Surreal Visual Humor and Poster
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Hausenstein's Klee in the Year 1921, in His Book Kairuan, Oder Eine
Charles W. Haxthausen Paul Klee, Wilhelm Hausenstein, and «the Problem of Style» Guten Tag, Monsieur Ich, was haben Sie heute für eine Krawatte umgebunden? möchte man manchmal einem «Kunstwerk» zu- rufen. Paul Klee, Tagebücher, 1906 Hausenstein’s Klee In the year 1921, in his book Kairuan, oder eine Geschichte vom Maler Klee und von der Kunst dieses Zeitalters, the eminent German art critic Wilhelm Hausenstein de- clared his subject the quintessential artist of his era. Yet his reasons made the honor an ambiguous one: Wir […] sind in die Epoche des Anarchischen und der Disgregation eingetreten. […] Der Malerzeichner Klee nahm von der Zeit, was sie war. Er sah, was sie nicht war; sah ihr Va- kuum, ihre Sprünge; sah ihre Ruinen und saß über ihnen. Sein Name bedeutet kein Sys- tem. Seine Kunst ist irrational, selbst in der raffiniertesten Überlegung naiv, ist der uner- hörten Verwirrung des Zeitalters hingegeben.1 Such gloomy words seem strangely discordant with our image of Klee. They must have seemed especially incongruous when read alongside the artworks illustrat- ing Hausenstein’s book. For most of us familiar with Klee’s art, his name evokes humor and charm, fantasy and poetry, witty and evocative titles, aesthetic en- chantment, delights for the mind as well as the eye—not «Sprünge» and «Ruinen», not anarchy and disintegration. What «Verwirrung» was Hausenstein talking about? To be sure, the confusion of modernity was by then a well-estab- lished trope, yet if we read Hausenstein’s previous writing we will see that he had something more specific in mind. The symptom of the confusion of the age was the confusion of styles, and that confusion was manifest in Klee’s art more than in any other. -
The University of Chicago Objects of Veneration
THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies............................................................................... -
Morton Review
REVIEWS: Eighteenth- and Nineteenth-Century Literature and Culture 549 Morton, Marsha. Max Klinger and Wilhelmine Culture. On the Threshold of German Modernism. Farnham: Ashgate, 2014. 434 pp. £80.00 (hardcover). Max Klinger’s (1857–1920) life-size, polychrome marble sculpture of Ludwig van Beet- hoven formed the centerpiece of the 14th Vienna Secession Exhibition in 1902. In many ways, the exhibition wasasmuch a celebration ofthe Leipzig artist asit wasofthe great composer. By this point in time, Klinger had reached the zenith of his international fame as a modern artist and yet, his art historical position soon started to become increasingly precarious—especially after his death in 1920. Although his drawings and print cycles continued to enter private and public collections (especially in the United States), Klinger’s idiosyncratic realism—especially in his paintings—posed an insurmountable challenge to post-war formalism and abstraction. Klingerwasvirtuallyforgottenuntilthe1960sand1970s,whenaseriesofexhibitionsandpub- lications gradually generated renewed interest. Since then, Klinger slowly made his way back into the “story of modern art” but most of the scholarship continues to be offered in German. Marsha Morton’s 2014 publication under review here changes this unsatisfactory situation and makes a significant intervention not only in Klinger scholarship but also in the study of late nineteenth-century German art and culture more generally. Morton’s book is so multi-faceted that this short review cannot do it justice. But her key thesis is constructed around Klinger’s evocative visual engagement with the disquieting psy- chological undercurrents of modern urban life. This analytical emphasis on the psychological rather than an exclusively formalist modernism is part of a broader shift in the literature (the work of Debora L. -
The Silverman Collection
