Movements

By Leah Dickerman "Dickerman urges against defining abstraction in terms of forward progress...less interested in the invention of abstraction than abstraction as invention. The main impact of this horizontalist approach is geographic, bringing peripheral sites into focus without denying the importance of major hubs." —Daniel Marcus, Art in America"Featuring twenty-four contributors, this MoMA catalogue explores the evolution of early modernist abstraction across various mediums, countries and movements." —Arne Glimcher, Art in AmericaIn 1912, in several European cities, a handful of artists—Vasily Kandinsky, Frantisek Kupka, Francis Picabia, and Robert Delaunay—presented the first abstract pictures to the public. Inventing Abstraction, 1910–1925 celebrates the centennial of this bold new type of artwork, tracing the development of abstraction as it moved through a network of modern artists, from Marsden Hartley and Marcel Duchamp to Piet Mondrian and Kazimir Malevich, sweeping across nations and across media. The exhibition brings together many of the most influential works in abstraction’s early history and covers a wide range of artistic production, including paintings, drawings, books, sculptures, films, photographs, sound poems, atonal music, and non-narrative dance, to draw a cross-media portrait of these watershed years.This richly illustrated publication covers a wide range of artistic production—including paintings, drawings, books, sculptures, film, photography, sound poetry, atonal music, and non-narrative dance—to draw a cross-media portrait of these watershed years. An introductory essay by Leah Dickerman, Curator in the Museum’s Department of Painting and Sculpture, is followed by focused studies of key groups of works, events, and critical issues in abstraction’s early history by renowned scholars from a variety of fields.Hardcover376 pagesMoMA, 201312 x 9.5 x 1 inchesISBN 9780870708282Exhibition Catalogue, Art History, Abstraction, Essays

Inventing Abstraction, 1910-1925

Edited by Astrid Ihle, Julia Nebenführ, and René Zechlin See the global south between 1914 and the 1970s through the perspective of women pioneers and their new artistic development: geometric abstraction. Artists like Sophie Taeuber-Arp and Sonia Delaunay played an essential part in the development of geometric abstraction, a form of non-representational art. We Will Go Right Up to the Sun presents an overview of the evolution of geometric abstract art and takes into account, in addition to the applied arts, the female perspective of the Global South with promising new discoveries. Geometric abstraction emerged around the turn of the last century from an attitude that was permeated by renewal, utopia, and resistance, and that aimed at the unity of art and life. Colorful, geometric, and highly attractive, this comprehensive view of the art produced between 1914 and the 1970s is lavishly illustrated and relates the narrative from a female, global, historical, and contemporary perspective, revealing the dense network between women artists, gallerists, and critics. Hardcover288 pages9.45 x 11.42 inchesISBN 9783777444277Art History, Movements

We Will Go Right Up to the Sun: Female Pioneers of Geometric Abstraction

Edited by Museum Bellrive Zürich and State Collection of Prints and Drawings Munich Art historians regard Hermann Obrist (1863–1927) as one of the most influential founders and visionaries of the Art Nouveau movement in Germany. His diverse oeuvre includes tapestries, ceramics, furniture designs, metal work, and sculptures including monuments and fountains. Hermann Obrist: Sculpture, Space, Abstraction around 1900 presents for the first time in English the entire scope of Obrist’s work. This vibrantly illustrated volume presents exemplary work from each period of Obrist’s career. In addition to the illustrations, the book includes essays by expert critics who investigate Obrist’s ideas and concepts, the inspirations for abstract designs that he derived from natural forms and phenomena, and his plans for tombs and monuments. Though many of Obrist’s designs for fountains were unrealized and the majority of his tombs and monuments have been destroyed, this comprehensive volume documents the entire collection of plaster models and photographs for both unrealized and destroyed sculpture work. Created to accompany exhibitions at the Museum Bellerive in Zurich and at the Pinakothek der Moderne in Munich, Hermann Obrist: Sculpture, Space, Abstraction around 1900 is an informative collection that will fascinate scholars and historians of the Art Nouveau movement. Hardcover240 pagesBilingual edition; Text in German and EnglishScheidegger and Spiess, 20098 x 0.9 x 10 inchesISBN 9783858812391Exhibition Catalogue, Art Nouveau, Design

Hermann Obrist: Sculpture, Space, Abstraction around 1900

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 Markus HattsteinArt Deco is the decorative, distinctly aesthetic style of the years between 1920 and 1940. The movement embraced all areas of lifestyle and art. Art Deco was a commitment to modern technology, industrial design, and functionalization. With over 500 illustrations, this volume showcases the complexity of the Art Deco style and its manifestations in architecture, fashion, advertising, everyday objects, transport, and other areas of life.Paperback480 pagesKoenemann, 20207.5 x 1.1 x 8.2 inchesISBN 9783741929267 Movements, Art Deco

