7. Dez. 2018 Klassiker Des 20. Jahrhunderts Ii
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The Whole World a Bauhaus*
Magazine No 5 2019 / 2020 ZKM I Karlsruhe, Germany * Fritz Kuhr, 1928; student at the Bauhaus from 1923–27, member of staff in the wallpainting workshop 1928–29, teacher of drawing 1929–30 at the Bauhaus THE WHOLE WORLD A BAUHAUS* László Moholy-Nagy In the 1921 Weimar Bauhaus programme experiments with photography without Walter Gropius announced the creation of Painter, photographer, typographer, a camera (photograms). The book stage designer, art theorist and teacher a total work of art: “The Bauhaus strives for Painting Photography Film (1925) set 20 July 1895 in Bácsborsód / Austria- out his theory of “new seeing.” From a unity of all artistic creation, the reunification Hungary – 24 November 1946 in 1928 he was back in Berlin, designing of all the art disciplines – sculpture, painting, Chicago / USA intermedial decorations for the Kroll Opera and the Piscator Stage. the crafts and trades – to form a new art In painting, he experimented with of building in which they are all indispensable Born in southern Hungary as the son materials like aluminum and Bakelite of the Jewish farmer Lipot Weisz, components. The final, if distant goal of the and used Plexiglas placed in front of Moholy-Nagy – the later pioneer of canvases to create transparent three- Bauhaus is the unified work of art – the grand modernism – was raised by his uncle dimensional effects. His experiments building – in which there are no borders in Mohol in today’s Serbia. After led to the construction of a mobile his father left the family, his mother installation made of glass and metal, between monumental and decorative art.” (…) was helped by her lawyer, named the Room Modulator. -
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. -
Wilhelm Arntz Papers Date (Inclusive): 1898-1986 Number: 840001 Creator/Collector: Arntz, Wilhelm F
http://oac.cdlib.org/findaid/ark:/13030/kt8d5nf2w0 No online items Finding aid for the Wilhem Arntz papers, 1898-1986 Isabella Zuralski. Finding aid for the Wilhem Arntz 840001 1 papers, 1898-1986 Descriptive Summary Title: Wilhelm Arntz papers Date (inclusive): 1898-1986 Number: 840001 Creator/Collector: Arntz, Wilhelm F. Physical Description: 159 Linear Feet(295 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (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 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. -
August Endell's Construction of Feeling Martina Mims
August Endell's Construction of Feeling Martina Mims Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 Copyright © 2013 Martina Mims All rights reserved ABSTRACT August Endell's Construction of Feeling Martina Mims The German architect August Endell (1871-1925) is best known for his idiosyncratic buildings and interiors. As the first monographic study on his work in English, this dissertation uncovers the little-known design philosophy behind his works, and elucidates the intellectual origins and career of his important theory of experiential form. Endell was a polymath versed in scientific philosophy, empirical psychology, musicology and architecture. A man of extraordinary intellectual range, he saw his architectural practice as a laboratory for conducting experiments in psychology. In particular, his buildings explored architectural forms patterned on the workings of the human brain, as understood in late nineteenth century Germany. Previous studies of Endell