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New title information Painting as a Weapon Product Details Progressive Cologne 1920 - 1930 £25 Author(s) Kasper König Editor(s) Lynette Roth An examination of the Cologne Progressives broadens our Publisher Walther Koenig understanding of art during the Weimar period in Germany. Critical of other contemporaneous movements such as the Neue Sachlichkeit, the ISBN 9783865603982 group offered a new definition of the relationship between art and Format softback politics between the World Wars. Pages 160 Illustrations 105 colour, 88 b&w illustrations Although well-known at the time far beyond Germany, the loosely Dimensions 245mm x 200mm organised collaboration ended in 1933. Their artwork was defamed Weight 645 during the Third Reich as ‘degenerate’. By focusing on three core members, Franz Wilhelm Seiwert, Heinrich Hoerle and Gerd Arntz, American art historian Lynette Roth reveals the intensity with which the Cologne Progressives developed a new and unique formal language shaped by their socially critical stance. With an eye to the leftist political aims of the group, this book examines the artistic practice of the Progressives in a new light. The book includes illustrations of over 50 paintings and 80 works on paper from a wide array of international museums and private collections – some published for the very first time. An extensive chronology supplements the clear, concise text. A new and definitive book on the Cologne Progressives. Accompanies an exhibition at Museum Ludwig, Cologne, March – June 2008. English and German text. Distributed by Enquiries Website Cornerhouse Publications +44 (0)161 212 3466 / 3468 www.cornerhousepublications.org HOME [email protected] 2 Tony Wilson Place Twitter Manchester Orders @CornerhousePubs M15 4FN +44 (0) 1752 202301 England [email protected].

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20 March 2018 – No.:22763 By Claire Guillot Photography August Sander and the Germans “The Persecuted (Mrs Franken)” COURTESY OF GALLERY JULIAN SANDER/ADAGP Sander photographed both persecuted Jews and Nazis. His work is on display at the Shoah Memorial in Paris. August Sander, Germany from all angles The Shoah Memorial shines a spotlight seven broad groups and 45 portfoli- os, from farmers, artisans, artists, on the political nature of the work of a politicians and civil servants to those often forgotten, like domestics and portraitist who photographed both Jews vagabonds. It is both a work of art and of sociology. Each portrait is a and the Nazis who persecuted them depiction not simply of an individu- al, but a “type”, which is represented Jewish, nor was his work focused on through their face, expression and Photography the genocide. He was, however, a also their clothing, tools and posture. th Using this approach, Sander, with ou would hardly expect to great artist of the 20 century and an unrivalled portrait photographer. his exacting yet sensitive eye, gave us find an exhibition on Ger- some of the great works of the 20th man photographer August His wildly ambitious life's work, Peo- th century: a laborer carrying a pile of Sander (1876-1964) at the ple of the 20 century, was designed Y as a “cross-section of (his) time”. He bricks, a baker as round as his mix- Shoah Memorial in Paris. Although ing bowl, the fragile grace of three his career spanned the turbulent aimed to capture German society in its entirety, through more than 500 young farmers in their Sunday best times of the Weimar Republic and and many more.
