DOCSLIB.ORG

Hirmer Verlag

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hirmer Verlag HIRMERPUBLISHERS AUTUMN 2017 PAINTING 1 » Unique analysis of Raphael’s working methods » New understanding of his drawing materials » With masterpieces from all creative periods from the world’s great museums. RAPHAEL Raphael is a true universal genius of the High Renaissance – whether as painter and Ed. A. Gnann Contributions by C. Whistler, architect in Florence and Rome or when commissioned by popes and princes. His master- B. Thomas ly drawings illustrate masterfully his thought processes and working methods from the sketch to the final composition. With some 150 drawings and paintings the volume assem- 448 pages, 270 illustrations in colour bles all the artist’s important projects. 24 × 30 cm, hardcover Together with Leonardo da Vinci and Michelangelo, Raphael (1483-1520) is regarded as one £ 45.00 of the most important masters of art history. The drawings and paintings presented here are 978-3-7774-2859-8 October 2017 among his most important and beautiful works and provide an overview of all his creative periods, from his early years in Umbria to the years he spent in Florence and the period in Rome. This wealth of material enables an investigation of Raphael’s design methods and his preparatory process for his panel paintings, works of canvas and frescoes. An additional EXHIBITION focus lies on the materials he used in order to achieve specific tasks, including silverpoint, Albertina, Vienna pen, ink, charcoal and red chalk. 29.09.2017–07.01.2018 3 7 Studies of Heads and Hands, Oxford, Ashmolean Museum, © Ashmolean Museum, University of Oxford 7 The Holy Family with the Lamb, 1507, Madrid, Museo del Prado, © Joseph S. Martín - ARTOTHEK 3The Vision of Ezekiel, 1516, Florence, Palazzo Pitti, Galleria Palatina, Gabinetto Fotografico delle Gallerie degli Uffizi PAINTING 5 » Spectacular exhibition highlight in the Kunsthistorisches Museum Wien and the Städel Museum in Frankfurt am Main » Magnificent tribute to the grand master of Flemish Baroque painting » Rubens’s rivalry with the greatest of his guild: Titian, Tintoretto, Barocci, Goltzius et al. PETER PAUL RUBENS The Power of Transformation Peter Paul Rubens is not only one of the most important painters of the Baroque; he is also Eds. G. Gruber, S. Weppelmann and J. Sander a virtuoso of the art of transformation. More than virtually any other artist he sought inspi- with contributions by ration in the works of other artists and was thus constantly reinventing his art in a highly G. Bisacca, N. Büttner, radical manner. Here you can look over Rubens’s shoulder and immerse yourself in the M. Daiman, A. Georgievska- Shine, G. Gruber, F. Healy, creative process through which his masterpieces took shape. N. van Hout, D. Jaffé, E. Oberthaler, G. Prast, The creative study of the important works of his predecessors and contemporaries occu- J. Sander, I. Slama, A. Vergara, pied Peter Paul Rubens (1577–1640) throughout his life and left its mark on the works he S. Weppelmann, J. Wood produced over a period of fifty years. The comparison of his works with sculptures from An- 336 pages, 292 illustrations in tiquity and the Renaissance, paintings by Titian and Tintoretto and prints by Raimondi and colour Goltzius reveals a fascinating view of Rubens’s surprising transformation of subjects, his 24 × 28 cm, hardcover new presentation of familiar pictorial themes and his skilled search for the right format. £ 45.00 Only thus does the exceptional talent of this great master become tangible. Rubens’s works 978-3-7774-2858-1 November 2017 continue to enchant the present-day viewer as directly as they did during his lifetime. EXHIBITION 3Peter Paul Rubens, Venus and Cupid, ca. 1606/11, Madrid, Museo Thyssen-Bornemisza © Museo Thyssen-Bornemisza/Scala Kunsthistorisches Museum Wien, Vienna 17.10.2017–21.01.2018 Städel Museum, Frankfurt am Main 08.02.