Art Deco

By Klaus-Jürgen Sembach “A picture of artistic revitalization.” ―PerspectiveFor a fruitful period between the 1880s and the First World War, European and North American culture deferred to nature. With a symphony of flowing lines and organic shapes, Art Nouveau (“New Art”) inflected architecture, design, painting, graphic work, applied arts, and illustration.With a spirit of willful reform, its practitioners sought to distance themselves from the imitative historicism that characterized much 19th-century art and replace it with undulating, decorative qualities. Turning to vine tendrils, flowering buds, and bird feathers as ornamental reference, they pursued not only a linear freedom but also liberation from the weight of artistic tradition and expectation.At the same time, Art Nouveau followed the example of the earlier English Aesthetic and Arts and Crafts movements to reject established hierarchies of artistic practice, to emphasize a return to hand-craftsmanship, and to synthesize artistic media and practices into a Gesamtkunstwerk, or total work of art. In this, as in its turn to nature, Art Nouveau is often seen as an aesthetic response to the Industrial Revolution, a recoil from the mass-produced and mechanic, and an elevation of the human hand and wonders of the great outdoors.This fresh TASCHEN edition considers Art Nouveau as a broad historical phenomenon with distinct local features. We consider the style’s wider artistic, economic, and political circumstances, as well as its particular flavor in such hubs as Vienna, Glasgow, Munich, Weimar, and Chicago. Outstanding proponents such as Victor Horta, Antoni Gaudí, and Charles Rennie Mackintosh are featured in connection with the cities of their greatest activity. The result is a vivid portrait of the age and a movement that is as much entrenched in our imagination of the fin de siècle as it is in the trajectory of modernism. Please note that Rare/Out-of-Print titles are very limited in stock.Hardcover240 pagesTaschen; 25th Anniversary Ed., 20169.7 x 0.8 x 12.1 inchesISBN 9783836520966Art Nouveau, Gesamtkunstwerk, Art History

Art Nouveau

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 Uta Hasekamp Art Nouveau was a phenomenon with many faces. Between 1890 and 1910, artists developed a variety of styles from the plant-like forms of the Belgian-French Art Nouveau to the ornamentation of the Viennese Secession. They were all striving to create a new, modern style and pursued a comprehensive renewal of art and, in some countries, a renewed national identity. Hardcover264 pagesKoenemann, 201910.6 x 0.9 x 12.2 inchesISBN 9783955883010Art Nouveau, Design

By Norbert Wolf "The Art Nouveau movement covered it all--decorative arts, architecture, fashion, dance, advertising and more--and this book seeks to restore the movement's prominence in the discussion of modern art." —Los Angeles Times"The book explores the origins of art nouveau, possible theories as to its demise, and the all-important quandary that has plagued art historians for over a century: Is art nouveau a true artistic period?" —The Washington Post"Tall, narrow, with an elegant linear design like that of the aesthetic it celebrates, this book is a gorgeous object, with top-quality reproductions. Norbert Wolf’s commentary is provocative, broad and deep, illuminating links between artists, architects and designers as diverse as Munch and Mondrian, Gaudí and Gallé." —Jackie Wullschlager, Financial TimesThis sumptuous volume explores key aspects of Art Nouveau—decorative arts, architecture, fashion, dance, advertising, and more—with an in-depth approach and stunning illustrations. The Art Nouveau movement became an international phenomenon at the beginning of the twentieth century that ushered in the era of modernity in almost every aspect of cultural life. For decades critics have argued that Art Nouveau was not an artistic period in its own right, but an amalgam of artists and styles that served as a bridge between neoclassicism and modernism. In this comprehensive, authoritative, and copiously illustrated book, art historian Norbert Wolf explores Art Nouveau as a logical outgrowth of the historic forces in which it arose. This book focuses on the movement's wide variety of applications and reclaims its prominence in the pantheon of modern art history. Chapters on aesthetics, spirituality, and the cult of beauty offer luminous examples of works by Mucha, Gaudi, Hoffman, Klimt, Horta, Munch, and Tiffany, among many others. Wolf's text is both informed and accessible, providing an exciting narrative that brings the Art Nouveau movement into clear focus. Beautifully produced to appeal to a wide range of readers, this new volume gives one of the world's most popular styles the serious consideration it deserves. Hardcover304 pages, 241 color illustrationsPrestel Publishing, 20158.9 x 1.2 x 12.7 inchesISBN 9783791381558Art Nouveau, Aesthetics