generally have tried to situate him within one of the maJor German schools of thought in psychology, alternatively as a proponent of abstraction or empathy. Through detailed analyses of his built works and written texts, this dissertation argues that Endell was in fact attempting a reconciliation between abstraction and empathy, through what I have interpreted as experiential forms, namely forms drawn from collective memories, feelings, and ethical relations. Endell was an activist for architectural design driven by a "science" of consciousness, and he was convinced that built experiential forms could serve an important unifying social function, counteracting processes of social disaggregation he believed was taking place in pre-World War I Germany. -
Mode R Ne Ii
7. J U N I 2 0 1 8 KLASSISCHE MODERNE II 466. AUKTION Klassische Moderne – Teil II Auktion | Auction Weitere Auktionen | Further Auctions Los 1 – 232 Klassische Moderne – Teil II Los 250 – 646 Kunst nach 1945 / Contemporary Art – Teil II Donnerstag, 7. Juni 2018, ab 15 Uhr | from 3 pm on Freitag, 8. Juni, ab 12 Uhr | from 12 pm on Los 675 – 758 Klassische Moderne – Teil I Ketterer Kunst München Samstag, 9. Juni, ab 12 Uhr | from 12 pm on Joseph-Wild-Straße 18 81829 München Los 775 – 841 Contemporary Art Samstag, 9. Juni ab 15 Uhr | from 3 pm on Los 850 – 959 Kunst nach 1945 – Teil I Samstag, 9. Juni, ab 16 Uhr | from 4 pm on Vorbesichtigung | Preview Hamburg Berlin Ketterer Kunst, Holstenwall 5, 20355 Hamburg Ketterer Kunst, Fasanenstraße 70, 10719 Berlin Do. 3. Mai 17 – 20 Uhr | 5 pm – 8 pm Fr. 25. Mai 10 – 20 Uhr | 10 am – 8 pm Fr. 4. Mai 11 – 17 Uhr | 11 am – 5 pm Sa. 26. Mai 10 – 18 Uhr | 10 am – 6 pm Sa. 5. Mai 11 – 17 Uhr | 11 am – 5 pm So. 27. Mai 10 – 18 Uhr | 10 am – 6 pm Mo. 28. Mai 10 – 18 Uhr | 10 am – 6 pm Zürich Di. 29. Mai 10 – 18 Uhr | 10 am – 6 pm Galerie von Vertes, Bahnhofstr. 16, 8001 Zürich, Schweiz Mi. 30. Mai 10 – 18 Uhr | 10 am – 6 pm Di. 8. Mai 17 – 20 Uhr | 5 pm – 8 pm Do. 31. Mai 10 – 20 Uhr | 10 am – 8 pm Mi. 9. Mai 11 – 18 Uhr | 11 am – 6 pm Do. -
Moderne Kunst 2. Juni 2017 Karl Hofer
Moderne Kunst 2. Juni 2017 Karl Hofer. Detail. Los 422 Lyonel Feininger. Detail. Los 379 Moderne Kunst 2. Juni 2017, 11 Uhr Modern Art 2 June 2017, 11 a.m. Experten Specialists Dr. Markus Krause Micaela Kapitzky +49 30 885915 29 +49 30 885915 32 [email protected] [email protected] Traute Meins Nina Barge +49 30 885915 21 +49 30 885915 37 [email protected] [email protected] Zustandsberichte Condition reports [email protected] Grisebach — Frühjahr 2017 Vorbesichtigung der Werke Sale Preview Ausgewählte Werke München Ausgewählte Werke: 3. und 4. Mai 2017 Kunst des 19. Jahrhunderts: 17. und 18. Mai 2017 Grisebach Jesco von Puttkamer Dorothée Gutzeit Türkenstraße 104 80799 München Düsseldorf 6. Mai 2017 Grisebach Anne Ganteführer-Trier Bilker Straße 4–6 40213 Düsseldorf Zürich 9. bis 11. Mai 2017 Grisebach Verena Hartmann Bahnhofstrasse 14 8001 Zürich Dortmund 15. und 16. Mai 2017 Galerie Utermann Wilfried Utermann Silberstraße 22 44137 Dortmund Hamburg 18. und 19. Mai 2017 Galerie Commeter Stefanie Busold Bergstraße 11 20095 Hamburg Sämtliche Werke Berlin 26. bis 30. Mai 2017 Grisebach Fasanenstraße 25, 27 und 73 10719 Berlin Freitag bis Montag 10 bis 18 Uhr Dienstag 10 bis 15 Uhr Grisebach — Frühjahr 2017 300 Christian Rohlfs Niendorf 1849 – 1938 Hagen „Stilleben mit Mokkakännchen“. Um 1874 Öl auf Leinwand. 16 × 22 cm (6 ¼ × 8 ⅝ in.). In der Mitte rechts monogrammiert: CR. Werkverzeichnis: Köcke 1. [3203] Gerahmt. Provenienz Ehemals P(eter?) Lüders, Hamburg, und Privatsamm- lung, Hamburg EUR 3.000–4.000 USD 3,200–4,270 301 Max Liebermann 1847 – Berlin – 1935 Strandhäuser, im Vordergrund Ziegen. -