–21.05.2018 7Titian, Ecce Homo, 1543, Vienna, Kunsthistorisches Museum Wien © KHM Museums-Verband 3Peter Paul Rubens, Drawing after Titian’s “Ecce Homo” © Courtesy National Gallery of Art, Washington PAINTING 7 » Masterpieces on paper » In a new context: Bruegel and the pictorial tradition » First comprehensive index of Bruegel’s prints in the Albertina PIETER BRUEGEL THE ELDER Pieter Bruegel the Elder is considered the greatest Netherlandish graphic artist of the Eds. E. Michel and K. A. Schröder 16th century. Even during his lifetime his drawings were highly regarded and many were with contributions by widely distributed as references for copperplate engravings. Drawing on the pictorial tra- D. Hammer-Tugendhat, dition of earlier generations of artists, Bruegel introduced completely new ideas with re- E. Michel, L. Ritter gard to both subject and form. 224 pages, 168 illustrations in colour On the eve of the Dutch War of Independence against Spanish hegemony, in a time of politi- 23.5 × 28.5 cm, hardcover cal, social and religious change, Pieter Bruegel (ca. 1525 – 1569) created an equally complex £ 38.00 pictorial world. Humorous and down-to-earth, sharp-witted and deeply critical, he reflected 978-3-7774- 2863-5 on the society of his time. The lavishly illustrated catalogue illuminates Bruegel’s artistic November 2017 origins and offers an overview of his entire graphical oeuvre which unites contrasting sub- jects such as “Peasant Bruegel”; Bruegel as the “second Hieronymus Bosch”; as an innovator in landscape art; and as a satirical moralist. EXHIBITION Albertina, Vienna 08.09.–03.12.2017 7 Spring, 1565, Albertina, Vienna 3Christ’s Descent into Hell, 1561, Albertina, Vienna Both photographs: Albertina, Vienna PAINTING 9 » Highly topical – The fight for democracy in the Weimar Republic as seen by the artists » High artistic quality – controversial content: the art of the 1920s from a socio-historical point of view » From Berlin to Munich and from Rostock to Hannover – A view of the capital and of the entire republic SPLENDOR AND MISERY IN THE WEIMAR REPUBLIC From Otto Dix to Jeanne Mammen From the glamour of the Golden Twenties to the depths of the dark side of a world under- Ed. I. Pfeiffer with contributions by A. Braune, going rapid change – the penetrating content of works by more than 60 artists recreates K. Hille, A. Lütgens, S. Moeller, the age of the Weimar Republic, big-city life and the entertainment scene as well as the O. Peters, I. Pfeiffer, D. Price, consequences of the First World War and socially controversial topics such as prostitu- M. Weinland tion, political struggle and social tensions. 320 pages, 200 illustrations in colour As the first German democracy, the Weimar Republic (1918–1933) is regarded as a time of 24 × 29 cm, hardcover crisis and transition – from the German Empire to the totalitarian regime of National Social- £ 45.00 ism. Numerous artists not only portrayed these years in their realistic representations, 978-3-7774-2933-5 which are ironical and grotesque as well as critical-analytical; they also aimed to comment December 2017 on the status quo and bring about social change. Works from Otto Dix and George Grosz via Conrad Felixmüller and Christian Schad to Dodo, Jeanne Mammen, Elfriede Lohse-Wächt- ler, famous artists and others waiting to be rediscovered, paint a multi-layered and political picture of the Weimar Republic. EXHIBITION Schirn Kunsthalle, Frankfurt am Main 27.10.2017-25.02.2018 7George Grosz, Street Scene (Kurfürstendamm, Berlin), 1925, Museo Thyssen-Bornemisza, Madrid © VG Bild-Kunst, Bonn 2017 PAINTING 11 » The artist as a chronicler of the glittering life in 1920s Berlin » From New Objectivity to Cubism as resistance to National Socialism » The life’s work of an indomitable loner in the 20th century JEANNE MAMMEN. THE OBSERVER Retrospective 1910–1975 The rediscovery of icons of the 1920s, “degenerate” experiments, magical-poetic abstrac- Eds. Th. Köhler and A. Lütgens with contributions by K. Aurich, tions – this wide-ranging publication shows the complete work of Jeanne Mammen J. Bertschik, G. Kühnast, (1890–1976), a Berlin artist on the threshold of the modern age. Her productive output Th. Köhler, A. Lütgens, mirrors the extreme circumstances she experienced, from war, destruction and poverty to S. Mainberger, E. Scharrer, D. Schöne, J. Schubert, the emergence from the ruins. C. Smith, C. Thiele, G, Wolter The Berlin painter and graphic artist Jeanne Mammen is one of the most awkward and co- 256 pages, 170 illustrations in lourful figures of recent German art history. Her complete oeuvre and the breaks it reveals colour 24 × 28.5 cm, hardcover with reflect and comment in an entertaining and critical way on the political and aesthetic up- dust jacket heavals of the last century. Mammen’s art is highly regarded in specialist circles far beyond the boundaries of Berlin and Germany. A monograph which has been in planning for twenty £ 39.95 978-3-7774-2912-0 years presents an overview of her life’s work to a broader public and leads viewers not only November 2017 deep into the 1920s, but also opens up surprising new perspectives on an outstanding artist of Classic Modernism. EXHIBITION Berlinische Galerie. Landesmuseum für moderne Kunst, Fotografie und Architektur, Berlin 06.10.2017–15.01.2018 3 7 Jeanne Mammen, Revue Girls, 1928/29, Berlinische Galerie, © VG Bild-Kunst, Bonn 2017 7 Jeanne Mammen, Untitled [Self-Portrait], ca. 1926, © VG Bild-Kunst, Bonn 2017 3Gert Ladewig, Jeanne Mammen in her studio, 1975; both images p. 11: Förderverein der Jeanne-Mammen-Stiftung e.V. PAINTING PAINTING/CULTURAL HISTORY » Portrait of the famous art collector Rudolf » Exclusive authorised publication: a first Leopold,
Load more

Recommended publications
  • Franz Marc / August Macke L'aventure Du Cavalier Bleu
    Franz Marc / August Macke L’aventure du Cavalier bleu 6 mars – 17 juin 2019 Musée de l’Orangerie Jardin des Tuileries 75001 Paris Département de la communication Directrice : Amélie Hardivillier Responsable du Pôle presse : Marie Dussaussoy Attachée de presse : Gabrielle Lacombe Téléphone : 01 40 49 49 20 Courriel : [email protected] 1 2 Sommaire 1. Communiqué de presse 5 2. Press release 7 3. Parcours de l'exposition 11 4. Chronologie 39 5. Liste des œuvres présentées 47 6. Cartels développés 57 7. Publication 61 8. Extraits du catalogue 65 9. Programmation autour de l’exposition 73 10. Liste des visuels disponibles pour la presse 81 11. Mécène de l’exposition 91 12. Partenaires Médias 93 13. Informations pratiques 97 3 4 1. Communiqué de presse Franz Marc / August Macke Franz Marc, Le Rêve [Der Traum], 1912, Madrid, Museo Nacional Thyssen-Bornemisza © Museo Nacional Thyssen-Bornemisza, Madrid L’aventure du Cavalier bleu 6 mars – 17 juin 2019 Musée de l’Orangerie Niveau -2, espace d’exposition temporaire Unis par une profonde amitié, Franz Marc (1880-1916) et August Macke (1887-1914) comptent au rang des artistes majeurs du mouvement expressionniste allemand Der Blaue Reiter (Le Cavalier bleu). Alors que s’achève le cycle de commémorations de la fin de la Première guerre mondiale, le musée de l’Orangerie consacre, pour la première fois à Paris, une exposition aux deux peintres allemands, morts tous deux sur le front en France. C’est à Munich en 1910 qu’a lieu la rencontre entre August Macke, âgé de vingt- August Macke, Joueuse de luth (Lautenspielerin) Paris, Centre Pompidou - trois ans, et Franz Marc, son aîné de sept ans.
