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The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1. -
1 1 December 2009 DRAFT Jonathan Petropoulos Bridges from the Reich: the Importance of Émigré Art Dealers As Reflecte
Working Paper--Draft 1 December 2009 DRAFT Jonathan Petropoulos Bridges from the Reich: The Importance of Émigré Art Dealers as Reflected in the Case Studies Of Curt Valentin and Otto Kallir-Nirenstein Please permit me to begin with some reflections on my own work on art plunderers in the Third Reich. Back in 1995, I wrote an article about Kajetan Mühlmann titled, “The Importance of the Second Rank.” 1 In this article, I argued that while earlier scholars had completed the pioneering work on the major Nazi leaders, it was now the particular task of our generation to examine the careers of the figures who implemented the regime’s criminal policies. I detailed how in the realm of art plundering, many of the Handlanger had evaded meaningful justice, and how Datenschutz and archival laws in Europe and the United States had prevented historians from reaching a true understanding of these second-rank figures: their roles in the looting bureaucracy, their precise operational strategies, and perhaps most interestingly, their complex motivations. While we have made significant progress with this project in the past decade (and the Austrians, in particular deserve great credit for the research and restitution work accomplished since the 1998 Austrian Restitution Law), there is still much that we do not know. Many American museums still keep their curatorial files closed—despite protestations from researchers (myself included)—and there are records in European archives that are still not accessible.2 In light of the recent international conference on Holocaust-era cultural property in Prague and the resulting Terezin Declaration, as well as the Obama Administration’s appointment of Stuart Eizenstat as the point person regarding these issues, I am cautiously optimistic. -
The Bauhaus 1 / 70
GRAPHIC DESIGN HISTORY / THE BAUHAUS 1 / 70 The Bauhaus 1 Art and Technology, A New Unity 3 2 The Bauhaus Workshops 13 3 Origins 26 4 Weimar 45 5 Dessau 57 6 Berlin 68 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS 2 / 70 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT 3 / 70 1919–1933 Art and Technology, A New Unity A German design school where ideas from all advanced art and design movements were explored, combined, and applied to the problems of functional design and machine production. © Kevin Woodland, 2020 Joost Schmidt, Exhibition Poster, 1923 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 4 / 70 1919–1933 The Bauhaus Twentieth-century furniture, architecture, product design, and graphics were shaped by the work of its faculty and students, and a modern design aesthetic emerged. MEGGS © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 5 / 70 1919–1933 The Bauhaus Ideas from all advanced art and design movements were explored, combined, and applied to the problems of functional design and machine production. MEGGS • The Arts & Crafts: Applied arts, craftsmanship, workshops, apprenticeship • Art Nouveau: Removal of ornament, application of form • Futurism: Typographic freedom • Dadaism: Wit, spontaneity, theoretical exploration • Constructivism: Design for the greater good • De Stijl: Reduction, simplification, refinement © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 6 / 70 1919–1933 -
Human, Spa Human, Space, Machine Experiments at the Bauhaus Pace