By Thomas HauffeBetween 1890 and the beginning of the First World War, a new international style developed in architecture and design. Following the example of the English Arts and Crafts movement, the representatives of Art Nouveau turned against the eclectic excess of historicism and opposed them with organic forms, plant ornamentation and functional constructions. This volume shows the highlights of Art Nouveau in Germany, Austria, Bohemia, Hungary, Italy, and Switzerland.Paperback456 pagesKönemann, 2020 7.5 x 1 x 8.2 inchesISBN 9783741929328Art Nouveau, Jugendstil

Art Nouveau 2: München, Wien, Praha

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 Eldritch Bloom: The Art of Der Orchideengarten Vol. 3 thoroughly covers the entirety of the magnificent and macabre illustrations in issues #13-18 of Der Orchideengarten magazine from the year 1919. 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 weren’t listed. 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, 20185.5 x 8.5 inchesISBN 9781947528031 Horror Magazine, Interwar Design

Eldritch Bloom: The Art of Der Orchideengarten Vol. 3

By Thomas Negovan Diabolical Fantasia: The Art of Der Orchideengarten Vol. 1 thoroughly covers the entirety of the magnificent and macabre illustrations in issues #1-6 of Der Orchideengarten magazine from the year 1919. 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 listed in the publication. 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 in 1919Century Guild, 20185.5 x 8.5 inchesISBN 9781947528017 Horror Magazine, Interwar Design

Diabolical Fantasia: The Art of Der Orchideengarten Vol. 1

By Thomas Negovan SINISTER HARVEST: THE ART OF DER ORCHIDEENGARTEN Vol. 2 thoroughly covers the magnificent and macabre illustrations from issues #7-12 of the German magazine Der Orchideengarten, first published in 1919. 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 listed. 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 and 1923Century Guild, 20185.5 x 8.5 inchesISBN 9781947528024 Horror Magazine, Interwar Design

Sinister Harvest: The Art of Der Orchideengarten Vol. 2

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 Gerhard Dietrich and Eckard Wagner The first comprehensive reference work on Kayserzinn from the Jugendstil era, with an index of all 1000 models and illustrations, descriptions and data about the era in which they were created and their designers. Kayserzinn today is nearly a synonym for exceptionally high-quality German Jugendstil pewter ware. Engelbert Kayser (1840-1911)—an art dealer and entrepreneur residing in Cologne—founded the trademark of the same name in 1895. His aim was to lead the still historical characterized fine pewter of his parent’s foundry in Krefeld, now managed by his younger brother Johann Peter (Jean) Kayser, into the Jungendstil era that was beginning. In his own atelier established in Cologne several well-known sculptors, such as Hugo Leven, Hermann Fauser and Karl Berghof, developed a characteristic an individual style in the context of Europe under the aegis of the skilled pewterer Engelsbery Kayser. At the international Exhibitions in Paris in 1900, in St. Louis in 1904 and at the epoch-making exhibition of applied arts in Turin 1902 Kayser pewter won gold medals. Catalog of an exhibition held at the Museum für Angewandte Kunst, Köln, 4 September-20 November 2011. Please note that Rare/Out-of-Print titles are very limited in stock. Hardcover256 pages9.5 x 0.9 x 11.8 inchesText in German and EnglishArnoldsche Verlagsanstalt, 2011ISBN 9783897903579Design, Jugendstil

Kayserzinn: Engelbert Kayser, Jugenstil Pewter from Cologne

Edited by Detlef Mertins and Michael W. JenningsFirst published in 1923, the journal G: Material zur Elementaren Gestaltung (G: Materials for Elemental Form-Creation) helped shape a new phase in the history of the European avant-garde. Founded by Hans Richter, a pioneer of abstract animated film, G featured works by some of the important names in the advanced cultures of Europe: Hans Arp, Walter Benjamin, Theo van Doesburg, Viking Eggeling, Naum Gabo, Werner Graeff, George Grosz, Hugo Häring, Raoul Hausmann, Ludwig Hilberseimer, Frederick Kiesler, El Lissitzky, Ludwig Mies van der Rohe, Antoine Pevsner, Man Ray, and Tristan Tzara.This edition, the first in English translation, preserves the original design by Lissitzky, Richter, and Graeff, and includes essays that explore the role of the journal in its time and in relation to contemporary culture. An introduction analyzes the principles of the journal, situates it in the culture of the early 1920s, and evaluates its achievements. Please note that Rare/Out-of-Print titles are very limited in stock.Hardcover280 pages | 22 color and 118 black-and-white illustrations, 2 four-page folded insertsGetty PublicationsISBN 9781606060391Art History, Avant-Garde, Essays