    [Show full text]
  • A Year in ART the Activity Book
    A Year in ART The Activity Book A Year in ART The Activity Book PRESTEL Munich . London . New York Welcome! Do you like drawing and painting? Is art one of your favorite subjects at school? Are you observant? Do you like trying to solve puzzles? If you have answered “yes” to any of these questions, then this book is just right for you! So you don’t much like visiting art museums? And you sometimes find art rather boring? Then it’s high time that you discovered how much fun art can really be! Just try it out! This book can lead you on a wonderful journey of discovery into the world of art. Soon you will have no time to be bored! In this book you are about to find 365 adventures in art waiting to be discovered: Let your imagination run wild! Can you think up stories to match pictures? I spy with my Solve tricky puzzles based little eye … on artworks in a variety you need sharp eyes of quizzes. for our observation games. Everyone is an artist! And much, much more. Here you can color or complete great works of art; you will also find lots of suggestions for pictures of your own. Have fun! 1 January Franz Marc, Haystacks in the Snow, 1911, Franz Marc Museum, Kochel am See Paintings can look like many things to many people. This painting by Franz Marc is like that. The shapes suggest snow covered mountains, or pears covered with melted ice cream or frosting. Can you think of other things? 2 January Pieter Brueghel the Younger, Winter Landscape, 1601, Kunsthistorisches Museum, Vienna People have enjoyed ice skating for hundreds of years.
    [Show full text]
  • Julian Stanczak • Jonas Wood Speaks with Jacob Samuel • Picturing Islamic Spain • Hercules Segers German Romantic Prints
    US $25 The Global Journal of Prints and Ideas May – June 2018 Volume 8, Number 1 Julian Stanczak • Jonas Wood Speaks with Jacob Samuel • Picturing Islamic Spain • Hercules Segers German Romantic Prints • Anselm Kiefer • Richter and Polke • Katharina Fritsch • Janis Kounellis • News WASHINGTON STATE UNIVERSITY ANNOUNCES THE OPENING OF THE JORDAN SCHNITZER MUSEUM OF ART AT WSU APRIL 2018 Photo: Robert Hubner, Washington State University Standing as a beacon for the arts, this crimson “jewel box” designed by internationally recognized architects Olson Kundig logotype will serve over 25,000 students who attend the University in Pullman, Washington. JORDAN SCHNITZER MUSEUM OF ART WSU COMBINING ACADEMIC NEEDS WITH COMMUNITY CONNECTIONS TO TRANSFORM THE REGIONAL ART EXPERIENCE JSMOAWSU (MAIN), SINGLE LINE LOG0 (WITH TAGLINE) Our sincerest thanks to Oregon philanthropist and businessman Jordan D. Schnitzer for his generous contribution. JSMOAWSU, SQUARE LOGO JORDAN SCHNITZER JSMOAWSU MUSEUM OF ART WSU JSMOAWSU, BRAND, CUBE LOGO JSMOAWSU, STACKED LOGO typography ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz Aa 0123456789!?& Aa 0123456789!?& Helvetica Neue LT Std (37) Thin Condensed Helvetica Neue LT Std (67) Medium Condensed AaAa Thin Condensed | Thin Condensed Oblique AaAa Medium Condensed | Medium Condensed Oblique colors brand philosophy BRAND STATEMENT | The Jordan Schnitzer Museum of Art at Washington State University serves as the intellectual center for the visual arts, combining
    [Show full text]
  • < Paul Cézanne >
    Still Life: Plate of Peaches, 1879-80. Oil on canvas, 59.7 x 73.3 cm. Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K. Thannhauser 78.2514.4 < PAUL CÉZANNE > Paul Cézanne’s (b. 1839, Aix-en-Provence, France; d. 1906, Aix-en-Provence) complex still lifes are an important part of his quest for empirical truth in painting. Because these THE GREAT U inanimate objects did not move, like human “I will astonish Paris with an apple,” he subjects might, during the painting sessions, once said.3 and they were available any time of day or PAUL CÉZANNE night, they were an ideal subject for a slow- Cézanne set up his still lifes with great care. working, analytical artist like Cézanne. A testimony by an acquaintance describes his Sometimes the fruit or flowers he used method of preparing a still life: “No sooner P HEAVAL would wither and die before the painting was the cloth draped on the table with innate was completed and would need to be taste than Cézanne set out the peaches in replaced by paper flowers and artificial fruit. such a way as to make the complementary colors vibrate, grays next to reds, yellows to His work was motivated by a desire to give blues, leaning, tilting, balancing the fruit at the sculptural weight and volume to everyday angles he wanted, sometimes pushing a one- objects. In Cézanne’s still lifes ambiguities sous or two-sous piece [French coins] under abound. As if by magic, the tablecloth we them. You could see from the care he took see in Still Life: Plate of Peaches is able to how much it delighted his eye.”4 But when levitate several pieces of fruit without any he began to paint, the picture might change visible means of support.
