz, 2021ISBN 97837757475787.5 x 10.25 inchesWomen Artists, Painting, Photography

Close-Up

Edited by Saskia Bak, Andrea Jahn, Stella Rollig An intersectional approach to women artists working in an activist vein in the early 20th century The first half of the 20th century witnessed enormous waves of upheaval. Imperial dynasties were overthrown, economic crises spiraled into depressions and labor organizations advocated on behalf of the working class. As one of many marginalized groups still fighting for equal rights, women keenly felt each transformation of the global landscape. As more women were able to become professional artists, many centered their work on current events. Radical! enumerates over 70 artists whose work spoke to the most crucial issues of their time, addressing not only women’s rights but also racial inequality and economic injustice. With a timeline chronicling significant historical moments worldwide, the publication delineates each artist’s unique perspective and demonstrates how some even fought for rights that their counterparts took for granted. Artists include: Zubeida Agha, Romaine Brooks, Camilla Burke, Elizabeth Catlett, Hannah Höch, Käthe Kollwitz, Augusta Savage, Amrita Sher-Gil, Gazbia Sirry. Paperback248 pages | 190 colorWalther König, 20258.94 x 0.71 x 10.71 inchesISBN 9783753305424Modernism, Women Artists

Radical! Women Artists and Modernism 1910-1950

By Laurence Madeline “The text is scholarly but accessible, and beautiful color plates are divided into themes (e.g., “Self Portraits,” “Lives of Women,” etc.).”—Library Journal“This beautiful exhibition catalogue includes reproductions of the paintings, useful artist biographies, and six essays that provide context and analysis. These enrich our understanding of the obstacles, the training, the influences, and the communities of women artists who participated in the cultural life of the Impressionist ‘capital of the nineteenth century.’”—Margot Irvine and Anna Sutton, Nineteenth-Century French Studies In the second half of the 19th century, Paris attracted an international gathering of women artists, drawn to the French capital by its academies and museums, studios and salons. Featuring thirty-six artists from eleven different countries, this beautifully illustrated book explores the strength of these women’s creative achievements, through paintings by acclaimed Impressionists such as Mary Cassatt and Berthe Morisot, and extraordinary lesser-known artists such as Marie Bashkirtseff, Anna Bilińska-Bohdanowicz, Paula Modersohn-Becker, and Hanna Pauli. It examines their work against the sociopolitical background of the period, when women were mostly barred from formal artistic education but cleverly navigated the city’s network of ateliers, salons, and galleries. Essays consider the powerfully influential work of women Impressionists, representations of the female artist in portraiture, the unique experiences of Nordic women artists, and the significant presence of women artists throughout the history of the Paris Salon. By addressing the long-undervalued contributions of women to the art of the later 19th century, Women Artists in Paris pays tribute to pioneers who not only created remarkable paintings but also generated momentum toward a more egalitarian art world. Hardcover288 pagesYale University Press, 201711.2 x 9.8 x 1 inchesISBN 9780300223934Art History, Women Artists

Women Artists in Paris, 1850-1900

Edited by Walter Gropius, László Moholy-NagyPainter, writer, architect, typographer, art theorist and leader of the De Stijl movement, Theo van Doesburg (1883-1931) was one of the great modernist polymaths, and in this volume of the Bauhausbücher, he attempts to make elementary concepts in the visual arts generally comprehensible for a broad audience.Van Doesburg’s book addresses the “modern artist” of his day, who had to deal with both shifting social paradigms and a changing understanding of art and art theory. Unifying a range of disciplines, van Doesburg describes theory as a necessary consequence of creative practice: artists, he says, “do not write about art but from within art.”Principles of Neo-Plastic Art is a revolutionary synthesis of practice and theory.Hardcover68 pages | 1 color, 31 black-and-white imagesLars Müller Publishers, 20217 x 9 inchesISBN 9783037786291 Bauhaus, Neoplasticism

Theo van Doesburg: Principles of Neo-Plastic Art (Bauhausbücher 6)

Edited by Evonne Levy and Tristan WeddigenCan the reception of a single, widely disseminated book offer a historical road map for a global art history? This is the question posed by the editors of this volume of essays, which charts the enduring response to the Swiss art historian Heinrich Wölfflin’s Principles of Art History, first published in German in 1915. Translated into 22 languages and still in print in many of them, Wölfflin’s book inaugurated an art history based entirely on “forms of seeing” and employing a comparative method. Many of the translators and transmitters of the text are represented in essays on the book’s readership in Europe, North and South America, and South and East Asia. From its reception, positive and negative, the first genealogy of a global art history emerges.Hardcover320 pages | 70 color, 60 black-and-white illustrations National Gallery of Art, 20209 x 11 inchesISBN 9780300250473Art History

The Global Reception of Heinrich Wölfflin's Principles of Art History

Von Anne Funck Gestaltet von Marion Blomeyer Wassily Kandinsky mag die Farbe Blau, Franz Marc liebt Pferde und August Macke greift zur Gießkanne, um ein Pflänzchen gedeihen zu lassen, das einen Namen trägt: Es ist die neue Kunst der Blauen Reiter, die aus dem Gefühl entsteht, in leuchtenden Farben, wild, frei und revolutionär. Georg, der Sohn des Murnauer Schreinermeisters, trifft Wassily Kandinsky und Gabriele Münter in ihrem »Russenhaus«, als die Künstlergemeinschaft noch in den Kinderschuhen steckt. Bald lernt er Alexej Jawlensky, Marianne von Werefkin, Franz und Maria Marc, August Macke, Heinrich Campendonk, Alfred Kubin und Paul Klee kennen, ist mit dabei, wenn Almanach und Ausstellung entstehen und macht sich auf den Weg zum »Ähndl«, dem Kirchlein von Ramsach, in dem die Geschichte ihren Anfang nimmt. Hardcover40 pages | 46 color illustrations Text in German Klinkhardt & Biermann Verlag, 20169.76 x 0.39 x 11.3 inches ISBN 9783943616354Movements, Children's Books

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