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Press Release from Emil Nolde to Neo Rauch Summer Auctions 2021 at Grisebach
Press release From Emil Nolde to Neo Rauch Summer Auctions 2021 at Grisebach At the top of this year’s Summer Auctions (9 to 11 June 2021) is Emil Nolde’s Sonnenblume from 1928. A fine example of Expressionist painting, this spectacular pastose work was once a part of the Salmon Schocken collection and is estimated at EUR 700,000–1,000,000. Yet another 1928 masterpiece will be included in the Selected Works Auction From Emil Nolde to Neo Rauch – Carl Grossberg’s self-portrait, this classic ex- ample of New Objectivity unveils the artist’s fixation with exacting technique, and it’s his sole self-portrait (EUR 300,000–400,000). Nature’s harmony and beauty become tangible in the luminous Reiter in der Allee bei Sakrow, a 1924 landscape painting by Max Liebermann in an exceptionally large format (95.7 x 114.8 cm). This rare motif, the park at Sacrow Palace, is estimated at EUR 500,000–700,000. Alexej von Jawlensky pays homage to the Lago Maggiore with Sommertag in Ascona from 1918, an abstract landscape panorama with a masterfully orchestrated colour scheme (EUR 200,000–300,000). An early work by Franz Marc, Grüne Studie from 1908, is an impressively large format artwork that delivers strikingly powerful colours and bears testimony to the artist’s blossoming creative energy and joie de vivre during his summers in Bavaria (EUR 300,000–500,000). Lovers of Art Nouveau are in for a treat with Heinrich Vogeler’s Träume II (auch ,Früh- ling‘ oder ,Erwartung‘). This iconic work from 1912 captures the ethereal beauty of the artist’s wife and muse, Martha Vogeler (EUR 200,000–300,000).
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Grafická Tvorba Augustina Tschinkela V Kontextu Moderního Designu
Masarykova univerzita Filozofická fakulta Seminář dějin umění Eliška Kapounová (DU-OT, bakalářské kombinované studium) Grafická tvorba Augustina Tschinkela v kontextu moderního designu (1928 – 1940) (bakalářská diplomová práce) Vedoucí práce: PhDr. Alena Pomajzlová, PhD. Praha 2009 Děkuji paní doktorce Pomajzlové za vedení mé bakalářské práce. Prohlašuji, že jsem bakalářskou práci napsala samostatně a uvedla všechny použité zdroje. V Praze dne 15. dubna 2009 Eliška Kapounová 2 Obsah Úvod .................................................................................................................................................. 4 1. Kolínští progresivní umělci (Die Gruppe progressiver Künstler) ........................................ 6 2. Sociální grafika v tvorbě Augustina Tschinkela ................................................................... 10 3. Otto Neurath a vídeňská metoda obrazové statistiky ......................................................... 15 4. ISOTYPE ..................................................................................................................................... 18 5. Historie zobrazování statistických dat ................................................................................... 20 6. Grafické oddělení muzea ve Vídni ......................................................................................... 22 7. Jako průkopník obrazové statistiky ........................................................................................ 25 8. Malá vlastivěda (1935) .............................................................................................................
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Literaturverzeichnis
Literaturverzeichnis Primärliteratur HansArp Textsammlungen und selbstiindige Veröffentlichungen die wolkenpumpe. Hannover: Steegemann 1920. Der Pyramidenrock. Erlenbach-Zürich, München: Rentsch 1924. On My Way. Poetry and Essays 1912... 1947. New York: Wittenborn, Schultz 1948. Worttriiume und schwarze Sterne. Auswahl aus den Gedichten der Jahre 1911-1952. Wiesbaden: Limes 1953. Unsern tiiglichen Traum ... Erinnerungen und Dichtungen aus den Jahren 1914-1954. Zürich: Arche 1955. Gesammelte Gedichte, Bd. I: Gedichte 1903-1930. Zürich: Arche 1963. [Zusammen mit Sophie Taeuber-Arp]: Zweiklang. Hrsg. von Ernst Schei- degger. Zürich: Arche 1960. Unselbstiindige Veröffentlichungen ,.aus dem >cacadou superieur<<<. In: die schammade 1 (1920), o. P. ,.Declaration«. In: Dada au grand air - Der Sängerkrieg in Tiroll (1921), o. P. lohannes Theodor Baargeld / Al/red F. Gruenwald Textsammlungen und selbstiindige Veröffentlichungen Texte vom Zentrodada. Hrsg. von Walter Vitt. 2. Aufl., Siegen: Universi tät-Gesamthochschule Siegen 1990. (,.Vergessene Autoren der Mo dernec, Bd. 30). UnselbsUlndige Veröffentlichungen ,.Dominanten zu Herrn Hillers >Herrenhaus<<<. In: Die Aktion 8 (1918), H. 37/38, Sp. 475-476. [Ohne Autorenangabe]: ,.Februar in Mitteleuropa«. In: Der Ventilator 1 (1919), H. 4, S. 6. 216 Literaturverzeichnis ,.Fürunheilbare Sozialdemokraten«. In: Die Aktion 9 (1919), H. 37/38, Sp. 628-630. ,.Ich lobe die Vergewaltigung«. In: Die Aktion 9 (1919), H. 49/50, Sp. 813. ,.BULLETIN D .... schlagt das warme Ei aus der Hand!" .... «. In: Bulletin D 1 (1919), o. P. ,.Röhrensiedelung oder Gotik«. In: die schammade 1 (1920), o. P. ,.Bimbamresonnanz 1.«. In: die schammade 1 (1920), o. P. ,.Bimmelresonnanz Ik In: die schammade 1 (1920), o. P. [Unter dem Pseudonym Zentrodada]: ,.Das Appetitschnittchen«. In: die schammade 1 (1920), o.