    [Show full text]
  • Auf Der Suche Nach Einem Vollkommenen Sein Franz Marcs
    Auf der Suche nach einem vollkommenen Sein Franz Marcs Entwicklung von einer romantischen zu einer geistig-metaphysischen Weltinterpretation Zur Erlangung des akademischen Grades eines DOKTORS DER PHILOSOPHIE (Dr. phil.) von der Fakult¨at fur¨ Geistes- und Sozialwissenschaften der Universit¨at Karlsruhe angenommene DISSERTATION von Katja F¨orster aus Basel Dekan: Prof. Dr. Bernd Thum 1. Gutachter: Prof. Dr. Volker Herzner 2. Gutachter: Prof. Dr. Norbert Schneider Tag der mundlichen¨ Prufung:¨ 13. Dezember 2000 Vorwort Ein Praktikum im Kunstmuseum Bern und der darin domizilierten Paul- Klee-Stiftung erm¨oglichte mir die Bearbeitung des Briefwechsels zwischen Paul Klee und Franz Marc einschließlich der Schreiben von und an Lily Klee und Maria Marc. Die Briefedition war ursprunglich¨ als Thema der Magister- arbeit vorgesehen. Nach der textkritischen Transkription und einer ersten Kommentierung der rund 100 Dokumente sprengte sie jedoch den Rahmen einer solchen Arbeit, so daß ich das Thema auf die Mitteilungen der Vor- kriegszeit begrenzen mußte. Infolgedessen beabsichtigte ich zun¨achst mit meiner Dissertation die Fertig- stellung dieser Edition. Die weiterfuhrenden¨ Untersuchungen der Freund- schaft zwischen Paul Klee und Franz Marc w¨ahrend des Krieges zeigten eine zunehmende Distanzierung Klees von seinem Freund aufgrund dessen Weltbildes, die im Herbst 1915 zu einem vorl¨aufigen, durch Marcs Tod im M¨arz 1916 zu einem endgultigen¨ Abbruch ihres Schriftverkehrs fuhrte.¨ Die sp¨ate Weltsicht Marcs, die diese Entfremdung unter den Freunden bewirkte, hatte nichts mehr mit den vormals romantisch-pantheistischen Wertvorstel- lungen gemein, die die Kunstwissenschaft bis heute ausschließlich mit sei- nem Namen verbindet. Vielmehr vertrat er in seinen letzten Lebensjahren eine ‘geistige’ Weltschau, die jede Form von Materie negierte, die doch ei- ne Grundbedingung fur¨ ein romantisches Weltverst¨andnis darstellt.