PRESSRELEASE SOUTHKOREANovember25th,2014 MediaContact:SydYi Totalpages:7(includedthispage) Tel.+82-2-2188-6232 [email protected] Human,Space,Machine-Stage ExperimentsattheBauhaus NationalMuseumofModernandContemporaryArt,Korea 313Gwangmyeong-roGwacheon-siGyeonggi-do427-701SouthKorea PRESSRELEASE ◇ A 3- year collaborative project with Bauhaus Dessau Foundation since 2012 - Displaying materials related to various stage experimental art and performance, dating back from the founding of Bauhaus in 1919 to its closure in 1933 - Also exhibiting works by 6 Korean contemporary artists whose works have been both directly and indirectly influenced by Bauhaus ◇ Held at National Museum of Modern and Contemporary Art, Seoul, from Wednesday, Nov 12th, 2014 to Friday, Feb 27th, 2015 National Museum of Modern and Contemporary Art (acting director Nam-sun Yoon) is pleased to announce Human, Space, Machine- Stage Experiments at the Bauhaus, co-organized with Bauhaus Dessau Foundation, Germany (Director Dr. Claudia Perren), from November 12th, 2014 to February 22nd, 2015 at the National Museum of Modern and Contemporary Art, Seoul. Human, Space, Machine – Stage Experiments at the Bauhaus opened at the Dessau Bauhaus in Germany in December 2013, and was shown at the Henie Onstad Art Center in Norway in May 2014 before being presented in MMCA Seoul this November. While Bauhaus is considered a major art movement of 20th Century, it’s mainly regarded in Korea as a school which affected the architecture and design field. MMCA co-organized this exhibition with Bauhaus Dessau Foundation since 2012, in order to examine the Bauhaus thought on the human mind and body. Founded by Walter Gropius in 1919, Bauhaus (1919-1933) as an art & design educational institution had a great influence on the development of the 20th century art, architecture, textile, graphic, industrial design and typography. -
Dossiê Kandinsky Kandinsky Beyond Painting: New Perspectives
dossiê kandinsky kandinsky beyond painting: new perspectives Lissa Tyler Renaud Guest Editor DOI: https://doi.org/10.26512/dramaturgias.v0i9.24910 issn: 2525-9105 introduction This Special Issue on Kandinsky is dedicated to exchanges between Theatre and Music, artists and researchers, practitioners and close observers. The Contents were also selected to interest and surprise the general public’s multitudes of Kandinsky aficionados. Since Dr. Marcus Mota’s invitation in 2017, I have been gathering scholarly, professional, and other thoughtful writings, to make of the issue a lively, expansive, and challenging inquiry into Kandinsky’s works, activities, and thinking — especially those beyond painting. “Especially those beyond painting.” Indeed, the conceit of this issue, Kandinsky Beyond Painting, is that there is more than enough of Kandinsky’s life in art for discussion in the fields of Theatre, Poetry, Music, Dance and Architecture, without even broaching the field he is best known for working in. You will find a wide-ranging collection of essays and articles organized under these headings. Over the years, Kandinsky studies have thrived under the care of a tight- knit group of intrepid scholars who publish and confer. But Kandinsky seems to me to be everywhere. In my reading, for example, his name appears unexpectedly in books on a wide range of topics: philosophy, popular science, physics, neuroscience, history, Asian studies, in personal memoirs of people in far-flung places, and more. Then, too, I know more than a few people who are not currently scholars or publishing authors evoking Kandinsky’s name, but who nevertheless have important Further Perspectives, being among the most interesting thinkers on Kandinsky, having dedicated much rumination to the deeper meanings of his life and work. -
Getty Research Institute | June 11 – October 13, 2019