G: An Avant-Garde Journal of Art, Architecture, Design, and Film, 1923-1926

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 Steven Heller "Magazine design connoisseurs will go wild for Steven Heller's Merz to Emigré and Beyond...Laden with beautifully ground breaking print designs...Beautifully realized, Heller's not-so-secret history is one to be read on many differing levels." —i-D"A well-illustrated, impeccably researched and chronological study, this book looks set to be the definitive volume on its subject." —Grafik"It will provide everyone from design students, art historians, academics and coffee-table/armchair connoisseurs with a visually breathtaking reference book, as well as a thorough and engaging read." —Fernando Guitiérrez, partner at the Pentagram design agency, London, Creative Review Merz to Emigré and Beyond is a historical survey of avant-garde cultural and political magazines and newspapers all the way from the early twentieth century to the present day. The book features a unique selection of international publications from Europe and the USA including Merz (1920s), View (1940s), East Village Other (1960s), Punk (1970s), Raw (1980s) and Emigré (1990s). The design of these magazines, often raucous and undisciplined, was as ground breaking as the ideas they disseminated. Many were linked to controversial artistic, literary and political movements, such as Dada, Surrealism, Modernism, the New Left and Deconstruction. They contain the work of many leading experimental artists and designers of their time—from Kurt Schwitters and El Lissitzky in the 1920s and 30s, to Art Spiegelman and Rudy Vander Lans in the 1980s and 90s.Paperback240 pages | 500 Illustrations Phaidon Press, 201410 x 1 x 11.5 inchesISBN 9780714865942Graphic Design, Cultural Studies, History

Merz to Emigre and Beyond

Edited by Eric Dluhosch and Rostislav Svacha "Tiege was at one and the same time both an agent provocateur and seismograph, at once provoking action and debate and yet simultaneously reacting with the utmost sensitivity to the shifting political spectrum of his time." —Kenneth Frampton Karel Teige (1900-1951), a leading figure of the avant-garde of the 1920s and 1930s, participated in every important argument and controversy of those turbulent years. He edited the most influential avant-garde journals on Czech and international cultural affairs and wrote profoundly original essays and books on the theory and criticism of art and architecture. He also produced paintings, collages, photomontages, film scripts, book covers, and typefaces and participated in theatrical performances. When the Communists took over Czechoslovakia in 1948, Teige was first hailed as a progressive, then denounced for not toeing the party line—even though he was never a card-carrying member of the Communist Party. He died a broken man, forbidden to speak out or to publish. Since the recovery of his work after the "velvet revolution" of 1989, his legacy has been revived not only in Prague, but also in Western Europe and the United States. Teige firmly believed in an ars una, free of the artificial separation of one branch of the arts from the other. The concept of ars una is reflected in the essays of this book, which provide intellectual riches without overly compartmentalized attempts at "academic" criticism. Because the only significant writing by Teige to appear so far in English is his well-known argument with Le Corbusier, the Mundaneum Affair, four essays by Teige have been included. Contributors: Polana Bregantová, Lenka Bydzovská, Rumjana Daceva, Eric Dluhosch, Vojtech Lahoda, Miroslav Petrícek, Jr., Klaus Spechtenhauser, Karel Srp, Rostislav Svácha, Daniel Weiss Please note that Rare/Out-of-Print titles are very limited in stock.Hardcover446 pagesMIT Press, 19999.6 x 10.1 x 1.3 inchesISBN 9780262041706Artist Monograph

Karel Teige / 1900-1951;  L'Enfant Terrible of the Czech Modernist Avant-Garde

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)

Original Price: $60 UP TO 20% ADDITIONAL SAVINGS FOR MEMBERS By Marion von Osten "Lavishly illustrated" —SWISS Featuring the latest research commissioned on the occasion of the Bauhaus centenary, this book explores the global influence of the renowned Bauhaus school of arts and its famed artists.Bauhaus Imaginista marks the centennial anniversary of this fascinating and popular school of art, which championed the idea of artists working together as a community. The Bauhaus reconnected art with everyday life and was active in the fields of architecture, performance, design, and visual art. Founded by Walter Gropius, its faculty included such luminaries as Paul Klee, Wassily Kandinsky, László Moholy-Nagy, and Josef Albers.Placing emphasis on the international dissemination and reception of the Bauhaus, this book expresses the Bauhaus’ influence, philosophy, and history beyond Germany. Rethinking the school from an international perspective, it sets its entanglements against a century of geopolitical change, as many of its artists fled World War II Germany. Bauhaus Imaginista takes readers on a global visual tour of Bauhaus influence from art and design museums to campus galleries and art institutes in India, Japan, China, Russia, Brazil, Berlin, and the United States.Hardcover312 pagesThames & Hudson, 20199.8 x 1.3 x 12.4 inchesISBN 9780500021934Bauhaus, Art History, Architecture, Design

