DOCSLIB.ORG

The Vitality of Colour an Exhibition About Hans Purrmann with a Selection of Works from the Community of Artists Surrounding Him

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Vitality of Colour an Exhibition About Hans Purrmann with a Selection of Works from the Community of Artists Surrounding Him PRESS RELEASE KUNSTFORENINGEN GL STRAND PRESENTS THE VITALITY OF COLOUR AN EXHIBITION ABOUT HANS PURRMANN WITH A SELECTION OF WORKS FROM THE COMMUNITY OF ARTISTS SURROUNDING HIM 27 APRIL - 15 SEPTEMBER 2019 Hans Purrmann, Stehender Atelierakt, nach rechts, 1904, oil on canvas, privately owned FALLING FOUL OF NAZI GERMANY AND A CLOSE FRIEND OF MATISSE, HANS PURRMANN (1880- 1966) INSISTED ON THE DECORATIVE QUALITIES OF THE PAINTING THROUGHOUT HIS LIFE. WITH THE AMBITIOUS EXHIBITION THE VITALITY OF COLOUR, WORKS BY ONE OF GERMANY’S SIGNIFICANT MODERNIST ARTISTS ARE BEING SHOWN IN DENMARK FOR THE FIRST TIME. Colourful landscapes, still lifes executed with heavy brush strokes, azure-coloured walls and the relations between light, hue and colour in paintings of interior, harmonious colour contrasts, decorative nude studies and portraits are some of the works you will experience at the exhibition The Vitality of Colour featuring the German artist Hans Purrmann. The exhibition will be on display in spring 2019 in Kunstforeningen GL STRAND. It is the first time that the recognised German painter is being featured at an exhibition of this scale in Denmark. The exhibition is a retrospective of Purrmann’s works, connecting them with a selection of the artists whom he collaborated with or was inspired by – artists such as Max Liebermann, Henri Matisse, Mathilde Vollmoeller, Oskar and Marg Moll, Emy Roeder as well as the writer Hermann Hesse, all of whom may also be experienced in the exhibition. The exhibition The Vitality of Colour will be on display at Kunstforeningen GL STRAND from 27 April to 15 September 2019. Beautiful Landscapes from a Divided Europe Today, Hans Purrmann is one of Germany’s most distinctive Colourist painters. As an artistic nomad and diplomat, he travelled and settled in various European countries throughout the 20th century – Germany, France, Italy and Switzerland – initially on his own initiative and forced by circumstances in a Europe full of upheavals and changes. In the early 20th century he was a central figure – together with his close colleague Henri Matisse – in the international art setting that Matisse created in Paris through his Académie Matisse. Purrmann served as head of the school for the few years that the Académie existed. Throughout his life, Purrmann continued to paint in a Coloristic Figurative expression with focus on colour and the decorative qualities of the painting. He explored the formal new breakthrough of Modernism, at the same time honouring the old masters. He developed his own unique style – a precise classification of which seems impossible – while persisting, despite war and external circumstances, in his search for beauty and perpetuity in the classical motifs: landscape, still life, interior and portrait. Like his mentor, Matisse, he envisioned art as an ‘escape from daily struggles’. Derided by the Nazi Regime In 1937, Purrmann was declared a ‘degenerate’ artist by the National Socialist regime. Two of his works were shown in Hitler’s travelling exhibition Entartete Kunst, after which 36 paintings and a large collection of graphics were removed from public museums in Germany. Unfortunately, most have never been found again. The exhibition The Vitality of Colour at Kunstforeningen GL STRAND also shows Purrmann’s presence at the first important documenta exhibition in Kassel. The exhibition gathered the European artists who had been criticised and persecuted by the Nazi regime. In the following years, the exhibition was among the most important in the quest for avant-garde and new aesthetic tendencies. The exhibition comes in continuation of Kunstforeningen GL STRAND’s engagement with Matisse and the period in question. Through the years, Kunstforeningen GL STRAND has presented several exhibitions with works by Matisse’s students which have taken the Nordic perspective as their starting point. These include the exhibitions Modern Women