Getty Research Institute | June 11 – October 13, 2019 OBJECT LIST Founding the Bauhaus Programm des Staatlichen Bauhauses in Weimar (Program of the State Bauhaus in Weimar) 1919 Walter Gropius (German, 1883–1969), author Lyonel Feininger (American, 1871–1956), illustrator Letterpress and woodcut on paper 850513 Idee und Aufbau des Staatlichen Bauhauses Weimar (Idea and structure of the State Bauhaus Weimar) Munich: Bauhausverlag, 1923 Walter Gropius (German, 1883–1969), author Letterpress on paper 850513 Bauhaus Seal 1919 Peter Röhl (German, 1890–1975) Relief print From Walter Gropius, Satzungen Staatliches Bauhaus in Weimar (Weimar, January 1921) 850513 Bauhaus Seal Oskar Schlemmer (German, 1888–1943) Lithograph From Walter Gropius, Satzungen Staatliches Bauhaus in Weimar (Weimar, July 1922) 850513 Diagram of the Bauhaus Curriculum Walter Gropius (German, 1883–1969) Lithograph From Walter Gropius, Satzungen Staatliches Bauhaus in Weimar (Weimar, July 1922) 850513 1 The Getty Research Institute 1200 Getty Center Drive, Suite 1100, Los Angeles, CA 90049 www.getty.edu German Expressionism and the Bauhaus Brochure for Arbeitsrat für Kunst Berlin (Workers’ Council for Art Berlin) 1919 Max Pechstein (German, 1881–1955) Woodcut 840131 Sketch of Majolica Cathedral 1920 Hans Poelzig (German, 1869–1936) Colored pencil and crayon on tracing paper 870640 Frühlicht Fall 1921 Bruno Taut (German, 1880–1938), editor Letterpress 84-S222.no1 Hochhaus (Skyscraper) Ludwig Mies van der Rohe (German, 1886–1969) Offset lithograph From Frühlicht, no. 4 (Summer 1922): pp. 122–23 84-S222.no4 Ausstellungsbau in Glas mit Tageslichtkino (Exhibition building in glass with daylight cinema) Bruno Taut (German, 1880–1938) Offset lithographs From Frühlicht, no. 4 (Summer 1922): pp. -
Nachlass Herbert Behrens-Hangeler (1898 - 1981)
Nachlass Herbert Behrens-Hangeler (1898 - 1981) Vorläufiges Findbuch Gliederung 1. Personalia 1.1 Fotos 1.2 Gedichte, Texte 1.3 Kleine Zeichnungen, Aquarelle 2. Schriftwechsel 3. Ausstellungen 3.1 Einzelausstellungen 3.2 Beteiligung an Ausstellungen 3.3 Einzelausstellungen anderer Künstler 3.4 Gemeinschaftsausstellungen anderer Künstler 4. Künstlergemeinschaften / Vereinigungen 4.1 Der Wurf 4.2 Die Kugel 4.3 Novembergruppe 4.4 Der Sturm 4.5 Zenit 4.6 Verschiedene 5. Zeitschriften 6. Franz Richard Behrens 7. Dorothea Behrens 1. Personalia 1.1 Fotos SMB, ZA, IV/NL Behrens-Hangeler 001 Porträt von Herbert Behrens-Hangeler vor Stilleben ["Musikant"]. Im Berliner Atelier. o.J. [20er Jahre] SMB, ZA, IV/NL Behrens-Hangeler 002 Porträt. 1947 Enthält auch: Aufnahme: Rempor-Studio Berlin-Tempelhof SMB, ZA, IV/NL Behrens-Hangeler 003 Porträt. 1947 Enthält auch: Aufnahme: Rempor-Studio Berlin-Tempelhof SMB, ZA, IV/NL Behrens-Hangeler 004 Porträt. o.J. [1951] Enthält auch: Aufnahme von Edmund Kesting SMB, ZA, IV/NL Behrens-Hangeler 005 Porträt. 1962 SMB, ZA, IV/NL Behrens-Hangeler 006 Porträt. 1963 SMB, ZA, IV/NL Behrens-Hangeler 007 Porträt. 1963 SMB, ZA, IV/NL Behrens-Hangeler 008 Hand. 1963 SMB, ZA, IV/NL Behrens-Hangeler 009 Porträt. 1965 SMB, ZA, IV/NL Behrens-Hangeler 010 Porträt. 1965 SMB, ZA, IV/NL Behrens-Hangeler 011 Porträt. 1965 SMB, ZA, IV/NL Behrens-Hangeler 012 Porträt. 1965 SMB, ZA, IV/NL Behrens-Hangeler 013 Hände am Klavier. 1965/1966 SMB, ZA, IV/NL Behrens-Hangeler 014 Porträt. o.J. [Ende der 60er Jahre] SMB, ZA, IV/NL Behrens-Hangeler 015 Porträt. -
R O H L M a N N L I S T 2
R O H L M A N N Rare Books on Architecture, Art and Design - Japanese Books L I S T 2 8 3 Architecture Art and Design Japanese Books Antiquariat Heinz Rohlmann Untere Dorfstraße 49 50829 Köln Germany Telefon 0221-34666601 Mobil 0175-4173774 Mail: [email protected] www.antiquariat-rohlmann.de 1 ERENBURG (or EHRENBURG), Ilya (Grigorevich). A vse-taki ona vertitsja. [And yet the world goes round]. Moscow and Berlin, Gelikon (1922). 139, (3)pp. and Moscow and 16 photogravures on plates, and line illustrations by F. Léger, and others. 