Bauhaus Imaginista

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)

Edited by Matthias Mühling, Annegret Hoberg, and Anna StraetmansContributions by Vanessa Joan Müller and Isabelle Jansen How Kandinsky, Marc, Kubin and others combined the folk arts of Germany and Russia with a new painterly ethos “The whole work, called art, knows no borders and peoples, but humanity,” wrote artists Franz Marc and Wassily Kandinsky in the manifesto for their new collective in 1911. Dubbed Der Blaue Reiter (the Blue Rider), Marc and Kandinsky aimed to establish one of the first transnational artists’ circles focused on a global understanding of art through words, images and actions. Until the outbreak of World War I in 1914, the group exhibited across Germany with pieces that favored inspiration from folk art and children’s drawings over the prevailing artistic trends of modernism.For this volume, the Lenbachhaus in Munich, Germany, honors the goals of the original participants of the Blue Rider―among them, Gabriele Münter, Alfred Kubin, Maria Marc and Elisabeth Epstein―by bringing their work together with a variety of pieces that influenced their credo, such as Japanese woodcuts and Bavarian and Russian folk art. Additionally, children’s drawings, contemporary music and art from Bali, Gabon, Polynesia, New Caledonia, Sri Lanka and Mexico are presented in this rich catalog. Though the original members of the Blue Rider were not able to fully realize their goals of emancipating the art world from national affiliations and traditional hierarchies and genres, this volume conveys the extent of their aesthetic and ideological impact on art history. Paperback444 pagesHatje cantz, 202110.8 x 8 x 1.75 inchesISBN 9783775748414Movements, Blue Rider

The Blue Rider: Group Dynamics

Edited by Cathrin Klingsöhr-Leroy “Are there still any surprises left to be had when it comes to German Expressionism?” asks the writer Michael Kumpfmüller. This beautifully produced volume demonstrates that there are, inviting readers on a stroll through the world of Expressionism with seldom considered artwork and literary excerpts that probe German Expressionism’s continued resonance today.Colorful, emotional, impulsive, and modern—it is hard to believe that German Expressionist works caused such a scandal when they first entered the scene in the early twentieth century. And yet, artists and writers were united in the vision of a new beginning combined with fundamental social criticism. Many targets of Expressionist critique—such as social inequality in the big city, the sleazy glamour of the entertainment world, and the disappointments of new technology—remain disquietingly topical to this day. The powerful images and texts of this collection explore how the Expressionist fascination with change and decay ramifies throughout the art and literature of the twentieth and twenty-first centuries. Featuring writers of world rank in dialogue with the crème de la crème of German Expressionism—including Wassily Kandinsky, Alfred Döblin, Robert Musil, Max Pechstein, Else Lasker-Schüler, Lyonel Feininger, Franz Kafka, Ernst Ludwig Kirchner, and many more—this beautifully illustrated volume will be essential for lovers of art and literature. Hardcover160 pagesHirmer Publishers, 20187.8 x 0.9 x 9.8 inchesISBN 9783777429069Expressionism

Blue Land and City Noise: An Expressionist Stroll through Art and Literature

By Aya Soika and Meike Hoffman The Brücke Museum in Berlin houses the world’s largest collection of works by the early twentieth-century expressionist movement Die Brücke, or The Bridge. Formed in Dresden by Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner, and Karl Schmidt-Rottluff, this group had a major impact on the evolution of modern art. But as Escape into Art? reveals, they were also affected by the rise of Germany’s National Socialist party in the 1930s. Discussing in detail the everyday reality of the Brücke artists under National Socialism, this book takes a critical look at the fates and artistic practice of the movement’s former members in the years after 1933.Explaining the measures carried out against Brücke members as a result of Nazi art policy, Escape into Art? describes how, in 1937, thousands of works by these artists were confiscated from German museums by National Socialist authorities and then shown in a traveling exhibition called “Degenerate Art.” Using numerous sources that have never before been studied, the authors examine not only how these acts affected the creative work and self-image of the painters themselves, but also today’s popular image of expressionism, its vilification as degenerate, and the creation of the Brücke artists’ legend after the end of the Second World War. How much scope for action was there, the book asks, and how should we evaluate the narratives of inner emigration and the zero hour today?​Including 180 color plates from the museum’s collection, Escape into Art? offers an in-depth exploration of the effects of National Socialism on Brücke artists and beyond. Hardcover224 pagesHirmer Publishers, 20199.5 x 1.3 x 12 inchesISBN 9783777432861

Escape into Art?