Richard Nagy Ltd. Richard Nagy Ltd. The Silverman Collection Preface by Richard Nagy Interview by Roger Bevan Essays by Robert Brown and Christian Witt-Dörring with Yves Macaux Richard Nagy Ltd Old Bond Street London Preface From our first meeting in New York it was clear; Benedict Silverman and I had a rapport. We preferred the same artists and we shared a lust for art and life in a remar kable meeting of minds. We were more in sync than we both knew at the time. I met Benedict in , at his then apartment on East th Street, the year most markets were stagnant if not contracting – stock, real estate and art, all were moribund – and just after he and his wife Jayne had bought the former William Randolph Hearst apartment on Riverside Drive. Benedict was negotiating for the air rights and selling art to fund the cash shortfall. A mutual friend introduced us to each other, hoping I would assist in the sale of a couple of Benedict’s Egon Schiele watercolours. The first, a quirky and difficult subject of , was sold promptly and very successfully – I think even to Benedict’s surprise. A second followed, a watercolour of a reclining woman naked – barring her green slippers – with splayed Richard Nagy Ltd. Richardlegs. It was also placed Nagy with alacrity in a celebrated Ltd. Hollywood collection. While both works were of high quality, I understood why Benedict could part with them. They were not the work of an artist that shouted: ‘This is me – this is what I can do.’ And I understood in the brief time we had spent together that Benedict wanted only art that had that special quality. -
Research.Pdf (1.328Mb)
VISUAL HUMOR: FEMALE PHOTOGRAPHERS AND MODERN AMERICAN WOMANHOOD, 1860- 1915 A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by Meghan McClellan Dr. Kristin Schwain, Dissertation Advisor DECEMBER 2017 © Copyright by Meghan McClellan 2017 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled Visual Humor: Female Photographers and the Making of Modern American Womanhood, 1860-1915 presented by Meghan McClellan, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. Dr. Kristin Schwain Dr. James Van Dyke Dr. Michael Yonan Dr. Alex Barker To Marsha Thompson and Maddox Thornton ACKNOWLEDGMENTS The difficulty of writing a dissertation was never far from anyone’s lips in graduate school. We all talked about the blood, sweat, and tears that went into each of our projects. What we also knew was the unrelenting support our loved ones showed us day in and day out. These acknowledgments are for those who made this work possible. This dissertation is a testament to perseverance and dedication. Yet, neither of those were possible without a few truly remarkable individuals. First, thank you to all my committee members: Dr. Alex Barker, Dr. Michael Yonan, and Dr. James Van Dyke. Your input and overall conversations about my project excited and pushed me to the end. Thank you Mary Bixby for giving me the “tough love” I needed to make sure I met my deadlines. -
ALFRED KUBIN 1877 Leitmeritz/Bohemia - Zwickledt/Upper Austria 1959
LE CLAIRE KUNST SEIT 1982 ALFRED KUBIN 1877 Leitmeritz/Bohemia - Zwickledt/Upper Austria 1959 Mann mit abgeschnittener Nase Pen and black ink, wash and spray, watercolour and colour crayon on firm wove paper; c.1904-7. Signed lower right: Kubin. Inscribed in pencil at the lower left: Kopf mit abgeschnittener Nase. Annotated on the verso: Mein Werk Abb. 30 327 x 253 mm LITERATURE: Alfred Kubin, Dämonen und Nachtgesichte, Dresden 1926, fig. 30 EXHIBITION: Alfred Kubin, Kunstmuseum Winterthur 1986, no. 115, repr. p.115 This early drawing immediately evokes a sinister vision of terrifying intensity – a characteristically Kubinesque depiction of the human face. The head appears to be mummified and a gaping void indicates where the nose once was. The sparse hair with its receding hairline accentuates the outline of the mask-like face which has the strange shimmer of a fleshless skull. The drawing is loaded with undertones of death. Alfred Kubin makes frequent reference to his experience of death in his autobiography.1 His mother died when he was a boy and her early death undoubtedly left an indelible psychological legacy. He made his first drawings at about that time. Thematically, these early sheets show the emergence of a tendency towards exaggeration and a liking for visionary fantasy.2 A tremendous curiosity for eerie events guided his early art.3 The origins of his artistic development and later literary career date from a very early age.4 Kubin regarded this densely worked autonomous drawing as so important that he reproduced it in his early publication Dämonen und Nachtgesichte. -
Inspiration Beethoven
