Hirmer Verlag

One of the most important artists of the early twentieth century, Egon Schiele is vastly influential not just in his native Austria, where he was a major figure of Austrian expressionism, but around the world. Yet Schiele spent almost his entire life in Vienna and Lower Austria, and the cultural currents of the region can be seen in the ways he thought about and made art. With "Egon Schiele: The Beginning, " Christian Bauer focused on Schiele s early life and work, starting with his childhood in Tulln and following his career through his resignation from the Vienna Art Academy in 1909. Now, with "Egon Schiele: Almost a Lifetime, "Bauer sheds new light on how Schiele developed the essential elements of his creative practice in Tulln and Vienna, but also Krems, Klosterneuburg, Neulengbach, and Muhling, where the artist was put to work in a POW camp and painted a number of imprisoned Russian officers. Drawing on recent research and a cache of unpublished photographs, the book explores a number of previously neglected influences on Schiele s work, including his interest in x-ray technology and the art nouveau style of the artist and aristocrat Franz von Stuck. Schiele s work continues to inspire artists, critics, and collectors today. Packed with beautiful, large-scale reproductions, "Egon Schiele: Almost a Lifetime "shows the artist in the context of his homeland, including in the later stages of his career."

In 2011 a sensational find came to light in Andy Warhol's estate: an extensive collection of drawings that provides impressive evidence of Warhol's artistic talents. He used iconic photographs and magazine illustrations, many of which were taken from Life magazine, as inspiration. This publication explores these sources and presents them in juxtaposition. Drawing was an essential element of Warhol's everyday life during his early years in New York. He was particularly inspired by the blossoming magazine culture and its pictorial language. Extensive research has now identified the majority of the sources he used. Warhol drew a large number of subjects from the world-famous Life magazine. This publication presents notable examples of the copying technique developed by Warhol, known as "blotted line", and presents the drawings in direct juxtaposition with the sources that he used. The accompanying essays explore Andy Warhol's unique design process and his very own method for making transfers between the media of photography and drawing.

The publication presents Joan Miro's (1893- 1983) mural art in the context of his life's work. Miro's ideas for large-scale mural art can be traced back to his works of the 1920s and the inspiration he drew from the bare walls of his family home in Montroig (Catalonia) and those of his studio in Paris. Miro gave priority to simple and essential forms, and declared the wall to be the very essence of his imagery. With its imperfections, it became the starting point for pictures in which Miro recorded its material beauty with meticulous attention to detail and great poetry. This book, and the exhibition it accompanies, takes its cue from the Kunsthaus Zurich's mural Oiseaux qui s'envolent, which will be the subject of a long overdue evaluation. It includes texts by renowned Miro scholars on his serial working practice, his ceramic production and mural works, together with unpublished material on the origins of his famous triptychs series.

Henry Moore has influenced the history of twentieth - century sculpture more decisively than anyone else. He was one of the first contemporary sculptors to realise his ideas in the public space throughout the world. His oeuvre was a lasting source of inspiration for an entire generation of artists – from Hans Arp, Alberto Giacometti and Pablo Picasso to the younger generation of German sculptors. Henry Moore (1898 – 1 986), known as the “Picasso of Sculpture”, is regarded as one of the most important sculptors of the twentieth century and the epitome of the modern artist. Typical of his work is the interrelationship between nature and abstraction. He discovered the “voi ds“, so - called openings and holes which heighten the sculptural, three - dimensional effect of his works. With this new approach Moore exercised a strong influence on younger sculptors, who gained decisive impulses from his sculptures. This volume presents M oore as the dominant personality of modern sculpture in collaboration with the members of the younger generation of artists.

Farbintensiv, emotional, impulsiv und modern - diese Eigenschaften prägen unser Bild von der Malerei des deutschen Expressionismus. Kaum zu glauben, dass diese Werke zu ihrer Entstehungszeit Skandale auslösten. Und doch, KĂĽnstler wie Schriftsteller einte die Vision eines Neuanfangs verbunden mit einer grundsätzlichen Gesellschaftskritik. Viele Aspekte, wie die sozialen Probleme der GroĂstadt, der fadenscheinige Glanz der VergnĂĽgungswelt oder die Abkehr von der technisierten Welt, sind noch heute ĂĽberraschend aktuell. Tauchen Sie ein in kraftvolle Bilder und Texte der Weltliteratur und begeben Sie sich auf eine entdeckungsreiche Reise durch die von Aufbruch und Untergang geprägte Welt des frĂĽhen 20. Jahrhunderts.Mit Werken vonMax Beckmann, Heinrich Campendonck, Lyonel Feininger, George Grosz, Erich Heckel, Alexej von Jawlensky, Wassily Kandinsky, Ernst Ludwig Kirchner, Paul Klee, Oskar Kokoschka, August Macke, Franz Marc, Ludwig Meidner, Paula Modersohn-Becker, Otto Mueller, Gabriele MĂĽnter, Emil Nolde, Max Pechstein, Marianne von Werefkin u.a.Mit Texten vonWalter Benjamin, Gottfried Benn, Alfred Döblin, Theodor Fontane, Oskar Maria Graf, Franz Kafka, Else Lasker-SchĂĽler, Heinrich Mann, Klaus Mann, Thomas Mann, Robert Musil, Vladimir Nabokov, Rainer Maria Rilke, Joseph Roth, Arthur Schnitzler, Anton Tschechow, Herwarth Walden, Stefan Zweig u.a.