    [Show full text]
  • Franz Marc Became World Famous for His Expressionist Animal Paintings; No Other Body of Work Has Been So Frequently Reproduced As That of This Munich Artist
    The 100th Anniversary of Franz Marc’s Death “Unnoticed trails of life” Blue horses, yellow cows, red deer – Franz Marc became world famous for his Expressionist animal paintings; no other body of work has been so frequently reproduced as that of this Munich artist. One hundred years after his death, biographies and exhibitions afford significant and sometimes previously unknown insights into Marc’s life and work. Feed 1: “How many times have I longed to roam over these heights, plangently playing on the dark violin of nature; oh, why has fate shut me out from this art? But I would die from this longing, most assuredly, just as from the yearning of love had it never been fulfilled; or from painting – did I not myself paint.” Speaker: Franz Marc in 1906. The twenty-six-year old artist is at home, at the foot of the Bavarian Alps, to paint animals. He is still searching for his own style. Again and again Marc is plagued by his broken off art studies, the few number of his works, financial difficulties. He is searching for a religious affiliation, initially to Christianity and later to Buddhism. His inner conflict, the tendency to melancholy, fear and apprehension – all this is reflected in his life and work. Feed 2: “And because of this distress Marc sought contact with people. We can see this in his early relationships with women, but with men and colleagues he was also extraordinarily companionable, very “team-oriented”,” Speaker: as the journalist and Marc expert Brigitte Roßbeck writes. In 1911 Marc meets Vassily Kandinsky.
    [Show full text]
  • Journal 2019 Sigmar Polke · Franz Marc Museum
    KARL&FABER Journal 2019 In Exchange Sigmar Polke · Franz Marc Museum · Busch-Reisinger Museum · Richard Ziegler Dear Reader, The current issue of our journal specifically examines the exchange KARL&FABER maintains with museums and institutions. Ultimately, such insti- tutions thrive because of the people who work in these places and/or those who support them. By focusing on them, it becomes clear once more that col- lectors and institutions, dealers and auction houses all have an extremely sym- biotic relationship that is not always tension-free, but for this, always remains exciting. KARL&FABER keeps close ties with the Franz Marc Museum in Kochel am See and the Busch-Reisinger Museum in Cambridge, near Boston (USA). In our title story, you will learn what strategies their two women museum directors develop in order to achieve distinction alongside the big players. Our column “From KARL&FABER to the Museum” explains to you how a painting by Hein- rich Reinhold and a photograph by Sigmar Polke from our past auctions found their ways to the museum. What is art worth? This question persists as an evergreen: An illustrious discussion round took a stand on this topic last summer in our building. You may well be surprised when you read the summary of the new and astonishing views! We feel privileged to rely on an increasing number of new customers who entrust to us their works of art. This also leads to new sales channels as well as to a further strengthening of our Contemporary Art Department, as you can gather from the various articles in our journal.
    [Show full text]
  • New Editions from Apfelbaum to Wilson • Glenn Brown • Nicole
    US $25 The Global Journal of Prints and Ideas March – April 2018 Volume 7, Number 6 New Editions from Apfelbaum to Wilson • Glenn Brown • Nicole Eisenman • Matt Saunders • Swoon • and more Nina Katchadourian Speaks with Island Press • Bodo Korsig • Todd Norsten • Boston Printmakers • Prix de Print • News AndyAndyAndy Warhol: Warhol: Warhol: Prints Prints Prints from from from the the theCollections Collections Collections of ofJordan of Jordan Jordan D. D.Schnitzer D. Schnitzer Schnitzer and and and His His HisFamily Family Family Foundation Foundation Foundation PortlandPortlandPortland Art Art MuseumArt Museum Museum AAA PASSION PASSIONPASSION FOR FORFOR SHARING SHARINGSHARING ART ARTART CurrentCurrentCurrent Exhibitions Exhibitions Exhibitions “For“For“For me, me, me, waking waking waking up up up each each each day day day without without without art art art around around around AndyAndyAndy Warhol: Warhol: Warhol: Prints Prints Prints from from from the the the Collections Collections Collections of of of mememe would would would be be be like like like waking waking waking up up up without without without the the the sun. sun. sun. JordanJordanJordan D. D. D.Schnitzer Schnitzer Schnitzer and and and His His His Family Family Family Foundation Foundation Foundation WhenWhenWhen you you you live live live with with with art art art around around around you, you, you, your your your mind mind mind PalmPalmPalm Springs Springs Springs Art Art Art Museum Museum Museum PalmPalmPalm Springs, Springs, Springs, CA CA CA • • Mar• Mar Mar 3, 3, 3,2018 2018 2018 - -May -May May 28, 28, 28, 2018 2018 2018 andandand soul soul soul are are are filled filled filled withwithwith the thethe beauty beautybeauty of of oflife life life and andand the thethe creativitycreativitycreativity of of of the the the human human human spirit.” spirit.” spirit.” EnriqueEnriqueEnrique Chagoya: Chagoya: Chagoya: Reimagining Reimagining Reimagining the the the New New New World World World NevadaNevadaNevada Museum Museum Museum of of Artof Art Art —— —JORDAN JORDAN JORDAN D.