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Vincenzo Costa
Studi di estetica, anno XLVI, IV serie, 3/2018 ISSN 0585-4733, ISSN digitale 1825-8646, DOI 10.7413/18258646067 Sven Lütticken1 Council aestheticism? Pannekoek, the avant-garde and contemporary art Abstract Focusing on the Marxist theorist Anton Pannekoek, this article left communist im- pulses in 20th and 21st century aesthetic practice. The point of departure is Panne- koek’s theory of revolutionary mass action – centred around the general strike – and its aesthetic as well as political implications and repercussions. The text then proceeds to discuss the workers’ council as the nucleus of socialist self-organization and the avant-garde’s use and indeed fetishization of that concepts, and ends with a more speculative section on the potential contemporary relevance of Panne- koek’s writings on epistemology, the history of science, and evolution. Keywords Marxism, Council communism, Avant-garde 1. The “aesthetic turn” in Marxism Discussions of Marxism and aesthetics have tended to focus on West- ern Marxism since the period between the World Wars – with Lukács, Adorno and others initiating an “aesthetic turn” in Marxism. As Perry Anderson has put it, Western Marxism “paradoxically inverted the tra- jectory of Marx’s own development itself. Where the founder of his- torical materialism moved progressively from philosophy to politics and then economics, as the central terrain of his thought, the succes- sors of the tradition that emerged after 1920 increasingly turned back from economics and politics to philosophy”, and to aesthetics: “Aes- thetics, since the Enlightenment the closest bridge of philosophy to the concrete world, has exercised an especial and constant attraction for 1 [email protected].
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Zu Den Textbeiträgen
Sander Collection Die Zeit der Weimarer Republik (1919–1933) war eine der kreativsten Phasen des 20. Jahrhunderts. Nach dem Ende des Krieges und der Novemberrevolution for- mierten sich überall in Deutschland die Künstler, bildeten sich allerorts Vereini- gungen, die von einem Impuls getragen waren: mitzuwirken an einer neuen, sozia- leren, menschlicheren Welt. Eine der eigenständigsten Gruppierungen war die der „Progressiven Künstler Köln“ um den berühmten Fotografen August Sander: Wie in einem Brennglas verdichten sich in den Werken von Franz Wilhelm Seiwert, Heinrich Hoerle, Gerd Arntz und ihren Freunden die großen Themen der Zeit. Wir von Grisebach sind beglückt und dankbar, die einzigartige Sander Collection, deren Ursprünge auf den Fotografen August Sander (1876–1964) zurückgehen, in einer eigenen Auktion anbieten zu dürfen. Es ist eine Sammlung, wie sie in dieser Form zur Kunst der 1920er-Jahre sicher nicht mehr auf den Markt gelangen wird. Nicht wenige der jetzt angebotenen Werke werden erstmals auf dem Kunstmarkt aufgerufen. Dazu gehört auch das 1925 von Franz Wilhelm Seiwert geschaffene monumentale „Wandbild für einen Fotografen“, das lange Zeit als Leihgabe im Kölner Museum Ludwig hing – ein Hauptwerk des Künstlers, eine Ikone der Epoche und ein Schlüsselbild der Progressiven Künstler Köln! Heinrich Hoerle. Detail. Los 607 Los Detail. Hoerle. Heinrich Christoph Stölzl Politik und Kunst im Köln der Zwanzigerjahre Je weiter die Zwanzigerjahre fernrücken, desto mehr werden Glanz und Elend der durchaus auf Augenhöhe mit der Reichshauptstadt konkurrieren. Dazu ein spre- Weimarer Republik im allgemeinen Geschichtsbewusstsein mit der Saga der chendes Detail: Adenauer hätte nach der Vertreibung des Bauhauses aus Weimar Hauptstadt Berlin assoziiert. Die Szenen von Revolution, Bürgerkrieg, hektischer 1924 Walter Gropius gern nach Köln geholt.