In the spring of 2008, a think tank of engineers, designers, trend researchers, and financial experts met on a factory floor of BMW's parent plant in Munich to rethink mobility for a world of dwindling resources. Providing extensive insight into BMW's workshop of ideas, this volume traces the venture's design history and looks to the future of sustainable cars. Grappling with major challenges of our time--from climate change to megacities and the scarcity of resources--contributors imagine solutions taking shape through technological innovations, networked mobility, sustainability in production, and the use of renewable materials. A unique look behind the scenes, this volume opens a window onto BMW's complete development process, from initial conception to world premiere, presenting models for everything from plug-in hybrids with eucalyptus wood interiors to full-electric, self-driving cars. Replete with close-up photographs and fascinating model drawings, BMW i is a must-have for lovers of modern design and automobiles and for anyone interested in electro-mobility and sustainable technologies.

Joan Jonas (b. 1936, New York) is one of the most highly regarded and influential artists working today. This book focuses on her new exhibition, film screenings and performances at Tate Modern and Haus der Kunst, and includes several interviews with the artist, giving valuable insights into her interdisciplinary approach and artistic processes. A pioneer of performance art in the 1960s, Joan Jonas's experimental installations include projections, videos, drawings, soundscapes, props and masks. Featuring her new exhibition at Tate Modern and Haus der Kunst, this publication focuses on new and past interviews with the artist. Jonas reveals her artistic processes, her influences and inspirations, from literature and Noh Theatre to rituals, and speaks of collaborations with Babette Mangolte or Jason Moran. Joan Jonas (b. 1936, New York) has exhibited and performed her work extensively at an international level, including Documenta and the U.S. Pavilion at the 56th Venice Biennial.

This opulent volume on Paul Klee celebrates one of the most important and productive artists of the twentieth century, whose work is as topical today as it ever was: growing out of the inner conflict of modern man, Klee's imaginative works provide a link between the world of reason and the irrational "secrets" of human existence. The works of Paul Klee (1879-1940) charm the viewer with their inventiveness, delight in experimentation, subtle humour and brilliant colour schemes. He contrasts the technical and rational tendencies of the 1920s with the significance of playfulness, intuition and artistic genius. Subdivided according to pictorial subjects of transcendental longing like ladders, mountains and stars as well as Bauhaus aspects of architecture and construction of space, the lavishly illustrated volume covering the period from 1905 until 1940 draws an impressive picture of Klee as an original "thinking artist" who confronts the challenges facing man in the modern age and brilliantly permits rational methods of picture construction to be transformed into the open and mysteriohe biographies of Jewish collectors and artists who were the victims of art theft and the Holocaust. A further topic of investigation is how stolen works were returned to the museums and private collections after 1945. The official catalogue of the Kunstmuseum Bern and the Kunst- und Ausstellungshalle der Bundesrepublik Deutschland (Bundeskunsthalle) in Bonn permits for the first time a nuanced understanding of this case which is unique in the postwar history of Germany.

More than any other artist, Claude Monet represents Impressionist painting. This volume illustrates Monet's career from Realism via Impressionism to a form of painting in which the colo urs and light gradually become detached from the object. It focuses on the artist's colour concept, an aspect of his oeuvre which has hitherto not been examined in detail, as well as his passionate study of subjects from his garden in Giverny. The French "Master of Light" (1840 - 1926) was a key forerunner of twentieth - century painting. He painted by the sea, on the steep coast of Normandy and on the banks of the Seine. Monet's light and colours intera ct on the canvas with a nature that is constantly changing. In order to record the variety of atmospheric impressions, he painted many of his subjects in series. In his study of the world of plants and water in his garden the subject gradually becomes inde pendent of his observation of nature. In this way the artist's late work paved the way for the painting of Abstract

2018 marks the centenary of Egon Schiele's death. To coincide with this occasion the publication will present the painting collection of the Belvedere Vienna including highlights such as Eduard Kosmack, House Wall, Death and Girl, The E mbrace and Four Tr ees. The book provides an opportunity to study the artist's work processes in greater detail and to follow the fascinating routes taken by his works before reaching the museum. In 1918 the OEsterreichische Galerie under Director Franz M. Haberditzl was the first Austrian museum to acquire an oil painting by Schiele during his lifetime. Today the museum owns one of the top collections of paintings from the years 1907 - 1918 by the artist. The publication will examine each work separately and will answer questi ons with regard to their acquisition and subject as well as related works. At the same time, the results of the investigations into painting technique which the works have undergone since 2016 will be presented for the first time. Complementary essays the history of the collection and the changes to the stocks of Schiele's works which are taking place as a result of museum reforms, the exchange of pictures or the restitution of individual works.

