Dieser Bildband schlägt einen Bogen von den frühen figurativen Arbeiten des großen amerikanischen Malers bis zu seinem bekannten Spätwerk der Farbfeldmalerei.
Der Werküberblick berücksichtigt die tiefgreifenden Auswirkungen von Rothkos vier Europareisen zwischen 1950 und 1966. Der Künstler besuchte damals Paris und Venedig, Arezzo, Siena, Rom und Florenz, wo er Michelangelos Biblioteca Medicea Laurenziana und die Fresken Fra Angelicos besichtigte. Der Bildband zeigt nicht nur auf, wie Rothko von den Techniken der alten Meister lernte, sondern auch Rothko selbst kommt zu Wort: Auszüge aus seinem posthum veröffentlichten Manuskript The Artist's Reality, ergänzt um Briefe, Reden und Stellungnahmen, geben Einblick in seine intensive Auseinandersetzung mit Philosophie, Kunst und der conditio humana. In der Gegenüberstellung von Rothkos Thesen und seiner künstlerischen Entwicklung vermittelt die Publikation neue Lesarten einiger seiner größten Gemälde.
Mark Rothko, eigentlich Marcus Rotkovich (1903, Dwinsk, Lettland–1970, New York), war einer der wichtigsten Maler des 20. Jahrhunderts. Berühmt wurde er als Protagonist des Abstrakten Expressionismus und Pionier der Farbfeldmalerei.
What are they all doing up there? wondered the Züricher Tagesanzeiger. It s probably a forgotten popular sport, suggested Der Spiegel. Focus even speculated about the secret sex life of trees. One thing is certain: Jochen Raiss s Women in Trees, published by Hatje Cantz in June 2016, immediately became a best seller. This is true because as we like to believe the happiness felt by these women (who may have simply been in the mood to climb a tree) is palpable to us all. Women in Trees made us happy and hungry for more. So we asked the obsessive collector Raiss if he might have some more of the goods, and he did. He has, after all, spent twenty-five years searching for and finding anonymous masterpieces such as these, which is why we now have More Women in Trees. Perhaps you ll feel the same way as us: we can t get enough!
In its most prestigious exhibition to date, the Fondation Beyeler has devoted itself to the early paintings and sculptures of Pablo Picasso (1881-1973) that date from his so-called Blue and Pink periods to early Cubism.
The paintings from this stage of his career, all produced between 1901 and 1907, are milestones on the road Picasso took to becoming the most famous artist of the twentieth century. They can be counted among modernism s most beautiful and most emotional works, and are also some of the most precious works of art ever to exist.
This comprehensive exhibition and its companion catalogue feature around eighty masterpieces, most of which are only rarely loaned out by famous museums and private collections around the world.
Alberto Giacometti (1901−1966) and Francis Bacon (1909−1992) are two artists whose bodies of work influenced twentieth-century art and continue to resonate to this day. What turned them into icons in their field has to do with their individual lifestyles, as well as with the historical, social, and aesthetic upheavals in Europe after 1945, which each artist reflected upon in his ouevre. The Fondation Beyeler has ambitiously undertaken a juxtaposition of the two artists in a large, upcoming exhibition in 2018. In a fascinating way, the meeting of the two artists’ work here is like a dialogue about space and time, in which it is possible to recognize each man’s art in the work of the other. The show’s companion catalogue continues to intensify and carry on this conversation in words and pictures.
The relationship between rare and extraordinary prints and transfer drawings, and better-known paintings and sculptures in wood and ceramic
Created in several discrete bursts of activity from 1889 until his death, remarkable works on paper reflect Paul Gauguin’s (1848–1903) experiments with a range of mediums, from radically “primitive” woodcuts that extend from the sculptural gouging of his carved wood reliefs, to jewel-like watercolor monotypes and large, mysterious transfer drawings. Gauguin’s creative process involved repeating and recombining key motifs from one image to another, allowing them to evolve and metamorphose over time and across mediums. Printmaking, which by definition involves transferring and multiplying images, provided him with many new and fertile possibilities for transposing his imagery. He embraced the subtly textured surfaces, nuanced colors, and accidental markings that resulted from the unusual processes that he devised. Though Gauguin is best known as a pioneer of modernist painting, this publication reveals an arguably even more innovative aspect of his practice.
Following the first four volumes of The Helsinki School, this new publication looks back at the development of this group of photographers over the past twenty years and traces the emergence of the gallery and photographic tendency bearing this name.
In a collection of essays international curators, art critics, and museum directors describe their encounters with the Helsinki School, from the first exhibitions in the late nineties to the youngest generation of photographers. A discussion between Timothy Persons and Alistair Hicks concludes these contributions. The texts are accompanied by installation shots from numerous international exhibitions, archival materials, books, posters, invitations, and most recent works by the different generations of artists. Not only a history, the book is also a look towards the future of one of the most successful galleries and concepts in contemporary photography.
Glamor, happiness, and delicate shades of color from the great German fashion photographer.
Esther Haase says that her life is a dance through the world with the camera. Indeed, the Bremen-born photographer, who currently commutes between Hamburg and London, initially studied ballet and stood on the stage before turning to photography.
She has worked for major magazines and international clients for more than twenty-five years, and playfully alternates between fashion, (celebrity) portrait, and reportage. Her oeuvre is permeated by a particular lightness; the women come across as cheerful and larksome, yet they are always self-determined and strong, sexy, and stylish.