    [Show full text]
  • Museum Heute 47 Fakten, Juni 2015 Tendenzen Und Hilfen Inhalt
    museum heute 47 Fakten, Juni 2015 Tendenzen und Hilfen Inhalt Editorial 4 Astrid Pellengahr Museumsporträts 7 Töpfermuseum Thurnau – altes Töpfer- handwerk in neuen Räumen (Sandra Bali) 12 »... alles andere als Durchschnitt« Das Waldmuseum Zwiesel (Elisabeth Vogl) 18 Aufwertung eines Schatzkästchens – Impressum das neue AschheiMuseum (Anja Pütz/ Hans-Peter Volpert) Landesstelle für die nichtstaatlichen Museen in Bayern 23 Erleben, schmecken, staunen. beim Bayerischen Landesamt für Denkmalpflege Das HopfenBierGut Museum im Alter Hof 2 · 80331 München Kornhaus Spalt (Sabrina Müller) Telefon +49 89/210140-0 Telefax +49 89/210140-40 28 Das Fugger und Welser Erlebnismuseum [email protected] Herausforderungen und Lösungen www.museen-in-bayern.de (Stefanie von Welser) Redaktion Dr. Wolfgang Stäbler Isabelle Rupprecht M. A. Forschung im Museum Bildredaktion 33 Suche nach NS-Raubkunst Isabelle Rupprecht M. A. Provenienzforschung in der Gestaltung Städtischen Sammlung Würzburg designgruppe koop, Rückholz/Allgäu (Beatrix Piezonka) Satz Sybille Greisinger M. A. 36 Das »Kalthaus« aus Nordheim vor der Rhön – ein neues Museumsgebäude Druck für das Fränkische Freilandmuseum Bugl-Druck, Essenbach Fladungen (Sabine Fechter) Titelfoto Blick in den Flur des Erdgeschosses 40 »Künstliche Kälte« im Verbund des Waldmuseums Zwiesel Foto: Peter Franck Die Transferierung des Kalthauses aus Nordheim nach Fladungen (Georg Waldemer) 45 Hinterglasmalerei: eine künstlerische Technik der Moderne Zwei Forschungsprojekte am Museum Penzberg/Sammlung Campendonk (Gisela Geiger/Simone Bretz) München, Juni 2015 ISSN 0944-8497 Berichte/Aktuelles 50 Migrationsgeschichte – 79 Vermittlung im Museum – sammeln, sortieren und zeigen Forschungsergebnisse Umfangreiche Materialien für die Es wird Zeit für Vermittlung Projektarbeit mit Schülern (Hannelore Kunz-Ott/Birgit Baumgart) (Gesa Büchert) 83 »Tracht« im Trend 52 »MuseobilBox – ein Museum zum Workshop »Historische Kleidung.