22,5 x 16,5 cm. Original illustrated wrappers (F. Leger). EUR 2400 This rare treatise on contemporary avant-garde art by Ehrenburg (1891-1967) is not only noteworthy for its typographical experiementation, but it defends Contructivism in early art ("Oblozhka raboty Fernanda Lezhe") and includes also a penetrating analysis of the "new architecture" which Vladimir E. Tatlin and his work are seen to have generated. Among the artists the Russian critic considers are Léger, Lipchitz, Lissitzky, Picasso, Rodchenko, Van Doesburg and even from a Charlie Chaplin film. Very fine uncut copy. 2 Kandinsky, Wassily. Kanjinsukî no geijutsuron (カンヂンスキーの芸術論). [Über das Geistige in der Kunst ]. Tokyo, Idea Shoin 1924. 170 leaves: = 110 leaves with printed text; 60 leaves of glossy paper with plates, printed title in Japanese and Western characters on glossy paper, monochrome photographic portrait of Kandinsky. 25,5 x 19,5 cm. Original publisher´s cloth with gilt, original card slipcase. EUR 800 A very scarce edition of Kandinsky's „Uber das Geistige in der Kunst“ published in Japan in 1924. -
Art of Tomorrow : Fifth Catalogue of the Solomon R. Guggenheim Collection
A K SOLOMON R. GUGGENHEIM COLLECTION OF y . \ Digitized by the Internet Archive in 2011 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/artoftomorrowfif1939gugg ' The theme center of the New York World's Fair owes its inspiration to this creation of Rudolf Bauer, "The Holy One," painted in 1936, exhibited and published in 1937 in the United States of America. ART OF TOMORROW RUDOLF BAUER FIFTH CATALOGUE OF THE SOLOMON R. GUGGENHEIM COLLECTION OF NON-OBJECTIVE PAINTINGS PART OF WHICH IS TEMPORARILY EXHIBITED AT 24 EAST 54 th STREET, NEW YORK CITY st 1 OPENING JUNE , 1939 SOLOMON R. GUGGENHEIM FOUNDATION NEW YORK RUDOLF BAUER, No. 103, No. 104, No. 105, No. 106, "TETRAPTYCHON" Symphony in four movements. THE POWER OF SPIRITUAL RHYTHM A great epoch in art is started by genius who has the power to improve former accom- plishments and the prophecy to state the new ideal. Genius is a special gift of God to the elite of a nation. Great art is always advanced to the understanding of masses. Yet masses indirectly are benefited through the fame for culture which the advance guard of elite brings to them in the increase of their importance as a nation. There are thousands of people interested towards creating the importance of their century. When addressed to them, art is certain of response. In the coming millennium masses will profit by the prophetic cultural achievements of these thousands as courageous, honest, far-seeing creators influence the style of the earth of tomorrow. A highly developed taste, the most refined cultural expression of art can be acquired by anyone who is able to feel beauty. -
Klee in Bern in Leichter Sprache
Zentrum Paul Klee Klee ohne Barrieren Klee in Bern in Leichter Sprache 2 Um was geht es? Die Stadt Bern hat eine wichtige Rolle im Leben von Paul Klee gespielt. Die Ausstellung „Klee in Bern“ zeigt das auf. Paul Klee ist in Bern aufgewachsen und zur Schule gegangen. Er hat als junger Künstler in München gelebt. Er hat aber immer wieder Ferien bei seinen Eltern in Bern verbracht. Er hat auch den Kontakt zu seinen Berner Freunden behalten und gepflegt. Kunstsammler in Bern haben von Paul Klee Werke gekauft. Die Ausstellung stellt diese Sammler vor. Paul Klee konnte in Bern auch seine Kunst ausstellen. Paul Klee hat ab 1934 bis zu seinem Tod 1940 wieder in Bern gewohnt. In der Ausstellung kann man sein Atelier besichtigen. Es wurde für die Ausstellung nachgebaut. 3 In der Ausstellung sieht man Werke und Fotos von Paul Klee aus allen Lebensabschnitten: 1) Berner Ansichten 2) Die Familie Klee 3) Eberhard W. Kornfeld: Berner Galerist und Sammler 4) Der Sohn Felix Klee 5) Klees Atelier am Kistlerweg 6) Späte Werke Eingang 4 1 Berner Ansichten Paul Klee kann schon als Kind gut zeichnen. Das hat Paul Klee mit 10 Jahren gemalt. Als Jugendlicher zeichnet er in seine Schulbücher. Er zeichnet auch sein Zimmer. 5 Er zeichnet Landschaften von Kalendern ab. Er zeichnet aber auch in der Natur. Er besucht gerne den Dählhölzli-Wald und die Elfenau. Paul Klee hat diese Landschaft mit 16 Jahren 1895 gemalt. 6 In der Stadt Bern zeichnet er das Münster den Zytglogge-Turm die Altstadt vom Rosengarten aus das Matte-Quartier Er malt auch im Steinbruch von Ostermundigen. -