DE | EN 08.12.2020–05.04.2021 INSPIRATION BEETHOVEN EINE SYMPHONIE IN BILDERN AUS WIEN 1900 PRESSEBILDER | PRESS IMAGES 01 01 CASPAR VON ZUMBUSCH CASPAR VON ZUMBUSCH 1830–1915 1830–1915 Reduktion des Denkmals für Ludwig van Beethoven, 1877 Reduction of the memorial to Ludwig van Beethoven, 1877 Bronze, 53 × 24 × 27 cm Bronze, 53 × 24 × 27 cm Belvedere, Wien Belvedere, Vienna Foto: Belvedere, Wien Photo: Belvedere, Vienna 02 02 GUSTAV KLIMT GUSTAV KLIMT 1862–1918 1862–1918 Schubert am Klavier. Schubert at the Piano. Entwurf für den Musiksalon im Palais Dumba, 1896 Study for the music room in Palais Dumba, 1896 Öl auf Leinwand, 30 × 39 cm Oil on canvas, 30 × 39 cm Privatsammlung/Dauerleihgabe im Leopold Museum, Wien Private Collection/Permanent Loan, Leopold Museum, Vienna Foto: Leopold Museum, Wien/Manfred Thumberger Photo: Leopold Museum, Vienna/Manfred Thumberger 03 03 JOSEF MARIA AUCHENTALLER JOSEF MARIA AUCHENTALLER 1865–1949 1865–1949 Elfe am Bach. Für das Beethoven-Musikzimmer Elf at the Brook. For the Beethoven Music Room der Villa Scheid in Wien, 1898/99 of Villa Scheid in Vienna, 1898/99 Öl auf Leinwand, 176,5 × 88,3 cm Oil on canvas, 176,5 × 88,3 cm Andreas Maleta, aus der Victor & Martha Thonet Sammlung, Andreas Maleta, from the Victor & Martha Thonet Collection, Galerie punkt12, Wien gallery punkt12, Vienna Foto: amp, Andreas Maleta press & publication, Wien, 2020 Photo: amp, Andreas Maleta press & publication, Vienna, 2020 04 04 JOSEF MARIA AUCHENTALLER JOSEF MARIA AUCHENTALLER 1865–1949 1865–1949 Elfenreigen. Für das Beethoven-Musikzimmer -
Nineteenth & Early Twentieth Century German & Austrian
NINETEENTH & EARLY TWENTIETH CENTURY! GERMAN & AUSTRIAN! PAINTINGS, DRAWINGS & SCULPTURE! SEPTEMBER 21ST - OCTOBER 20TH, 2010! SHEPHERD & DEROM! GALLERIES! © Copyright: Robert J. F. Kashey! for Shepherd Gallery, Associates, 2010! COVER ILLUSTRATION: see entry for Károly Alexy.! TECHNICAL NOTES: All measurements are approximate and in inches and in centimeters; height precedes width. All drawings, prints, and photographs are framed. Prices on request. All works subject to prior sale.! NINETEENTH & EARLY TWENTIETH CENTURY! GERMAN & AUSTRIAN! PAINTINGS, DRAWINGS & SCULPTURE! September 21st through October 20th, 2010! Exhibition organized by! Robert Kashey and David Wojciechowski! Catalog by Jennifer Spears Brown! SHEPHERD & DEROM! GALLERIES! 58 East 79th Street! New York, N.Y. 10075! Tel: 212 861 4050! Fax: 212 772 1314! [email protected]! www.shepherdgallery.com! NINETEENTH & EARLY TWENTIETH CENTURY! GERMAN & AUSTRIAN! PAINTINGS, DRAWINGS & SCULPTURE! September 21st through October 20th, 2010! Shepherd Gallery is pleased to present Nineteenth & Twentieth Century German and Austrian Paintings, Drawings & Sculpture. We have showcased art from this region since 1969 when we mounted our first exhibition exclusively devoted to German-speaking artists. This exhibition, drawn from the gallery’s stock, coincides with German Master Drawings from the Wolfgang Ratjen Collection, 1580 – 1900, at the National Gallery of Art, Washington, D.C. A broad range of works include oil paintings by Anton Einsle and Max Klinger, works on paper by Carl Agricola, -
The Blue Rider
THE BLUE RIDER 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 1 222.04.132.04.13 111:091:09 2 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 2 222.04.132.04.13 111:091:09 HELMUT FRIEDEL ANNEGRET HOBERG THE BLUE RIDER IN THE LENBACHHAUS, MUNICH PRESTEL Munich London New York 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 3 222.04.132.04.13 111:091:09 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 4 222.04.132.04.13 111:091:09 CONTENTS Preface 7 Helmut Friedel 10 How the Blue Rider Came to the Lenbachhaus Annegret Hoberg 21 The Blue Rider – History and Ideas Plates 75 with commentaries by Annegret Hoberg WASSILY KANDINSKY (1–39) 76 FRANZ MARC (40 – 58) 156 GABRIELE MÜNTER (59–74) 196 AUGUST MACKE (75 – 88) 230 ROBERT DELAUNAY (89 – 90) 260 HEINRICH CAMPENDONK (91–92) 266 ALEXEI JAWLENSKY (93 –106) 272 MARIANNE VON WEREFKIN (107–109) 302 ALBERT BLOCH (110) 310 VLADIMIR BURLIUK (111) 314 ADRIAAN KORTEWEG (112 –113) 318 ALFRED KUBIN (114 –118) 324 PAUL KLEE (119 –132) 336 Bibliography 368 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 5 222.04.132.04.13 111:091:09 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 6 222.04.132.04.13 111:091:09 PREFACE 7 The Blue Rider (Der Blaue Reiter), the artists’ group formed by such important fi gures as Wassily Kandinsky, Franz Marc, Gabriele Münter, August Macke, Alexei Jawlensky, and Paul Klee, had a momentous and far-reaching impact on the art of the twentieth century not only in the art city Munich, but internationally as well. Their very particular kind of intensely colorful, expressive paint- ing, using a dense formal idiom that was moving toward abstraction, was based on a unique spiritual approach that opened up completely new possibilities for expression, ranging in style from a height- ened realism to abstraction. -