Over a career that now spans nearly seven decades, the American painter Alex Katz (b. 1927, New York) has devoted himself to the representation of the here and now and to the immediacy of human perception - a commitment to what the artist has often described as "painting in the present tense." Alex Katz emerged on the New York scene in the 1950s during the heyday of Abstract Expressionism and just prior to the explosion of Pop Art, yet his unique aesthetic has always stood apart from other painters of his generation. Influenced by con-temporary music, dance and poetry, he has long pursued his own idiosyncratic and decidedly modern form of realism. From his iconic portraits of family, friends, and artistic collaborators to his less well-known landscapes and city scenes, Katz's consummate technique and sensitivity for painterly surfaces unfolds in productive tension with the formal languages of film, fashion, and advertising.

The private collection of 80 inro, ojime and netsuke presented here was donated to the Museum for Lacquer Art in 2017. The wealth of objects reproduces plants and animals with symbolic significance, literary subjects, historical scenes and famous landscape scenarios - and thus presents an image of Japan in miniature. An inro, meaning "seal container" in English, is a small, flat stackable box which a Japanese man in a kimono could carry on the silk belt slung around his hips. This gem was invented in the late sixteenth century, and before long numerous workshops were specialised in its production. The donation of a private collector to the Museum for Lacquer Art includes 80 inro with a variety of decorative techniques and shows a wide range of artistically designed motifs. This new acquisition of astounding quality and diversity has been knowledgeably compiled in this inventory catalogue by Heinz and Else Kress.

The Architecture of Expressionism is the upheaval of architecture in the roaring twenties - with regionally different emphases, schools and protagonists. The series' third volume documents all surviving buildings in Poland, the Czech Republic and Slovak ia. The shared heritage of this important European region is presented in a fascinating rediscovery. The enthusiasm for the expressionist metropolis, an architecture of complexity, verticality and theatricality, in the 1920s captured also East - Central Euro pe. Despite regional differences, the surviving fragments bear witness to a determined will of form and a rich, skilful handling of colour, material and light. Joint together, the buildings tell the story of the expressionist vision of a new modern society . In contemporary photographs and plan drawings Fragment of Metropolis - East documents 170 buildings in Bratislava, Brno, Gdansk, Hradec Kralove, Katowice, Krakow, Legnica, Prague, Szczecin, Usti nad Labem, Warsaw, Wroclaw, as well as many other places. A detailed index and clearly arranged maps complete the reference work.

Abstract paintings were being produced even before Kandinsky. Completely independently from each other, Georgiana Houghton (1814 - 1884) in England, Hilma af Klint (1862 - 1944) in Sweden and Emma Kunz (1892 - 1963) in Switzerland each developed an individual abstract pictorial language. What they had in common was a desire to make visible the laws of nature, the intellect and the supernatural. Their works are being presented side by side for the first time in an exhibition. The three women artists all found their artistic language within the context of the spiritual movements of their times: Houghton in spiritism, af Klint in theosophy and Kunz in naturopathy. Their artworks bear witness to a "mediumistic" praxis: Houghton and af Klint were inspired by higher beings to paint, while Kunz developed her drawings with the help of a pendulum.

This richly illustrated book features an introduction by the National Portrait Gallery's chief curator and nearly 150 insightful entries on key self-portraits in the museum's collection. Eye to I provides readers with an overview of self-portraiture while revealing the intersections that exist between art, life, and self-representation. Drawing primarily from the museum's collection, Eye to I explores how American artists have portrayed themselves over the past two centuries. The book shows that while each individual approaches self-portraiture under unique circumstances, all of their representations raise important questions about self-perception and self-reflection. Sometimes artists choose to reveal intimate details of their inner lives. Other times they use the genre to obfuscate their true selves or invent alter egos. Today, with the proliferation of selfies and the contemporary focus on identity, it is time to reassess the significance of the self-portrait.

The Cubist Cosmos traces the development of Cubism between 1907 and 1917. The publication reveals the boundless innovative power of the works of Pablo Picasso and Georges Braque. It also shows how the Cubist pictorial language was received and advanced by the artists of the Parisian avant-garde - such as Fernand Leger and Sonia Delaunay - and how it evolved into colourful large-format pictures. The volume reflects not only the enormous range of this stylistic direction but also its revolutionary potential, which went on to influence the further development of twentieth-century art. In chronologically and thematically devised chapters the publication shows how the influence of folk art and archaic sculpture as well as the works of Paul Cezanne initially became increasingly evident in the paintings of Picasso and Braque. From 1908 crystalline, geometric elements as it were, appear. Until 1911 the characteristic prismatically fragmented forms and an almost colourless austerity dominated. The new pictorial language was taken up by artists like Juan Gris, Fernand Leger, Robert and Sonia Delaunay and Henri Le Fauconnier, who developed and presented it in large formats in the Salon exhibitions of the Paris art world.