and Students of Matisse in the Nordic Countries in 2007 and 2008, respectively. ‘We want to introduce the Danish audience to an artist of great importance and with works of the highest quality, who – for various reasons – did not reach the same celebrity status as the greatest stars in art history’, says Helle Behrndt, Director of Kunstforeningen GL STRAND. The exhibition The Vitality of Colour was created with generous support from the Foundation of Aage and Johanne Louis-Hansen, the Oticon Foundation, the Knud Højgaard Foundation, the Augustinus Foundation, the Arne V. Schleschs Foundation and the Lizzie and Ejler Ruge Art Fund. Catalogue: The exhibition is accompanied by a richly illustrated catalogue, which will be published by the German publishing house Hirmer in the three languages Danish, German and English. The catalogue contains a number of articles written by leading researchers into Purrmann’s work, and there will also be excerpts from his correspondence with artists, poets and art historians. The catalogue will be on sale at Kunstforeningen GL STRAND’s shop from 27 April 2019. The exhibition The Vitality of Colour can be experienced in Kunstforeningen GL STRAND from 27 April to 15 September 2019. The exhibition is curated by Curator Annette Vogel from Germany in collaboration with Chief Curator at Kunstforeningen GL STRAND Anne Kielgast. The opening will take place on 26 April from 17.00-19.00 with a press conference that same day at 11.00. The opening and press conference for the exhibition Asger H. Gjerdevik. Driving Home for Christmas will be held at the same time. For more information, please contact Charlotte Frost, Head of Communication at Kunstforeningen GL STRAND, at +45 33 36 02 61 or [email protected]. Find PRESS PHOTOS and PRESS RELEASES in our pressroom: http://www.glstrand.dk/presse/2019.aspx Login: presse Password: glstrand1 PRESS CONFERENCE: You are invited to a press conference, including a review of the exhibition by German Curator Annette Vogel and Chief Curator at Kunstforeningen GL STRAND Anne Kielgast. The presentation of the exhibition Asger H. Gjerdevik. Driving Home for Christmas will be held at the same time. The press conference will be held on 26 April at 11.00 at Kunstforeningen GL STRAND, followed by a light lunch. ABOUT HANS PURRMANN: • Hans Marsilius Purrmann is born on 10 April 1880 in Speyer in Southern Germany, the son of master painter Georg Heinrich Purrmann and his wife Elisabeth Purrmann. • In the years 1897-1905, he studies at the Akademie der Bildenden Künste in Munich, from 1898 under Franz von Stuck, who is a well-known Symbolist painter and a member of the Munich Secession. • In fall 1905, Purrmann travels to Paris, where he once again meets Levy and Weisgerber as well as art critic Julius Meier-Graefe, art dealer Alfred Flechtheim and journalist and editor Theodor Heuss. Purrmann becomes one of the so-called “Dômiers”, named after their favourite bohemian meeting place, Café du Dôme on Montparnasse. Purrmann becomes part of the circle of acquaintances around the legendary art collectors, the Stein family, which leads to his friendship with Henri Matisse. • At Académie Matisse he meets his future wife, the painter Mathilde Vollmoeller (1876-1943), and Oskar and Marg Moll. • At the outbreak of World War One the couple reside in Beilstein. Due to a chronic muscle disease, Purrmann is exempted from military duty, unlike most of his German colleagues. • In the years 1922-1927, follow several stays in Italy (Rome, Sorrento, Ischia), and the country’s warm climate and light affect the couple’s works and scenes. • In 1935, Hans Purrmann is appointed director of Villa Romana. • In 1937, works by Purrmann described as ’Entartete Kunst’ are removed from German museums. Two paintings are exhibited in the exhibition by the same name. In Germany he is denoted a ’Französling’. • After the death of Mathilde Vollmoeller in 1943 and the German invasion that same year, Hans Purrmann escapes to the Italian part of Switzerland. • In 1955, Purrmann exhibits five paintings on the first documenta exhibition in Kassel organised by Arnold Bode and Werner Haftmann. • Purrmann dies in Basel on 17 April 1966 and is buried next to his wife. Lizzie & Ejler Ruge Kunstfond.