The Ideological Discourse of the Islamist Humor Magazines in Turkey: the Case of Misvak
THE IDEOLOGICAL DISCOURSE OF THE ISLAMIST HUMOR MAGAZINES IN TURKEY: THE CASE OF MISVAK A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY NAZLI HAZAL TETİK IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN THE DEPARTMENT OF MEDIA AND CULTURAL STUDIES JULY 2020 Approval of the Graduate School of Social Sciences Prof. Dr. Yaşar Kondakçı Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Science. Assoc. Prof. Dr. Barış Çakmur Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Science. Prof. Dr. Necmi Erdoğan Supervisor Examining Committee Members Assist. Prof. Dr. Özgür Avcı (METU, PADM) Prof. Dr. Necmi Erdoğan (METU, PADM) Prof. Dr. Lütfi Doğan Tılıç (Başkent Uni., ILF) PLAGIARISM I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name: Nazlı Hazal Tetik Signature: iii ABSTRACT THE IDEOLOGICAL DISCOURSE OF THE ISLAMIST HUMOR MAGAZINES IN TURKEY: THE CASE OF MISVAK Tetik, Nazlı Hazal M.S., Department of Media and Cultural Studies Supervisor: Prof. Dr. Necmi Erdoğan July 2020, 259 pages This thesis focuses on the ideological discourse of Misvak, one of the most popular Islamist humor magazines in Turkey in the 2000s. -
13771873 Lprob.Pdf
4527_BlauerReiter_180211_ENG_rl.indd I 06.07.11 09:16 INVITATION It is often difÞ cult for art-lovers seeking an introduction to a subject to Þ nd the right approach amid the bewildering array of literature available. Read on; you’ll not be bored! The aim of this book is to provide an entertaining but well-found- ed introduction to the world of the artists’ group the Blue Rider, which ß ourished in German in the early years of the twentieth century. The Þ rst seven chapters lead readers through the exciting period from 1908 until the First World War and let them witness the birth of the group. The views of the artists are described as well as their often complicated personal relationships with each other. The most important works are introduced and their signiÞ cance examined. In the last chapter there is, literally, much to discover, including the places in Bavaria where the members of the Blue Rider left their traces. The museums where you can admire the works of Kandinsky & Co. will be described, as will, as far as is possible today, the locations where it all happened. Where did the artists live; where were their studios; and where was the famous salon of Marianne von Werefkin, in which the artists drank, smoked and spent long nights in animated discussion? My sincere thanks go to the great authority on the Blue Rider, Dr. Annegret Hoberg of the Lenbachhaus in Munich, who encour- aged me to embark on this project and to whom I am grateful for important advice. -
1 for IMMEDIATE RELEASE Contact: Sloane Crosley, Associate Director of Publicity Phone
FOR IMMEDIATE RELEASE Contact: Sloane Crosley, Associate Director of Publicity Phone: 212.572.2016 E-mail: [email protected] VINTAGE BOOKS TO PUBLISH NIGHTLIGHT: A TWILIGHT PARODY AS A VINTAGE ORIGINAL IN TIME FOR THE MAJOR MOTION PICTURE RELEASE OF TWILIGHT SEQUEL” NEW MOON” New York, NY 10/05/09: Vintage Books announces the publication of the first Harvard Lampoon novel parody in exactly 40 years. In 1969, The Harvard Lampoon took affectionate aim at a massive pop culture phenomenon with Bored of the Rings. The paperback original Nightlight, a pitch-perfect spin on the Stephanie Meyers series, will be available on NOVEMBER 3RD. The Twilight movie sequel, “New Moon,” arrives in theaters on November 20th. “Funny” might get you a blog post these days, but it’s the Lampoon-level of satire that makes Nightlight worth every pseudo-bloodsucking, angst-ridden page. Nightlight stakes at the heart of what makes Twilight tick…or, really, cuts to the core of it. As demonstrated by the cover of the book. Or takes a bite out of it, as also demonstrated by the cover of the book. Brooding and hilarious, let Nightlight be your guide through the Twilight fandom that has eclipsed the mind of every teenager you have ever met. About the Plot Pale and klutzy, Belle Goose arrives in Switchblade, Oregon looking for adventure, or at least an undead classmate. She soon discovers Edwart Mullen, a super-hot computer nerd with zero interest in girls. After witnessing a number of strange events–Edwart leaves his Tater Tots™ untouched at lunch! Edwart saves her from a flying snowball!–Belle has a dramatic revelation: Edwart is a vampire.