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Figurative Constructivism, Pictorial Statistics, and the Group of Progressive Artists, C. 1920-1939
ABSTRACT Title of Document: FIGURATIVE CONSTRUCTIVISM, PICTORIAL STATISTICS, AND THE GROUP OF PROGRESSIVE ARTISTS, C. 1920-1939 Benjamin Benus, Doctor of Philosophy, 2010 Directed By: Professor Steven A. Mansbach Department of Art History and Archaeology This dissertation examines an episode of interdisciplinary collaboration in Vienna during the late 1920s and early 1930s, led by the Austrian social scientist Otto Neurath (1882-1945) and the German printmaker Gerd Arntz (1900-1988). This collaboration, which took place at Vienna’s Gesellschafts- und Wirtschaftsmuseum [Social and Economic Museum] ultimately created an international graphic sign language that would have wide-ranging applications across a variety of media and disciplines. Known as the Vienna Method of Pictorial Statistics, this graphic language was intended to communicate social and economic facts to a general audience. In making such information broadly accessible, the Vienna Method’s designers hoped to empower the public at large to take informed positions on a variety of social and political issues. Prior to and during the period of this collaboration, Arntz was a member of the Rhineland-based Gruppe progressiver Künstler [Group of Progressive Artists]. In 1929 two additional members of this group—the Dutch artist Peter Alma (1886-1969) and the Czech artist Augustin Tschinkel (1905-1983)—joined Arntz at the museum. All three artists produced prints, drawings, and paintings in an expressive mode, later classified under the rubric “figurative constructivism.” While these “free” works (as they often described them) were produced independent of the applied work at the museum, the two types of production share several key stylistic and iconographic features.
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Sander Collection 10. Juni 2021 Gottfried Brockmann
Sander Collection 10. Juni 2021 Gottfried Brockmann. Los 647 Heinrich Hoerle. Los 615 Franz Wilhelm Seiwert. Los 610 Sander Collection Die Gruppe progressiver Künstler in Köln Auktion Nr. 333 10. Juni 2021, 15 Uhr Sander Collection The group of progressive artists in Cologne Auction No. 333 10 June 2021, 3 p.m. Experten Specialists Vorbesichtigung Preview Sämtliche Werke Berlin 25. Mai bis 8. Juni 2021 Grisebach Fasanenstraße 25, 27 und 73 10719 Berlin Montag bis Sonntag 10 bis 18 Uhr Dienstag, 8. Juni, 10 bis 15 Uhr sowie nach individueller Vereinbarung Monday to Sunday 10 a.m. to 6 p.m. Traute Meins Nina Barge Tuesday, 8 June, 10 a.m. to 3 p.m. +49 30 885 915 21 +49 30 885 915 37 and by appointment [email protected] [email protected] Persönliche Termine in unseren Repräsentanzen nach vorheriger Terminverein barung und Angabe der Werke, die Sie besichtigen möchten • [email protected] Zoomtermine mit unseren Experten Dr. Markus Krause Micaela Kapitzky nach vorheriger Terminvereinbarung +49 30 885 915 29 +49 30 885 915 32 • [email protected] [email protected] [email protected] Virtuelle Vorbesichtigung ab Mitte Mai 2021 auf grisebach.com Personal appointments in our representative offices after prior appointment. Please also let us know which works you are interested in • [email protected] Zoom dates with our specialists after prior appointment • [email protected] Anne Ganteführer-Trier Sabina Mlodzianowski Zustandsberichte +49 170 5757 464 +49 30 885 915 4426 Condition reports Virtual tour from mid-May 2021 anne.gantefü[email protected] [email protected] [email protected] at grisebach.com Grisebach — Sommer 2021 Sander Collection Die Zeit der Weimarer Republik (1919–1933) war eine der kreativsten Phasen des 20.
