Pressemitteilung

Pr essemitteilung Press Release Berlin 21th april 2010 Kulturforum Potsdamer Platz Kupferstichkabinett Seite 1 von 1 Gefühl ist Privatsache. Verismus und Neue Sachlichkeit Staatliche Museen zu Berlin Emotion is a Private Matter. Generaldirektion Presse, Kommunikation und Pictorial Art of Verism and New Objectivity Sponsoring Museum of Prints and Drawings, National Museums Berlin. Stauffenbergstraße 41 23 nd April - 15 th August 2010, Berlin, Kulturforum Potsdamer Platz, 10785 Berlin Matthäikirchplatz. Opening Hours: Tue, Wed + Fri 10 am to 6 pm, Thu 10 am to 10 pm, Sat + Presse, Kommunikation Sun 11 am to 6 pm, Monday closed. und Sponsoring Mechtild Kronenberg Press conference: Mi 21. April 2010, 11 h kommunikation@ Opening: Do 22.4.2010, 19 h, Zentrale Eingangshalle smb.spk-berlin.de www.smb.museum Verism and New Objectivity were the dominant art movements during the Weimar Republic. Through their art, artists such as Otto Dix, George Grosz, Presse Max Beckmann, Conrad Felixmüller, Alexander Kanoldt, Franz Radziwill, Anne Schäfer-Junker [email protected] Christian Schad, Rudolf Schlichter, Georg Schrimpf, the sculptor Eugen Fon +49 (0)30 266 42 3402 Hoffmann and others reacted to the traumatic experience of the First World Fax +49 (0)30 266 42 3409 War and the utopian ideas of expressionism that had been disrupted by that war. In sharp contrast, their works display a honed eye for the post-war and www.smb.museum/presse post-revolutionary reality with its social misery but also refer to modern civilisation. Their stylistic trademark is a special acuity dominated by the line in depicting their subject in order to capture facts in a documentary, relatively emotionless manner. After the emotional exuberance of expressionism the new slogan was “Emotion is a private matter” (Bert Brecht, 1926). While the verists of this movement (for example Grosz, Dix, Hubbuch, Schlichter) castigated the social inconsistency between the profiteers and losers of the war, nouveau riche glamour and proletarian destitution, a second, more classicist group (Kanoldt, Mense, Schrimpf) expressed their longing for a quiet state of being, removed from time, in enraptured landscapes and figural paintings. The exhibition displays some 130 watercolours and drawings from the extensive collection of the print room and is supplemented by 25 loans, amongst them paintings and sculptures. An inventory catalogue of all works of this part of the collection accompanies the exhibition. Die Staatlichen Museen zu Berlin sind eine Einrichtung der Stiftung Preußischer Kulturbesitz. .

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La Libertà Dell'astrazione Heinrich Maria Davring
HEINRICH MARIA DAVRING- HAUSEN MARCO-MARIOTTA-DESIGNS.COM LA LIBERTÀ 10 MARZO - 9 GIUGNO 2013 INAUGURAZIONE SABATO 9 MARZO DELL’ASTRAZIONE ORE 17.30 Heinrich Maria Davringhausen: La libertà dell’astrazione Heinrich Maria Davringhausen: Die Freiheit der Abstraktion Il Museo Comunale d’Arte Moderna di Ascona continua la Auch dieses Jahr möchte das Museo Comunale d’Arte sua attività di valorizzazione dei maestri della propria colle- Moderna Ascona wieder einen Künstler aus der eigenen zione presentando una nuova mostra di grande interesse, in- Sammlung vorstellen, nämlich Heinrich Maria Davringhausen centrata su un artista poco conosciuto e raramente trattato (Aachen 1894 - Nizza 1970), ein wenig bekannter und von der dalla critica in ambito italiano, Heinrich Maria Davringhausen Kritik im italienisch sprechenden Raum selten behandelter (Aachen 1894 - Nizza 1970), uno dei pionieri della Nuova Künstler, der jedoch einer der Pioniere der Neuen Sachlichkeit oggettività e del Realismo magico, anch’egli legato ad Ascona, und des Magischen Realismus war und in seinem Leben zu ver- come tanti altri esponenti della storia dell’arte moderna. schiedenen Zeitpunkten Beziehungen zu Ascona hatte, so wie auch viele andere Vertreter der modernen Kunstgeschichte. Il legame con Ascona inizia già nel 1914, quando Davring- hausen, attirato dagli ambienti anarchici, soggiorna al Monte Die Beziehung zu Ascona beginnt schon 1914, als Davringhausen, Verità, conoscendo vari artisti, come la danzatrice Mary angezogen von dessen anarchistischem Milieu, auf dem Monte