Acquisitions of the 1930'S and 1940'S : a Selection of Paintings, Watercolors, and Drawings in Tribute to Baroness Hilla
ACQUISITIONS OF THE 1930'S 1940'S THE SOLOMON R. GUGGENHEIM MUSEUM Digitized by the Internet Archive in 2012 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/acquisitionsof1900reba A SELECTION OF PAINTINGS, WATERCOLORS AND DRAWINGS IN TRIBUTE TO BARONESS HILLA VON REBAY 1890-1967 ACQUISITIONS OFTHE1930'S AND 1940'S THE SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK Published by The Solomon R. Guggenheim Foundation, New York, 1 968, All Rights Reserved Library of Congress Card Catalogue Number: 68-25520 Printed in Holland TRUSTEES THE SOLOMON R. GUGGENHEIM FOUNDATION Harry F. Guggenheim, President Albert E. Thiele, Vice President H. H. Arnason, Vice President, Art Administration Peter O. Lawson-Johnston, Vice President, Business Administration Eleanor, Countess Castle Stewart Henry Allen Moe A. Chauncey Newlin Mrs. Henry Obre Daniel Catton Rich Michael F. Wettach » Medley G. B. Whelpley Carl Zigrosser HILLA REBAY 1890-1967 Baroness Hilla Rebay von Ehrenwiesen was born in 1890 in Strassburg, Alsace, daughter of a German army officer. She studied painting at the Academy in Dusseldorf and in Paris and Munich. From 1914-1920 she exhibited with avant-garde groups in Germany; 1914-15 with the Seces- sion, Munich; 1914 Salon des Independants, Paris; 1915 Secession, Berlin; 1918 November Gruppe, Berlin; 1920 became a member of 'Krater'. In 1917 she exhibited at Der Sturm Gallery in Berlin. It is probable that it was through Herwarth Walden that she became acquainted with the other artists who exhibited in his gallery: Delaunay, Gleizes, Leger, Chagall, Kandinsky, Marc, Klee and Bauer — artists whose work she was later to acquire for the Foundation. -
AUSSTELLUNGSFÜHRER Saalplan Einleitung
DE AUSSTELLUNGSFÜHRER Saalplan Einleitung 7 2 4 6 3 5 8 1 9 10 16 Die Ausstellung, die zeitlich mit dem 120. Geburtstag des Künstlers 15 11 14 und Schriftstellers Otto Nebel zusammenfällt, zeigt erstmals sein ge- 13 samtes malerisches und literarisches Schaffen. Sie ist einem Künst- 12 ler gewidmet, der jahrzehntelang in Bern ansässig war und sich zeit- Untergeschoss Neubau lebens mit Worten und mit bildnerischen Mitteln in den Dienst einer «höheren Ordnung» stellte. Nebel schenkte 1969 dem Kunstmuseum Bern rund 200 Werke. Sein Nachlass wurde nach seinem Tod 1973 der Otto Nebel-Stiftung mit Sitz in Bern einverleibt. Dazu gehörten insgesamt über 2000 gemalte Arbeiten, 4000 Zeichnungen, mehre- re Hundert Linolschnitte, einzelne Klebebilder und Mosaiken sowie umfangreiche literarische Dokumente und Briefe. Die Retrospektive 1 Frühwerk stellt die Wechselbeziehungen zwischen visuellen Darstellungs- 2 Die Runen-Fugen und Runen-Fahnen formen (Malerei, Zeichnung, Grafik und Collage) und literarischen 3 «Musikalische» Werke Texten, zwischen Bild und Wort/Schrift ins Zentrum. Thematisch ge- 4 Italien / Arkadien gliedert und nach Stationen der Biografie werden Nebels wichtigste 5 Bauwerkliche Sinngefüge Werke in Malerei und Dichtung präsentiert. 6 Musartaya, die Stadt der tausend Anblicke Gleich zu Beginn des Rundgangs wird ersichtlich, dass es auch um 7 Dome und Kathedralen Schrift geht, nannte Nebel doch einen Teil seiner Gemälde «Runen- 8/9 Abstraktion und Ungegenständliches bilder», wobei Rune als verschlüsseltes Schriftbild, als Bedeutungs- 10 Die Nah-Ost-Reihe träger nach Art der Kalligrafie zu verstehen ist. Die «Runenbilder» 11 Künstlerarchiv / Otto Nebel als Archivar sind eng verbunden mit seinen literarischen «Runen-Fugen» (vgl. 12 Bayern und Ascona Raum 2).