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Download Conference Programme
MODERNISM, CULTURAL EXCHANGE AND TRANSNATIONALITY: THE SECOND CONFERENCE OF THE AHRC MODERNIST MAGAZINES PROJECT CONTENTS: Information about the Conference p.2 Information about the Modernist Magazines Project p.3 Information about the Oxford University Press series p.4 Keynote speakers p.6 Conference structure at a glance p.7 Streams and panels pp.8-13 Abstracts pp.14-57 1 MODERNISM, CULTURAL EXCHANGE AND TRANSNATIONALITY: We would like to welcome you to the Second Conference of the AHRC Modernist Magazines Project. The interest in much current critical debate in questions of national and transnational identities has helped restore and enliven the conception of modernism and the avant-garde as twin international formations across the arts. Magazines were instrumental in publicizing the new movements and frequently did so, singly or in the company of others, with an ambition to intervene in the public or international sphere. This international conference has five streams (Avant-Garde Variations; Editors and Authors; Networks; War and Politics; National Identities) consisting of many panels that will explore the role magazines have played in the broad networks of modernist art, ideas and politics in shaping and re-articulating regional, national, and cross-national identities. We are also extremely fortunate to have two world-renowned experts in this field as our keynote speakers. They are Mark S. Morrisson (Penn State University) and Timothy O. Benson (Robert Gore Rifkind Center for German Expressionist Studies at the Los Angeles County Museum of Art). In addition to the conference sessions and keynote lectures, we will have a display of modernist magazines and a presentation about our website.
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Kunstvereins-Menue Zahlen, Listen Und Dokumente Zu Personen, Ausstellungen, Künstlern, Jahresgaben
Kunstvereins-Menue Zahlen, Listen und Dokumente zu Personen, Ausstellungen, Künstlern, Jahresgaben Herausgegeben von Peter Gerlach Institut für Kunstgeschichte der RWTH Aachen Redaktion und Realisation: Christian Frommert am Institut für Kunstgeschichte der RWTH Aachen Mitarbeiter: Echo Wilfried Dörstel (W.D.) Echo Ludger Fischer (L.F.) Echo Christian Frommert (Ch.F.) Echo Maria Hoppe (M.H.) Echo Stephan Krauss (St.K.) Copyright: Institut für Kunstgeschichte der RWTH Aachen 5100 Aachen 1989 ERLÄUTERUNG DER DATEIINHALTE DER DISKETTE "S" Die Dateien der Diskette sind als "DOS-Dateien" gespeichert, d.h. sie können als solche gelesen und konvertiert werden. 2 Die elf Dateien sind nach folgenden Kriterien geordnet: I. Mitglieder II. Ausstellungen und Künstler III. Dokumente und Quellen zur Geschichte des Kölnischen Kunstvereins Abschnitt I. enthält Statistiken und Listen zum Komplex "Mitglieder". Die Datei "S1.KKV" enthält eine Auflistung der Mitgliederzahlen des Kölnischen Kunstvereins von 1839 bis 1989. Die Datei "S2.KKV" enthält eine nach Berufsgruppen geordnete Sozialstatistik des Mitgliederbestandes von 1839. Die Datei "S3.KKV" ist eine Personenliste und Ortsliste, d.h. sie enthält die Namen der leitenden Persönlichkeiten (Vorsitzende, Vorstand, Ausschuß, Geschäftsführer, Künstlerische Leiter) und die Orte des Kölnischen Kunstvereins von 1839 bis 1989. Die Datei "S4.KKV" ist ebenfalls eine Personenliste und enthält die Namen aller Künstler, Kunsthandwerker, Architekten und Kunstvereine, die von 1839 bis 1918 Mitglieder des Kölnischen Kunstvereins waren. Ordnungskriterien waren: Jahr, Wohnort und Name des Mitgliedes in alphabetischer Reihenfolge. Der II. Abschnitt enthält Material zum Komplex Ausstellungen und Künstler. Die Datei "S5.KKV" besteht aus einer Liste der Ausstellungen des Kölnischen Kunstvereins von 1839 bis 1989. Die Datei "S6.KKV" zeigt als numerische Statistik den Umfang der Ausstellungen des Kölnischen Kunstvereins von 1839 bis 1913, d.h.