Load more

Recommended publications
  • Mattia & Marianovella Romano
    Mattia & MariaNovella Romano A Selection of Master Drawings A Selection of Master Drawings Mattia & Maria Novella Romano A Selection of Drawings are sold mounted but not framed. Master Drawings © Copyright Mattia & Maria Novelaa Romano, 2015 Designed by Mattia & Maria Novella Romano and Saverio Fontini 2015 Mattia & Maria Novella Romano 36, Borgo Ognissanti 50123 Florence – Italy Telephone +39 055 239 60 06 Email: [email protected] www.antiksimoneromanoefigli.com Mattia & Maria Novella Romano A Selection of Master Drawings 2015 F R FRATELLI ROMANO 36, Borgo Ognissanti Florence - Italy Acknowledgements Index of Artists We would like to thank Luisa Berretti, Carlo Falciani, Catherine Gouguel, Martin Hirschoeck, Ellida Minelli, Cristiana Romalli, Annalisa Scarpa and Julien Stock for their help in the preparation of this catalogue. Index of Artists 15 1 3 BARGHEER EDUARD BERTANI GIOVAN BAttISTA BRIZIO FRANCESCO (?) 5 9 7 8 CANTARINI SIMONE CONCA SEBASTIANO DE FERRARI GREGORIO DE MAttEIS PAOLO 12 10 14 6 FISCHEttI FEDELE FONTEBASSO FRANCESCO GEMITO VINCENZO GIORDANO LUCA 2 11 13 4 MARCHEttI MARCO MENESCARDI GIUSTINO SABATELLI LUIGI TASSI AGOSTINO 1. GIOVAN BAttISTA BERTANI Mantua c. 1516 – 1576 Bacchus and Erigone Pen, ink and watercoloured ink on watermarked laid paper squared in chalk 208 x 163 mm. (8 ¼ x 6 ⅜ in.) PROVENANCE Private collection. Giovan Battista Bertani was the successor to Giulio At the centre of the composition a man with long hair Romano in the prestigious work site of the Ducal Palace seems to be holding a woman close to him. She is seen in Mantua.1 His name is first mentioned in documents of from behind, with vines clinging to her; to the sides of 1531 as ‘pictor’, under the direction of the master, during the central group, there are two pairs of little erotes who the construction works of the “Palazzina della Paleologa”, play among themselves, passing bunches of grapes to each which no longer exists, in the Ducal Palace.2 According other.
    [Show full text]
  • 1 Curt Glaser Report
    28.8.2019_JS 16.9.2019_transl Brailovsky Curt Glaser Report: III. Summary of the Historical Facts Curt Glaser (1879–1943) was born in Leipzig, the son of a Jewish family. In 1903 he began his studies of art history in Berlin and received his doctorate there in 1907. Most likely in 1903 as well, he married Elsa Kolker (1878-1932). Starting around 1910, with the support and in part at the behest of Glaser's father-in-law, Hugo Kolker, the couple began to build a significant art collection that encompassed, among others, the works of Edvard Munch, Vincent van Gogh, Henri Matisse, Pablo Picasso and Hans Purrmann. In 1902, Glaser began to be active as an art critic and became one of the most important critics and commentators in Berlin. Starting in 1909, Glaser worked at the Königliches Kupferstichkabinett, where by 1912 at the latest he was significantly expanding the collection of modern and contemporary art and promoting it through numerous exhibitions. During the course of his tenure at the Kupferstichkabinett, Glaser authored his most important scholarly publications: Zwei Jahrhunderte deutscher Malerei [Two Hundred Years of German Painting] (1916), Die Graphik der Neuzeit [Contemporary Graphics] (1922), and monographs on Lucas Cranach the Elder (1921) and Hans Holbein the Younger (1924). In October 1924, Glaser became the director of the Kunstbibliothek in Berlin. Among his chief tasks, in particular, was to redefine the Kunstbibliothek as an art historical research library. In July 1925, the Glasers moved into a civil service apartment unattached to the director's post, in which their art collection was also exhibited.