Von Regina Freyberger Kaum ein Material ist mit der Kunst des deutschen Expres­sio­nismus stärker verbunden als Holz. Und nichts ist so sehr »Brücke« wie der Holzschnitt. Im Schaffen der drei »Brücke«-Mitbegründer Kirchner, Heckel und Schmidt-Rottluff nimmt der Holzschnitt eine heraus­ragende Stellung ein. Neben Litho­grafie, Radierung und Kaltnadel war es gerade jenes druck­technische Verfahren, dessen großes experi­men­telles Potenzial die Künstler für sich entdeckten. Sie erneuerten den Holzschnitt nicht nur als künstle­risches Medium, sondern leisteten mit ihm den vielleicht größten Beitrag für die Moderne.Das Städel Museum in Frankfurt am Main verfügt mit der Sammlung Carl Hagemanns über einen der bedeu­tend­sten musealen Bestände an »Brücke«-Grafik. Von dieser reichen Sammlung ausgehend und um einige bedeutende Leihgaben ergänzt, spürt der Katalog anhand von rund 100 ausgewähl­ten Holz­schnitten, Druck­stöcken und Skulp­turen den Besonder­heiten der Technik sowie den Wechsel­bezie­hungen zwischen den Medien und dem Material nach. Please note that Rare/Out-of-Print titles are very limited in stock. Paperback269 pages | 209 illustrationsSandstein, 201910.7 x 1.3 x 11.1 inchesISBN 9783954984701Brücke, Expressionism

Geheimnis Der Materie: Kirchner, Heckel, Schmidt-Rottluff

Von Magdalena M. Moeller Der Band versammelt Spitzenwerke von Erich Heckel, Karl Schmidt-Rottluff, Ernst Ludwig Kirchner, Max Pechstein und Otto Mueller aus dem reichen Bestand des Brücke-Museums Berlin. Sie werden in einen spannungsreichen Dialog mit den im Oldenburger Land entstandenen Werken der Künstlergruppe gesetzt. Von 1907 bis 1912 kamen Schmidt-Rottluff, Heckel und Pechstein immer wieder ins abgelegene Nordseebad Dangast. Hier vollzogen sie den Wechsel vom pastosen Farbauftrag der frühen Werke zum die Tradition der Raumillusion hinter sich lassenden Flächenstil. Es entstanden einige Hauptwerke des epochemachenden Brücke-Stils. Der Band ist eine Hommage an die faszinierende Geschichte der Brücke im Oldenburger Land. Glanzstücke aus dem Brücke-Museum geben in einem Rausch aus Farben einen Querschnitt durch das Schaffen der Künstlergruppe. Meisterliche, von und nach Dangast gesandte Künstlerpostkarten bilden den spontanen wie intimen Gegenpol zu den großformatigen Hauptwerken. Please note that Rare/Out-of-Print titles are very limited in stock. Hardcover160 pages | 118 illustrationsText in GermanHirmer, 20177.7 x 9.8 inchesISBN 9783777426693Expressionism

Die Welt in Diesen Rauschended Farben

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 Rudolf Kuenzli Dada developed in distinct periods and locations, providing the structure of the book. From Europe and New York during the First World War it spread to Eastern Europe and Japan in the 1920s. Its re-emergence as Neo-Dada in the 1950s and influence on Fluxus in the 1960s was linked to emigres such as Marcel Duchamp and Hans Richter. Survey: International Dada expert Rudolf Kuenzli surveys Dada in its historical context and examines its significant impact and resonance in art and culture today. Linking visual art, performance and literature, this is a fresh treatement of Dada as the Dadaists saw it. A reassessment of one of the twentieth century's most revolutionary movements in the arts, Kuenzli's clear style is accessible to the scholar and the general reader. Works: Each image is accompanied by an extended caption. The book is organized chronologically and geographically around major explosions of Dada activity. From its inception in Zurich during the First World War, we follow Dada to New York, Berlin, Hannover, Cologne, Paris, Central and Eastern Europe, and Japan, finally looking at Neo-Dada. Arp's Automatic Drawing; Marcel Duchamp's readymades and Man Ray's assemblages; Francis Picabia's paintings linking machine and human form; collage with political comment from Raoul Hausmann and Hannah Höch; Kurt Schwitters' all-encompassing concept of Merz; Max Ernst; from the East, the graphics of Lajos Kassak and El Lissitzky; Okada Tatsuo's constructions and fireworks attached to the cover of Mavo magazine. A look at Neo-Dada includes Robert Rauschenberg's Erased de Kooning and the Happenings of Hi Red Center. Documents include a comprehensive collection of original Dada writings, researched at the International Dada Archive and sourced from around the world. Poetry, manifestos and statements are presented together with letters between Tristan Tzara and Marcel Duchamp; Beatrice Wood describes 'The Richard Mutt Case' (the first exhibition of a urinal) to her readers of The Blind Man in 1917; and in recent interviews artists such as Allan Kaprow and Arman relate their Dada inheritance. Please note that Rare/Out-of-Print titles are very limited in stock Hardcover304 pagesPhaidon Press, 200610.2 x 1.5 x 11.8 inchesISBN 9780714844237Dadaism, Movements