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Christoph Stölzl Politics and Art in 1920S Cologne
Christoph Stölzl Politics and Art in 1920s Cologne As the 1920s recede further into history, the glamour and misery of the Weimar and the first Autobahn, put Cologne on the map after only a few years as a key Republic increasingly are being linked in the popular imagination to the saga of hub in Germany’s modern and reform-minded industrial society. Artists and sci- Germany's capital, Berlin. So dramatic are the scenes of revolution and civil war, entists were attracted by this spirit of innovation, and just as many of them gravi- the hectic flowering of culture and entertainment, the economic crisis and Nazi tated to the Rhine metropolis as to Berlin. The city’s musical and theatrical scene takeover, that the “Babylon” of Berlin, as which the city recently has been drama- was famous; its players were determined to compete on equal terms with the tized in a popular historical TV series, tends to overshadow other locales that capital itself. A telling detail in this context: After the Bauhaus School had been were of no less import to the fate of Modernism in Germany. One of these is pressured to leave Weimar in 1924, Adenauer invited Walter Gropius to move to Cologne: With over 700,000 inhabitants, it was the third-largest city in the Ger- Cologne. Although the Lord Mayor’s plan came to naught, he did succeed in man Empire. During World War I, it played a key military role as a heavily fortified ushering in a generous expansion of the Kölner Werkschulen academy of fine and bridgehead on the River Rhine and as a logistical hub for troops and war materiel applied arts, which was placed under the direction of Richard Riemerschmid, a headed for the Western Front.
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Hans Richter: Activism, Modernism, and the Avant-Garde
Cover illustrations: film still from Inflation; detail from Rhythmus 23 (Museo Cantonale d’Arte, Lugano). © Hans Richter Estate. of the early twentieth-century avant-garde and his political activism. When Richter’s work, particularly that of his earlier, European career, is viewed in its historical and political context, he emerges as an artist committed to the power of art to change the fabric of social, political, and cultural affairs. The essays in this book, which accompanied a major 1998 Richter retro- spective held in Valencia, Spain, and at HANS RICHTER the University of Iowa Art Museum, are ACTIVISM, MODERNISM, organized roughly around the expression- AND THE AVANT-GARDE ist and Dada years, Richter’s short tenure in Munich’s postwar revolutionary Second edited by Council Republic, his central involvement Few artists spanned the movements of in international constructivism and the early twentieth-century art as completely development of the abstract cinema, and as did Hans Richter. Richter was a major Stephen C. Foster the politicization of film that arose from his force in the developments of expression- anti-Nazi activities of the late twenties and HANS RICHTER HANS RICHTER ism, Dada, De Stijl, constructivism, and thirties. surrealism, and the creator, with Viking Stephen C. Foster is Professor in the Eggeling, of the abstract cinema. Along School of Art and Art History at the ACTIVISM, MODERNISM, with Theo van Doesburg, László Moholy- University of Iowa. Nagy, El Lissitzky, and a few others, he is AND THE AVANT-GARDE edited by Foster one of the artists crucial to an understand- “The articles in Stephen Foster’s skillfully Stephen C.
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