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Frühe Texte Die Jugend. Konditor Und Anarchist Die
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Totalitarian Art and Modernity
KfkXc`kXi`Xe8ikXe[Df[\ie`kp v27_TOT(4k).indd 1 01/11/10 13:51:33 v27_TOT(4k).indd 2 01/11/10 13:51:33 <[`k\[YpD`bb\c9fckIXjdljj\eAXZfYNXdY\i^ KFK8C@K8I@8E 8IK8E; DF;<IE@KP v27_TOT(4k).indd 3 01/11/10 13:51:34 KfkXc`kXi`Xe8ikXe[Df[\ie`kp Acta Jutlandica. Humanities Series 2010/9 © The authors and Aarhus University Press 2010 Cover design: Peter Holst Henckel Cover illustration: Ferdinand Staeger, We Are the Soldiers of Work (1938), oil on canvas Bogen er sat med Nobel på Fresco og trykt hos Narayana Press, Gylling Printed in Denmark 2010 issn 0065-1354 (Acta Jutlandica 9) issn 0901-0556 (Humanities Series) isbn 978 87 7934 5607 Aarhus University Press Aarhus Langelandsgade 177 8200 Århus N Copenhagen Tuborgvej 164 2400 Copenhagen NV www.unipress.dk Fax 89 42 53 80 International distributors: Gazelle Book Services Ltd. White Cross Mills Hightown, Lancaster, LA1 4XS United Kingdom www.gazellebookservices.co.uk The David Brown Book Company Box 511 Oakville, CT 06779 USA www.oxbowbooks.com GlYc`j_\[n`k_k_\ÔeXeZ`Xcjlggfikf] K_\EfmfEfi[`jb=fle[Xk`fe K_\E\n:XicjY\i^=fle[Xk`fe v27_TOT(4k).indd 4 01/11/10 13:51:34 K89C<F=:FEK<EKJ @ekif[lZk`feYpD`bb\c9fckIXjdljj\eAXZfYNXdY\i^ / >\e\Xcf^`\j 8e[\ijM%DleZ_ I\[\dgk`feèKfkXc`kp%:lckliXcLkfg`Xjf]CXk\ IfdXek`Z`jdXe[:ifjjifX[jf]8ikXe[Gfc`k`Zj1NXê\i# 9\_i\ej#=`[lj#?`kc\i (0 AXZfYNXdY\i^ Nfle[\[Nfibè^?\if\j1J\\è^D`cc\kXe[mXe>f^_ k_ifl^_k_\:c\]kC\ejf]KfkXc`kXi`Xe`jd8[[èÎ\Õ\Zk`fej ]ifdB`\]\iXe[9Xj\c`kq *- I\Z\gk`fe D`bb\c9fckIXjdljj\e 8ggifXZ_è^KfkXc`kXi`Xe`jdXe[KfkXc`kXi`Xe8ik ('0 DXicXJkfe\ K_\Kliekf:lckli\è=XjZ`jk?`jkfi`ZXcJkl[`\j (*' Bi`jkè\E`\cj\e N_Xk<m\i?Xgg\e\[kf<iejk9XicXZ_6<Xjk>\idXe Gfc`k`ZXcDfeld\ekjXe[k_\8ikf]I\j`jkXeZ\ (+.
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+44 (0)20 7491 9219
THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com Josef Mangold (Cologne 1884 - 1937) Red poppies in vase Signed (lower right): ‘∙Jos. Mangold∙’; dated on the reverse ‘pinx. 1931’ Oil on unlined canvas 21 ⅛ x 17 in. (53.8 x 43.2 cm.) Provenance Private collection, Germany. Josef Mangold attended the School of Applied Arts in Cologne and Berlin, but was largely an autodidact in the field of painting. He was a member of the artist group Rheinischen Sezession (Rhenish Secession), which emerged in 1928 from the association Das Junge Rheinland (The Young Rhineland). He enjoyed painting still life, and also favoured landscapes and nudes. Mangold’s painting is characterised by an emphatically objective approach to the depicted subject. The present still life Red poppies in vase is determined by basic geometric forms and a sharp contouring line. Entirely in the spirit of the New Objectivity (Neue Sachlichkeit), the artist succeeds in letting the subject of the picture speak through a sober presentation – without relying on more expressive means of design. As such, the Red poppies in vase unfolds its cool and clear radiance. Mangold celebrates the creed of his painting style through a well- balanced and orderly composition that conveys the impression of profound calm and prudence. It is the unconditioned clarity of a formal vocabulary. The simple clarity of the composition’s visual language reveals earlier artistic models, from the Thos Agnew & Sons Ltd, registered in England No 00267436 at 21 Bunhill Row, London EC1Y 8LP VAT Registration No 911 4479 34 THOS.
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