    [Show full text]
  • Charity Art Auction in Favor of the CS Hospiz Rennweg in Cooperation with the Rotary Clubs Wien-West, Vienna-International, Köln-Ville and München-Hofgarten
    Rotary Club Wien-West, Vienna-International, Our Auction Charity art Köln-Ville and München-Hofgarten in cooperation with That‘s how it‘s done: Due to auction 1. Register: the current, Corona- related situation, BenefizAuktion in favor of the CS Hospiz Rennweg restrictions and changes 22. February 2021 Go to www.cs.at/ charityauction and register there; may occur at any time. please register up to 24 hours before the start of the auction. Tell us the All new Information at numbers of the works for which you want to bid. www.cs.at/kunstauktion Alternatively, send us the buying order on page 128. 2. Bidding: Bidding live by phone: We will call you shortly before your lots are called up in the auction. You can bid live and directly as if you were there. Live via WhatsApp: When registering, mark with a cross that you want to use this option and enter your mobile number. You‘re in. We‘ll get in touch with you just before the auction. Written bid: Simply enter your maximum bid in the form for the works of art that you want to increase. This means that you can already bid up to this amount, but of course you can also get the bid for a lower value. Just fill out the form. L ive stream: at www.cs.at/kunstauktion you will find the link for the auction, which will broadcast it directly to your home. 3. Payment: You were able to purchase your work of art, we congratulate you very much and wish you a lot of pleasure with it.
    [Show full text]
  • The Vitality of Colour an Exhibition About Hans Purrmann with a Selection of Works from the Community of Artists Surrounding Him
    PRESS RELEASE KUNSTFORENINGEN GL STRAND PRESENTS THE VITALITY OF COLOUR AN EXHIBITION ABOUT HANS PURRMANN WITH A SELECTION OF WORKS FROM THE COMMUNITY OF ARTISTS SURROUNDING HIM 27 APRIL - 15 SEPTEMBER 2019 Hans Purrmann, Meereslandschaft bei Cassis /Coastal landscape near Cassis, 1909, oil on canvas, Private collection FALLING FOUL OF NAZI GERMANY AND A CLOSE FRIEND OF MATISSE, HANS PURRMANN (1880- 1966) INSISTED ON THE DECORATIVE QUALITIES OF THE PAINTING THROUGHOUT HIS LIFE. WITH THE AMBITIOUS EXHIBITION ‘THE VITALITY OF COLOUR’, WORKS BY ONE OF GERMANY’S SIGNIFICANT MODERNIST ARTISTS ARE BEING SHOWN IN DENMARK FOR THE FIRST TIME. PRESS RELEASE HANS PURRMANN 27 APRIL - 15 SEPTEMBER 2019 Colourful landscapes, still lifes executed with heavy brush strokes, azure-coloured walls and the relations between light, hue and colour in paintings of interior, harmonious colour contrasts, decorative nude studies and portraits are some of the works you will experience in the exhibition The Vitality of Colour featuring the German artist Hans Purrmann. The exhibition will be on display in spring 2019 in Kunstforeningen GL STRAND. It is the first time that the recognised German painter is being featured at an exhibition of this scale in Denmark. The exhibition is a retrospective of Purrmann’s works, connecting them with a selection of the artists he collaborated with or was inspired by – artists such as Max Liebermann, Henri Matisse, Mathilde Vollmoeller, Oskar and Marg Moll, Emy Roeder as well as the writer Hermann Hesse, all of whom may also be experienced in the exhibition. The exhibition The Vitality of Colour will be on display at Kunstforeningen GL STRAND from 27 April to 15 September 2019.
    [Show full text]
  • Barbara and Erhard Göpel
    he had co-founded. Göpel had written to the 13 Barbara and Erhard Göpel: artist in the US several times, as Beckmann’s wife confirmed in a letter from 1951 while also underscoring the old, friendly bond between A Convergence Beckmann and his “Eckermann.” “Neither I nor Beckmann,” she wrote, “have forgot- ten the ‘A.-Zeit’ [time in Amsterdam]—and I Von Eugen Blume The history of one of the most exemplary cata- hope and believe you sense and understand logues raisonnés in the area of classic modern- that, even if it was only greetings and imagi- ism had its start in the late 1920s. Erhard nary letters that were sent to Eckermann!” 3 Göpel, a young art historian from Leipzig who In 1948, three years after the end of the war, had actually dedicated himself to ancient art the forty-two-year-old Göpel was hired at his and, already as a fourteen-year-old, absorbed first permanent job, as an editor at the Prestel expert knowledge at C. G. Borner, an art deal- Verlag publishing house in Munich, which ership specializing in prints and drawings, was was to become his adopted hometown. A brief captivated by the work of Max Beckmann. It is time later, the “A .-Ze it ” began to catch up not known exactly when the fire was sparked. with him. The photograph that Peter Keetman Göpel may have seen the Beckmann retrospec- took of Göpel in front of a Munich window tive organized by Gustav Hartlaub at the Mann- display in 1954 (fig. 1) seems to illustrate the heim Kunsthalle in 1928.