Dada (Themes and Movements)

By Hans Richter and Michael White “One of the best and most consistently interesting documents on this extraordinary movement that has been published.” ―The Sunday Times “Where and how Dada began is almost as difficult to determine as Homer’s birthplace,” writes Hans Richter, the artist and filmmaker closely associated with this radical movement from its earliest days. Here he records and traces Dada’s history, from its inception in wartime Zurich to its collapse in Paris in the 1920s, when many of its members joined the Surrealist movement, to the present day when its spirit reemerged in the 1960s in movements such as Pop Art. This absorbing eyewitness narrative is enlivened by extensive use of Dada documents, illustrations, and texts by fellow Dadaists.To celebrate one hundred years of Dada, Thames & Hudson is reissuing this unique document exactly as it first appeared in an expanded centenary edition. This edition features a new introduction telling the story of how the book came about and an extended commentary that identifies Richter’s sources and brings the study up-to-date for a new generation of readers. Paperback376 pages | 180 illustrations, 8 in color Thames & Hudson, 2016 6 x 1 x 8.3 inchesISBN 9780500204313Dada, Movements

Dada: Art and Anti-Art (World of Art)

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

Text: Michael Beck, Ute Eggeling, Bettina Kaufmann, Angelika Katzlberger, Ivan Ristic, Andrea Winkler, Hans-Peter Wipplinger Zu Beginn des 20. Jahrhunderts wurde die Emotion zum Stilmittel; Beobachten hieß Empfinden. Jenseits von allen akademischen Kanons bannten junge Rebellen aus der Dresdner Künstlergemeinschaft "Brücke" Seelenlandschaften auf die Leinwand. In Auflehnung gegen die industrialisierte Gesellschaft und ihre Konventionen strebten sie zudem eine naturbezogene Lebensreform an. Der Umkreis der Herausgeber des Münchner Almanachs Der Blaue Reiter begab sich währenddessen auf die Suche nach einer neuen Innerlichkeit in der Kunst, die das rein Intuitive gleichermaßen gelten ließ wie die kultivierte Vernunft. Den Farben kam dabei eine entscheidende Rolle zu: Ob grell leuchtend oder dämmrig und trüb, wirkten sie anstelle der Helldunkelkontraste als Hauptvehikel der Bilddramaturgie. Dass die Werke des deutschen Expressionismus bis heute nichts an ihrer suggestiven Wirkung eingebüßt haben, zeigt die vorliegende, begleitend zur gleichnamigen Ausstellung im Leopold Museum erscheinende Publikation mit Beiträgen des Kurators Ivan Ristic, Michael Beck, Bettina Kaufmann, sowie einem literarischen Essay von Angelika Winkler zu Marianne von Werefkins Werk L'Allée. Auf 224 Seiten werden rund 120 Exponate, darunter Werke von Emil Nolde, Max Pechstein, Ernst Ludwig Kirchner, Erich Heckel, Wassily Kandinsky, Alexej von Jawlensky, Marianne von Werefkin, August Macke, Franz Marc, Paula Modersohn-Becker, Paul Klee und Lionel Feininger aus der Schweizer Sammlung Braglia und der deutschen Sammlung Johenning präsentiert. Shortly after 1900, raw emotion became a stylistic device in painting in many places. Driven by instinct and in opposition to the canons of academic art, young rebels from the Dresden-based artists' association "Brücke" captured landscapes of the soul on canvas. In revolt against industrialized society and its conventions, they also aspired to a back-to-nature life reform. Meanwhile, at roughly the same time, artists associated with the Der Blaue Reiter almanac in Munich started searching for a new inner spirituality in art that allowed for both the purely intuitive and the intellectually inquisitive. Color acquired a decisive role; detached from the object, colors became the main characters in the pictorial drama. The present publication accompanying the exhibition of the same name in the Leopold Museum shows that the works of German Expressionism have lost none of their suggestive effects to date, with contributions by curator Ivan Ristic, Michael Beck, Bettina Kaufmann, and a literary essay by Angelika Winkler on Marianne von Werefkin's work L'Allée. It features predominantly small-format works by outstanding artists including Max Liebermann, Lovis Corinth, Christian Rohifs, Paula Modersohn-Becker, Max Pechstein, Ernst Ludwig Kirchner, Erich Heckel, Karl Schmidt-Rottluff, Otto Mueller, Wassily Kandinsky, Gabriele Münter, Alexej von Jawlensky, Marianne von Werefkin, August Macke, Franz Marc, Heinrich Campendonk, Paul Klee, and Lyonel Feininger. Please note that Rare/Out-of-Print titles are very limited in stock. Hardcover216 pagesText in German and EnglishVerlag Der Buchhandlung Walther Konig, 20199.25 x 11 x 1 inchesISBN 9783960987000Expressionism