For Esther Haase it has to do with telling stories, whether by means of motion blur; lyrical and delicate, or brash colors; or black and white rich in contrast. Some images seem like cineastic dreams, while others are baroque stagings, and still other comical snapshots. With Esther’s World, the great German fashion photographer opens a treasure chest filled with her favorite pictures for the viewer.
The radical artist's major retrospective.
At once radical, controversial and revered, Marina Abramovic (*1946 in Belgrade, Serbia) is one of the most discussed artists today. Famous for her groundbreaking performance works, she continues to expand the boundaries of art. The publication accompanying her first major retrospective in Europe gives an extensive overview of her work from the earliest years until today: film, photography, paintings and objects, installations and archival material.
Since the early 1970s Marina Abramovic explores the intersection between performing and visual art in her work and, though rarely overtly political, poses questions of power and hierarchy. In addressing fundamental issues of our existence and seeking the core of notions like loss, memory, pain, endurance, and trust, she both provokes and moves us.
“The death of a beautiful woman is unquestionably the most poetical topic in the world,” wrote Edgar Allan Poe. And one is tempted to be of the same opinion when considering Ophelia, Madame Bovary, or Anna Karenina. This concept is also deeply rooted in Far Eastern culture: Buddhism even recommends daily meditation on one’s own death.
The Japanese artist Izima Kaoru (*1954 in Kyoto) lets the most beautiful of the beautiful generate ideas about their own impermanence, about their own death, which he then translates into images. Starting with classic and strict landscape photographs, his highly aesthetic images slowly approach the victims of self-inflicted or external violence—right through to detailed close-ups of their faces—who have experienced death in perfect beauty.
"Landscapes with a Corpse" assembles for the first time all of the photographic epics created by Izima since 1993. Japanese film divas and models, but also European actresses such as Barbara Rudnik or Helena Noguerra, are posed in perpetual beauty in gowns by Prada, Gucci, and Dior. The visual sources range from traditional Japanese Ukiyo-e woodcuts to Pop Art—and the results are always characterized by a bewitching melancholic beauty, and sadness.
Ron Galella (*1931) moved to Los Angeles in his early twenties, where he trained as a photojournalist. In his free time he took pictures of the stars arriving at film premieres, selling them to the National Enquirer and Fotoplay.
His photos are snapshots rather than portraits – spontaneous, not staged, and extraordinarily authentic. Whether Jacqueline Kennedy, Marlon Brando, Greta Garbo, Andy Warhol, Sean Penn, Robert Redford, Muhammad Ali, Madonna, Mick Jagger, or Audrey Hepburn – Galella managed to get them all in front of his lens. In addition to physical assaults, his photographic approach also caused him to be sued—he had to promise Jacqueline Kennedy not to take another picture of her again as long as he lived. Andy Warhol, on the other hand, adored him, and Elizabeth Taylor used his images in her biography.
In addition to his spontaneous paparazzi photographs, Galella also took staged pictures, commissioned by magazines such as Time, Rolling Stone, Vogue or Vanity Fair. The publication presents more than one hundred of his astounding photos.
The amiably spontaneous pictures taken by Sam Shaw (1912–1999) are well known: the native and life-long New Yorker shot countless cover photographs for Life and Look in the fifties and sixties, and later also took the still images for the films he produced himself.
Shaw and Marilyn Monroe were friends, and he captured her unique aura in countless unpretentious portraits. During the filming of The Seven Year Itch, he staged his probably best known picture with her: Marilyn standing over a subway grate, a waft of air blowing the skirt of her white dress above her knees.
Sam Shaw also portrayed almost every major Hollywood star of his day, consistently capturing the moment in his quest for truthfulness, with enthusiasm and from a new perspective, just as if he were selecting the camera angle for a film sequence. The researcher and author Lorie Karnath, the book’s editor, enhances the publication with very personal memories of her long-time friend.
A great many willful painters can be assigned to Post-Impressionism who forged their own artistic paths. Paul Gauguin (1848–1903), like Vincent van Gogh, is a particularly uncompromising exponent of this current. His quest for an independent artistic stance and an authentic lifestyle took the former stockbroker from Paris to Brittany before deciding to travel to Polynesia. Simplified forms, expressive colors, and marked two-dimensionality characterize his seminal paintings, which are currently among the most coveted in the world.
The representative publication traces Gauguin’s artistic development based on great masterpieces from the areas of painting and sculpture—from the multifaceted self-portraits and sacred paintings from Gauguin’s period in Brittany, and the idyllic, wistful paintings and archaic, mystical sculptures from Tahiti, to the late works from his last station on the Marquesas Islands. The volume examines Gauguin’s multilayered body of work as well as his influence on modern and contemporary artists.
"Master of stillness: Balthus, the most enigmatic painter of our time, in a large retrospective.
In his multifaceted, multilayered oeuvre Balthus (1908–2001), one of the last great twentieth-century masters, pursued a path that ran exactly contrary to the modern avant-garde movements. As quiet as they are intriguing, his works feature colliding contrasts, combining reality and dream, eroticism and innocence, practicality and mystery, the familiar and the uncanny in unique ways.
The Fondation Beyeler’s retrospective unites around forty significant paintings from all phases of this legendary artist’s career, reflecting the ambiguous presentation of his imagery. The exhibition and its companion catalogue begin with the monumental, enigmatic masterpiece, Passage du Commerce-Saint-André (1952-54), in which Balthus’s intensive study of the dimensions of space and time and their relationship to figure and object is especially apparent."
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