    [Show full text]
  • Open Windows 8
    Open Windows 8 October 2017 Douglas Cooper: A Cubist Love Story Clara Marcellán page 2 The Death of Hyacinthus by Giambattista Tiepolo Mª Eugenia Alonso page 12 The Rider and the Dream: The relationship between Franz Marc and Wassily Kandinsky through the works they exchanged Marta Ruiz del Árbol page 25 Open Windows 8 Douglas Cooper: A Cubist Love Story Clara Marcellán Picasso Man with a Clarinet (1911 - 12) [+ info] Open Windows 8 Douglas Cooper: A Cubist Love Story Clara Marcellán fig. 1 Closing of Douglas Cooper’s letter to Baron Thyssen dated 18 March 1977 “My dear Baron! My friends tell me that in recent years 1 Letter from Douglas Cooper you have acquired some paintings by Juan Gris for your to Baron Thyssen-Bornemisza, collection.”1 So begins the letter that Douglas Cooper (1911– 18 March 1977, Museo Thyssen- Bornemisza Archives. 1984) penned to H. H. Thyssen on 18 March 1977, energetically handwritten in the greenish-blue ink that everyone in the art 2 world associated with him [fig. 1]. A British art historian and Cooper defined and exhibited his idea of “true” Cubism in the show collector, Cooper was considered one of the foremost The Essential Cubism 1907–1920 authorities on “true” Cubism, which encompassed the works at the Tate Gallery, London, in 1983, produced by Picasso, Braque, Gris and Léger between 1907 which he co-curated with Gary 2 Tinterow. The Thyssen Collection lent and 1921. Through the exhibitions he curated, his monographs two works for the occasion: Picasso’s and his reviews published in The Burlington Magazine, a Head of a Man (1913) and Braque’s leading monthly art journal (in which he also owned stock), Woman with a Mandolin (1910).
    [Show full text]
  • Journal 2021
    KARL&FABER Journal 2021 In Exchange The Art of Collecting · Dr. Sonja Lechner · Johann König Dear Readers and Friends of our Auction House, Over the past year, we all had to face great challenges. The ever-changing conditions forced us all to react with flexibility and innovative ideas. For us at KARL & FABER, this meant above all pushing ahead with digitalisation. In ad- dition to our classic online-only auctions, we were the first auction house in Germany to introduce a new auction format: the Real Time Online Auction, a streamed live auction without an audience in the room, but with telephone and internet bidders. We were very active on Instagram, Facebook, YouTube and Pinterest and developed the concept for “KARL & FABER im Austausch (in Exchange)”. In doing so, we continued to focus on the one thing that gives the art market its right to exist: collecting. In this Journal, you will find the summaries of two in Exchange-conversations we had with a focus on this to- pic. Whereas Johann König and Rupert Keim discuss the reasons for collec- ting, Sonja Lechner and Sheila Scott explore the question of whether women artists should be specifically promoted. The article Glitter in Their Eyes makes it clear that more and more collectors, and especially a growing number of fi- nancially independent women collectors, are focusing on the potential of wo- men's art. Starting on p. 58, a Munich collector gives a very personal answer to the question of whether women collect differently from men. Ultimately, our understanding of and know-how about collecting also led to a special auction of a private collection in Ulm.
    [Show full text]
  • Marianne Werefkin and the Women Artists in Her Circle
    Marianne Werefkin and the Women Artists in Her Circle <UN> Avant-Garde Critical Studies Founding Editors Ferd Drijkoningen† Klaus Beekman Editor Geert Buelens Associate Editors Hubert van den Berg Günter Berghaus Sascha Bru International Advisory Board Henri Béhar – Sophie Berrebi – Peter Bürger – Ralf Grüttemeier – Hilde Heynen – Leigh Landy – Ben Rebel – Jan de Vries – Willem G. Weststeijn VOLUME 33 The titles published in this series are listed at brill.com/agcs <UN> Marianne Werefkin and the Women Artists in Her Circle Edited by Tanja Malycheva Isabel Wünsche LEIDEN | BOSTON <UN> This is an open access title distributed under the terms of the cc-by-nc License, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. This publication is an outcome of the international conference “Crossing Borders: Marianne Werefkin and the Cosmopolitan Women Artists in her Circle,” held at the Museen Böttcherstraße, Bremen in September 2014. It was generously funded by the Volkswagen Foundation, the Nicolaus Heinrich Schilling Foundation, the Petra und Dieter Frese Foundation, and the Karin und Uwe Hollweg Foundation and supported by Jacobs University, Bremen. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov lc record available at http://lccn.loc.gov/2016042164 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. issn 1387-3008 isbn 978-90-04-32897-6 (hardback) isbn 978-90-04-33314-7 (e-book) Copyright 2017 by the Editors and Authors. This work is published by Koninklijke Brill nv.
    [Show full text]