Deutscher Expressionismus / German Expressionism

By Rene Steinke “Steinke shows palpable admiration and respect for her proto-feminist protagonist. This is an intelligent, spirited work that stimulates interest in the baroness’s work and times.”—Publishers Weekly“Steinke has drawn a fully realized character whose Dadaist impulses, even though the filter of time and fiction, still startle.”—Chicago TribuneNo one in 1917 New York had ever encountered a woman like the Baroness Elsa von Freytag-Loringhoven—poet, artist, proto-punk rocker, sexual libertine, fashion avatar, and unrepentant troublemaker. When she wasn't stalking the streets of Greenwich Village wearing a brassiere made from tomato cans, she was enthusiastically declaiming her poems to sailors in beer halls or posing nude for Man Ray or Marcel Duchamp. In an era of brutal war, technological innovation, and cataclysmic change, the Baroness had resolved to create her own destiny—taking the center of the Dadaist circle, breaking every bond of female propriety...and transforming herself into a living, breathing work of art. Paperback 384 pages Harper Collins, 20055 x 8 inches ISBN 9780060778019Biography, Women Artists, Dada

Holy Skirts: A Novel of a Flamboyant Woman Who Risked All for Art

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

Edited by Dawn Ades The revolutionary Dada movement, though short-lived, produced a vast amount of creative work in both art and literature during the years that followed World War I. Rejecting all social and artistic conventions, Dadaists went to the extremes of provocative behavior, creating “anti-art” pieces that ridiculed and questioned the very nature of creative endeavor. To understand their movement’s heady mix of anarchy and nihilism—combined with a lethal dash of humor—it’s essential to engage with the artists’ most important writings and manifestos. And that is is precisely where this reader comes in. Bringing together key Dada texts, many of them translated into English for the first time, this volume immerses readers in some of the most famous (and infamous) periodicals of the time, from Hugo Ball’s Cabaret Voltaire and Francis Picabia’s 391to Marcel Duchamp’s The Blind Man and Kurt Schwitters’s Merz. Published in Europe and the United States between 1916 and 1932, these journals constituted the movement’s lifeblood, communicating the desires and aspirations of the artists involved. In addition to providing the first representative selection of these texts, The Dada Reader also includes excerpts from many lesser-known American and Eastern European journals. Compiled with both students and general readers in mind, this volume is necessary reading for anyone interested in one of the most dynamic and influential movements of the twentieth century. Please note that Rare/Out-of-Print titles are very limited in stock. Paperback320 pagesUniversity Of Chicago Press, 20066 x 0.9 x 9 inchesISBN 9780226006987Dadaism

The Dada Reader: A Critical Anthology

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

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

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 Dorothy Price, Shulamith Behr, Chantal Joffe, Sarah LeaKäthe Kollwitz (1867–1945), Paula Modersohn-Becker (1876–1907), Gabriele Münter (1877–1962) and Marianne Werefkin (1860–1938) are among the exceptional artists associated with the emergence of Expressionism in Germany in the early decades of the 20th century. Each challenged prevailing ideals of feminine identity at a time of great societal change. As women, they were expected to marry and raise a family; some chose to, some did not. As ambitious artists, they wanted to work.As they rose to these challenges, their art further undermined conventions. Their portraits of children symbolize joy, hope and innocence but also melancholy, tension, curiosity, the passing of time and unfulfilled desire. Their radical depictions of the nude wrest the female body away from the male gaze toward a newfound role, expressive of powerful maternity and female subjectivity.These dramatic modernist compositions, with their fluid brushwork and bright hues, push at the boundaries of form, color and spiritual meaning. Accompanying a major exhibition in London, this volume looks at the innovations and interconnections of these Expressionist pioneers.Hardcover144 pagesRoyal Academy of Arts, 20239 x 0.75 x 10.5 inchesISBN 9781912520909Modernism, Expressionism

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