Beyond the Bauhaus Book Subtitle: Cultural Modernity in Breslau, 1918-33 Book Author(S): Deborah Ascher Barnstone Published By: University of Michigan Press
University of Michigan Press Chapter Title: Front Matter Book Title: Beyond the Bauhaus Book Subtitle: Cultural Modernity in Breslau, 1918-33 Book Author(s): Deborah Ascher Barnstone Published by: University of Michigan Press. (2016) Stable URL: http://www.jstor.org/stable/j.ctt1gk088m.1 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms This book is licensed under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. Funding is provided by Knowledge Unlatched. University of Michigan Press is collaborating with JSTOR to digitize, preserve and extend access to Beyond the Bauhaus This content downloaded from 138.25.78.25 on Tue, 20 Mar 2018 04:56:31 UTC All use subject to http://about.jstor.org/terms This content downloaded from 138.25.78.25 on Tue, 20 Mar 2018 04:56:31 UTC All use subject to http://about.jstor.org/terms 2RPP Beyond the Bauhaus This content downloaded from 138.25.78.25 on Tue, 20 Mar 2018 04:56:31 UTC All use subject to http://about.jstor.org/terms 2RPP Social History, Popular Culture, and Politics in Germany Kathleen Canning, Series Editor Recent Titles Three-Way Street: Jews, Germans, and the Transnational Jay H. -
Entartete Kunst
Entartete Kunst Sample file Bastard Title Page ii Entartete Kunst Clark B. Timmins Sample file Title Page iii Entartete Kunst Attribution-NonCommercial-ShareAlike 4.0 International Third Printing Printed 1996 AcmeSample Printing Corporation file 3 4 5 6 7 8 9 10 APC 00 99 98 97 96 Colophon iv Jean Metzinger, 1913, En Canot (Im Boot), oil on canvas, 146 x 114 cm, confiscated by the Nazis c.1936 and displayed at the Degenerate Art Exhibition Samplein Munich. The painting has been missing ever since. file Frontispiece v Jankel Adler Hans Feibusch Cesar Klein Max Peiffer Watenphul Hans Baluschek Lyonel Feininger Paul Kleinschmidt Hans Purrmann Ernst Barlach Conrad Felixmüller Victor Klemperer Max Rauh Rudolf Bauer Otto Freundlich Oskar Kokoschka Hans Richter Philipp Bauknecht Xaver Fuhr Otto Lange Emy Roeder Otto Baum Ludwig Gies Wilhelm Lehmbruck Christian Rohlfs Willi Baumeister Werner Gilles Elfriede Lohse-Wächtler Edwin Scharff Herbert Bayer Otto Gleichmann El Lissitzky Oskar Schlemmer Max Beckmann Rudolph Grossmann Oskar Lüthy Rudolf Schlichter Rudolf Belling George Grosz Franz Marc Karl Schmidt-Rottluff Paul Bindel Hans Grundig Gerhard Marcks Werner Scholz Theo Brün Rudolf Haizmann Ewald Mataré Lothar Schreyer Max Burchartz Raoul Hausmann Ludwig Meidner Otto Schubert Fritz Burger-Mühlfeld Guido Hebert Jean Metzinger Kurt Schwitters Paul Camenisch Erich Heckel Constantin von Lasar Segall Mitschke-Collande Heinrich Campendonk Wilhelm Heckrott Friedrich Skade László Moholy-Nagy -
Degenerate Art 1 Degenerate Art