    [Show full text]
  • Catalogue Contents
    Please enter search terms: Sprache / Lingua / Language: English Home Catalogues Dates Consignments Books Art Photo About Us Contact Company My Bassenge Druckgraphik 15.-19. Jh. Sammlung Ivan Nagel Gemälde Zeichnungen Moderne Kunst Teil II Moderne Kunst Teil I Catalogue Contents Catalogue Moderne Kunst Teil II » to the Art Department Catalogue Price EURO 15,00 » Catalogues (Order) Auction Date Sa., 1. Dez., 10:00 » Lots in After-Sales » Terms and Conditions (PDF) » Entire Catalogue (Lots 7000 - 7557) » First Time Bidders (as PDF) » Form for your bids (PDF) Chapter Moderne Kunst Teil II (Lose 7000 - 7557) » Chapters 1 2 3 4 5 6 7 8 9 ... 56 Main Image Description Status Abrahams, Ivor Estimate Hecke € 300 (US$ 396) Lot 7000 Result € 220 (US$ 290) Hecke. Farbsiebdruck und grüner Filz auf Velinkarton. 40 x 59,5 cm (Darstellung); 56,7 x 77,9 cm (Blattgröße). Signiert und datiert. Auflage 75 num. Ex. (19)70. Ausgezeichneter Druck mit farbfrischer Filzcollage und breitem Rand, links oben mit Prägestempel. In den äußeren Rändern minimal gebräunt, der obere Rand papierbedingt etwas wellig, sonst in gutem Zustand. Ackermann, Max Estimate Kontrapunkt € 600 (US$ 792) Lot 7001 Result € 500 (US$ 660) Kontrapunkt. Farbserigraphie auf festem Velin. 48 x 40,3 cm (Darstellung); 65 x 50 cm (Blattgröße). Signiert und datiert. Auflage 150 num. Ex. 1972. Bayer/Enßlin-List S 7205. Prachtvoller Druck mit dem vollen Rand. In sehr schöner, farbfrischer Erhaltung. Beigegeben: Eine weitere signierte und datierte Farbserigraphie von Ackermann, "Frühling", 1972 (Bayer/Enßlin-List S 7216). Ackermann, Max Estimate Komposition IV (Passagen) € 600 (US$ 792) Lot 7002 Result € 400 (US$ 528) Komposition IV (Passagen).
    [Show full text]
  • Wally Findlay Galleries M a Rc C H Ag a L L (1887 - 1985)
    CHAGALLTH AND THE CIRCLE OF JEWISH PAINTERS OF THE 20 CENTURY WALLY FINDLAY GALLERIES M ARC C HAGALL (1887 - 1985) MARC CHAGALL was born July 7, 1887, in Vitebsk, Russia. From 1907 to 1910, he studied in St. Petersburg at the Imperial Society for the Protection of the Arts and later with Leon Bakst. In 1910 he moved to Paris, where he was associated with Guillaume Apollinaire and Robert Delaunay and encountered Fauvism and Cubism. He participated in the Salon des Indépendants and the Salon d’Automne in 1912 and held his first solo show in 1914 at Der Sturm Gallery in Berlin. Chagall visited Russia in 1914 and was prevented from returning to Paris by the outbreak of the war. He settled in Vitebsk where he was appointed Commissar for Art in 1918. He founded the Vitebsk Popular Art School and directed it until his resignation in 1920. He moved to Moscow and executed his first stage designs for the State Jewish Chamber Theater. He returned to Paris in 1923 and his first retrospective took place in 1924 at the Galerie Barbazanges-Hodebert, Paris. In 1933, the Kunsthalle Basel held a major retrospective of his work. During World War II, Chagall fled to the United States. The Museum of Modern Art, New York, gave him a retrospective in 1946. He settled permanently in France in 1948 and exhibited in Paris, Amsterdam and London. During 1951, he visited Israel and executed his first sculptures. During the 1960s, Chagall continued to travel widely, often in association with large- scale commissions he received.