Degenerate art 1 Degenerate art - Cover of the exhibition program: Degenerate Art exhibition, 1937. Note the word "Kunst", meaning art, in scare quotes - Cover of the exhibition program: Degenerate music exhibition, Düsseldorf, 1938 Degenerate art is the English translation of the German entartete Kunst, a term adopted by the Nazi regime in Germany to describe virtually all modern art. Such art was banned on the grounds that it was un-German or Jewish Bolshevist in nature, and those identified as degenerate artists were subjected to sanctions. These included being dismissed from teaching positions, being forbidden to exhibit or to sell their art, and in some cases being forbidden to produce art entirely. Degenerate Art was also the title of an exhibition, mounted by the Nazis in Munich in 1937, consisting of modernist artworks chaotically hung and accompanied by text labels deriding the art. Designed to inflame public opinion against modernism, the exhibition subsequently traveled to several other cities in Germany and Austria. While modern styles of art were prohibited, the Nazis promoted paintings and sculptures that were narrowly traditional in manner and that exalted the "blood and soil" values of racial purity, militarism, and obedience. Similarly, music was expected to be tonal and free of any jazz influences; films and plays were censored.[1] Reaction against modernism The early twentieth century was a period of wrenching changes in the arts. In the visual arts, such innovations as cubism, Dada and surrealism—following hot on the heels of symbolism, post-Impressionism and Fauvism—were not universally appreciated. The majority of people in Germany, as elsewhere, did not care for the new art which many resented as elitist, morally suspect, and too often incomprehensible.[2] Under the Weimar government of the 1920s, Germany emerged as a leading center of the avant-garde—the birthplace of Expressionism in painting and sculpture, of the atonal musical compositions of Arnold Schoenberg, and the jazz-influenced work of Paul Hindemith and Kurt Weill. -
Cultural Modernity in Breslau, 1918
2RPP Beyond the Bauhaus 2RPP Social History, Popular Culture, and Politics in Germany Kathleen Canning, Series Editor Recent Titles Three-Way Street: Jews, Germans, and the Transnational Jay H. Gellar and Leslie Morris, Editors Beyond the Bauhaus: Cultural Modernity in Breslau, 1918–33 Deborah Ascher Barnstone Stop Reading! Look! Modern Vision and the Weimar Photographic Book Pepper Stetler The Corrigible and the Incorrigible: Science, Medicine, and the Convict in Twentieth- Century Germany Greg Eghigian An Emotional State: The Politics of Emotion in Postwar West German Culture Anna M. Parkinson Beyond Berlin: Twelve German Cities Confront the Nazi Past Gavriel D. Rosenfeld and Paul B. Jaskot, Editors Consumption and Violence: Radical Protest in Cold-War West Germany Alexander Sedlmaier Communism Day-to-Day: State Enterprises in East German Society Sandrine Kott Envisioning Socialism: Television and the Cold War in the German Democratic Republic Heather L. Gumbert The People’s Own Landscape: Nature, Tourism, and Dictatorship in East Germany Scott Moranda German Colonialism Revisited: African, Asian, and Oceanic Experiences Nina Berman, Klaus Mühlhahn, and Patrice Nganang, Editors Becoming a Nazi Town: Culture and Politics in Göttingen between the World Wars David Imhoof Germany’s Wild East: Constructing Poland as Colonial Space Kristin Kopp Colonialism, Antisemitism, and Germans of Jewish Descent in Imperial Germany Christian S. Davis Africa in Translation: A History of Colonial Linguistics in Germany and Beyond, 1814–1945, Sara Pugach Between National Socialism and Soviet Communism: Displaced Persons in Postwar Germany, Anna Holian Dueling Students: Conflict, Masculinity, and Politics in German Universities, 1890–1914 Lisa Fetheringill Zwicker The Golem Returns: From German Romantic Literature to Global Jewish Culture, 1808–2008, Cathy S.