    [Show full text]
  • Wilhelm Arntz Papers, 1898-1986
    http://oac.cdlib.org/findaid/ark:/13030/kt8d5nf2w0 No online items INVENTORY OF THE WILHELM ARNTZ PAPERS, 1898-1986 Finding aid prepared by Isabella Zuralski. INVENTORY OF THE WILHELM 840001 1 ARNTZ PAPERS, 1898-1986 Descriptive Summary Title: Wilhelm Arntz papers Date (inclusive): 1898-1986 Number: 840001 Creator/Collector: Arntz, Wilhelm F. Physical Description: 159.0 linear feet(294 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: Comprehensive research collection on twentieth century art, especially German Expressionism, compiled by the art expert Wilhelm Friedrich Arntz. A vast portion of the collection consists of research files on individual artists. Of particular interest are files concerning the so-called degenerate art campaign by the Nazis and the recovery of confiscated artwork after the World war II. Extensive material documents Arntz's professional activities. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in German Biographical/Historical Note Wilhelm Friedrich Arntz (1903-1985) was a German lawyer, art expert and independent researcher of twentieth century art. He was also one of the early collectors of German Expressionism. Parallel to collecting artworks, he aquired publications on 20th century art and compiled a wealth of archival material, including newspaper clippings, correspondence of artists, art historians and dealers, and ephemeral items such as invitations to exhibition openings. Trained as a lawyer, Arntz began his professional career as political editor for the newspaper Frankurter Generalanzeiger, but he lost his job in 1933 after the Nazis came to power.
    [Show full text]
  • Kandinsky in Munich, 1896-1914
    KANDINSKY IN MUNICH KANDINSKY IN MUNICH: 1896-1914 Digitized by the Internet Archive in 2012 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/kandinskyinmunicOOkand KANDINSKY IN MUNICH 1896-1914 This exhibition is supported by Philip Morris Incorporated and the National Endowment for the Humanities, a Federal Agency The Solomon R. Guggenheim Museum, New York Published by The Solomon R. Guggenheim Foundation, New York, 1981 ISBN: 0-89207-030-- Library of Congress Card Catalog Number: 81-83561 c The Solomon R. Guggenheim Foundation, New York, 1982. Cover: Kandinsky, Improvisation VI (African). 191 1 (cat. no. z6i) THE SOLOMON R. GUGGENHEIM FOUNDATION president Peter O. Lawson-Johnston vice-president The Right Honorable Earl Castle Stewart trustees Anne L. Armstrong, Michel David-Weill, Joseph W. Donner, Robin Chandler Duke, John Hilson, Harold W. McGraw, Jr., Wendy L.-J. McNeil, Thomas M. Messer, Frank R. Milliken, A. Chauncey Newlin, Lewis T. Preston, Seymour Slive, Albert E. Thiele, Michael F. Wettach, William T. Ylvisaker honorary trustees Solomon R. Guggenheim, Justin K. Thannhauser, Peggy Guggenheim in perpetuity advisory board Elaine Dannheisser, Susan Morse Hilles, Morton L. Janklow, Barbara Jonas, Bonnie Ward Simon, Stephen C. Swid staff Henry Berg, Counsel Theodore G. Dunker, Secretary-Treasurer; Aili Pontynen, Assistant Treasurer; Barry Bragg, Assistant to the Treasurer; Margaret P. Cauchois, Assistant; Veronica M. O'Connell director Thomas M. Messer THE SOLOMON R. GUGGENHEIM MUSEUM Diane Waldman, Director of Exhibitions Catherine Grimshaw, Secretary to the Director Cynthia M. Kessel, Administrative Assistant STAFF Louise Averill Svendsen, Senior Curator; Vivian Endicott Barnett, Research Curator; Lisa Dennison Tabak, Assistant Curator; Carol Fuerstein, Editor; Sonja Bay, Associate Librarian; Ward Jackson, Archivist; Philip Verre, Collections Coordinator; Susan B.
    [Show full text]
  • Deutsche Nationalbibliografie 2016 a 49
    Deutsche Nationalbibliografie Reihe A Monografien und Periodika des Verlagsbuchhandels Wöchentliches Verzeichnis Jahrgang: 2016 A 49 Stand: 07. Dezember 2016 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2016 ISSN 1869-3946 urn:nbn:de:101-20151211488 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. In Reihe A werden Medienwerke, die im Verlagsbuch- chende Menüfunktion möglich. Die Bände eines mehrbän- handel erscheinen, angezeigt. Auch außerhalb des Ver- digen Werkes werden, sofern sie eine eigene Sachgrup- lagsbuchhandels erschienene Medienwerke werden an- pe haben, innerhalb der eigenen Sachgruppe aufgeführt, gezeigt, wenn sie von gewerbsmäßigen Verlagen vertrie- ansonsten
    [Show full text]
  • Karl Hofer – Hans Purrmann – Christian Rohlfs
    GALERIE HENZE & KETTERER & TRIEBOLD RIEHEN/BASEL Dr. Alexandra Henze Triebold – Marc Triebold Wettsteinstrasse 4 - CH 4125 Riehen/Basel Tel. +41/61/641 77 77 - Fax: +41/61/641 77 78 www.henze-ketterer-triebold.ch - www.henze-ketterer.ch Karl Hofer – Hans Purrmann – Christian Rohlfs Figures, Still-lifes and Southern Landscapes between Impressionism, Expressionism and New Objectivity th th 12 May till 26 August 2017 Galerie Henze & Ketterer & Triebold Riehen/ Basel Zweigstelle der Galerie Henze & Ketterer AG Wichtrach/ Bern Kunst von der klassischen Moderne bis in die Gegenwart Galerie - Kunsthandlung - Kunstbuchhandlung -Verlag - Archive Ausstellungen - Ankauf - Verkauf - Kommission - Schätzung Beratung bezüglich Dokumentation Echtheit Konservierung Versicherung Transport Konzeptionelle und organisatorische Betreuung von Kunstausstellungen und Kunstsammlungen Dienstag-Freitag 10 - 12 + 14 – 18 Uhr - Samstag 10 - 16 Uhr GALERIE HENZE & KETTERER & TRIEBOLD RIEHEN/BASEL Dr. Alexandra Henze Triebold – Marc Triebold Wettsteinstrasse 4 - CH 4125 Riehen/Basel Tel. +41/61/641 77 77 - Fax: +41/61/641 77 78 www.henze-ketterer-triebold.ch - www.henze-ketterer.ch Karl Hofer – Hans Purrmann – Christian Rohlfs Figures, Still-lifes and Southern Landscapes between Impressionism, Expressionism and New Objectivity 12th May to 26th August 2017 Karl Hofer and Hans Purrmann belonged to the same generation, having been born in Karlsruhe in 1878 and in Speyer in 1880 respectively, while Christian Rohlfs – born in Niendorf near Leezen in 1849 – was already a generation older. Nonetheless, as we shall see below, there were a great many parallels in their lives and in their artistic developments. Hofer, Purrmann and Rohlfs all enjoyed a full academic training. They learnt their “craft” the traditional way, attended a diversity of painting classes and were students of the leading artist- teachers at the renowned academies of their time.
    [Show full text]
  • Impressionist & Modern
    Impressionist & Modern Art Lot 3201 – 3283 Auction: Friday, 24 June 2016, 2pm Preview: Sat. 11 to Tue. 21 June 2016 Fabio Sidler Jara Koller Tel. +41 44 445 63 41 Tel. +41 44 445 63 45 [email protected] [email protected] The condition of the works is only partly and in particular cases noted in the catalogue. Please do not hesitate to contact us for a detailed condition report. 3201 MAX LIEBERMANN (1847 Berlin 1935) Standing girl - Study to Schulgang in Laren. 1897. Oil on panel. Monogrammed lower right: M.L. Hand-written inscription of the artist on the reverse: "Studie ist eine / eigenhändige ältere Arbeit / von mir. / Wannsee-Berlin 13/8.24 / Dr. h.c. Liebermann". 32 x 21 cm. The authenticity of this work has been confirmed by Prof. Eberle, Berlin, 5 May 2016. Provenance: Private collection, Switzerland. Literature: Cf. Eberle, Werkverzeichnis der Gemälde und Ölstudien 1865-1899, p. 472, no. 1897/16. The present work is a study for the painting from 1898, "Schulgang in Laren", which Liebermann created in two versions, one slightly smaller and one slightly larger (presently hanging in the Hermitage in St. Petersburg). The girl portrayed here belongs to a group of determined school children on their way to class. She is wea- ring the mandatory school uniform, and intent in her purpose, her back is turned to the viewer. Liebermann created various figure studies for the paintings, including the study offe- red here. The girl portrayed in the present work is already included in the first colou- red compositional sketch.
    [Show full text]