Art Books

Edited by Christian Bauer This book highlights the intimate relationship between landscape and portraiture in the work of the Austrian Expressionist artist Egon Schiele (1890-1918).Plants, natural environments, and townscapes determine the spaces Egon Schiele created in his paintings, and they also reflect the rich symbolism he employed that is centered around the human condition. In particular, plants are often endowed with an allegorical meaning. Flowers and trees assume the role of portrait subjects and convey an almost human appearance. Schiele’s landscapes always represent more than their apparent subject matter. His portrayal of nature and his rendering of towns and trees epitomize the life cycle and the human condition. This catalogue, accompanying a spectacular exhibition on view at the Neue Galerie New York, will investigate the importance of landscape in the artist’s work. The contributing authors are internationally distinguished experts on Schiele’s landscapes and representatives of museums and universities in Europe and the United States. Hardcover220 pagesPrestel, 20249.25 x 11.25 inchesISBN 9783791377483Egon Schiele, Neue Galerie Exhibition Catalogue

Egon Schiele: Living Landscapes Exhibition Catalogue

By Michael Lobel “[A] revealing study. . . . The fine-grained analysis and lively prose delight. Art history buffs will want to add this to their bookshelves.”—Publishers Weekly “To situate Van Gogh, the celebrated ‘painter of nature,’ as a witness, a critic, and at the same time an aesthete of the industrial despoliation of nature that inevitably marked the age of coal everywhere is a stunning achievement. Michael Lobel’s elegant—and cogently argued—book will fundamentally change our view of this important artist and greatly advance the conversation already underway between art history and the environmental humanities. A must-read for anyone interested in that conversation.” —Dipesh Chakrabarty, author of The Climate of History in a Planetary Age A groundbreaking reassessment that foregrounds Van Gogh’s profound engagement with the industrial age while making his work newly relevant for our world today. Vincent van Gogh (1853–1890) is most often portrayed as the consummate painter of nature whose work gained its strength from his direct encounters with the unspoiled landscape. Michael Lobel upends this commonplace view by showing how Van Gogh’s pictures are inseparable from the modern industrial era in which the artist lived—from its factories and polluted skies to its coal mines and gasworks—and how his art drew upon waste and pollution for its subjects and even for the very materials out of which it was made. Lobel underscores how Van Gogh’s engagement with the environmental realities of his time provides repeated forewarnings of the threats of climate change and ecological destruction we face today. Van Gogh and the End of Nature offers a radical revisioning of nearly the full span of the artist’s career, considering Van Gogh’s artistic process, his choice of materials, and some of his most beloved and iconic pictures. Merging a timely sense of environmental urgency with bold new readings of the work of one of the world’s most acclaimed artists, this book weaves together detailed historical research and perceptive analysis into an illuminating portrait of an artist and his changing world. Hardcover200 Pages | 77 Color + 7 BWYale University Press, 20247.2 x 0.8 x 10 inchesISBN 9780300274363Vincent van Gogh, Monograph

Van Gogh and the End of Nature

Edited with text by Theodora Vischer Text by Tere Arcq, Andreas Beyer, Tamar Garb, Peter Geimer, Anna-Carola Krausse, Sylvie Patry, Uwe M. Schneede, Jennifer Thompson, and Hilda Trujillo. Gender interventions and formal innovations in female portraiture, through works by Berthe Morisot, Mary Cassatt, Paula Modersohn-Becker, Lotte Laserstein, Frida Kahlo, Alice Neel, Marlene Dumas, Cindy Sherman, Elizabeth Peyton This superbly conceived publication looks at nine women artists whose careers were devoted primarily to portraiture, analyzing both the work they produced and the unique ways in which each artist captured her subjects’ likenesses and the spaces they inhabited. These artists represent the development of modernist art since 1870; each has made significant contributions to art history as they complicate long-held notions of the gaze and explore the relationship between the self, the subject and the artist. Close-Up examines women painters and photographers who are known primarily for self-portraiture, such as Paula Modersohn-Becker, Frida Kahlo and Cindy Sherman; it also looks at female artists who depicted the daily lives of women and children in a creative environment that was largely disinterested in such subjects, such as Berthe Morisot, Mary Cassatt and Lotte Laserstein. Still other women—Alice Neel, Marlene Dumas and Elizabeth Peyton—embrace familiarity completely and depict friends and family as well as famous figures in their paintings. In essays by nine different authors, these artists and their subjects are considered individually and as part of a chronology of modern portraiture, with an emphasis on the dynamics of gender. Paperback344 pages | 215 color illustrationsHatje Cantz, 2021ISBN 97837757475787.5 x 10.25 inchesWomen Artists, Painting, Photography

Close-Up

By Susan Funkenstein Imagine yourself in Weimar Germany: you are visually inundated with depictions of dance. Perusing a women’s magazine, you find photograph after photograph of leggy revue starlets, clad in sequins and feathers, coquettishly smiling at you. When you attend an art exhibition, you encounter Otto Dix’s six-foot-tall triptych Metropolis, featuring Charleston dancers in the latest luxurious fashions, or Emil Nolde’s watercolors of Mary Wigman, with their luminous blues and purples evoking her choreographies’ mystery and expressivity. Invited to the Bauhaus, you participate in the Metallic Festival, and witness the school’s transformation into a humorous, shiny, technological total work of art; you costume yourself by strapping a metal plate to your head, admire your reflection in the tin balls hanging from the ceiling, and dance the Bauhaus’ signature step in which you vigorously hop and stomp late into the night. Yet behind the razzle dazzle of these depictions and experiences was one far more complex involving issues of gender and the body during a tumultuous period in history, Germany’s first democracy (1918-1933). Rather than mere titillation, the images copiously illustrated and analyzed in Marking Modern Movement illuminate how visual artists and dancers befriended one another and collaborated together. In many ways because of these bonds, artists and dancers forged a new path in which images revealed artists’ deep understanding of dance, their dynamic engagement with popular culture, and out of that, a possibility of representing women dancers as cultural authorities to be respected. Through six case studies, Marking Modern Movement explores how and why these complex dynamics occurred in ways specific to their historical moment. Paperback342 pagesUniversity of Michigan Press, 20206 x 0.8 x 9 inchesISBN 9780472054619 History, Weimar Germany

Making Modern Movement: Dance and Gender in the Visual Imagery of the Weimar Republic

Edited by Natalia Sidlina "The story of the friendships that made modern art. Brought together in the UK for the first time in 80 years, this exhibition book offers unprecedented access to the landmark exhibition's collection of masterpieces. Expressionists is a story of friendships told through art - the groundbreaking work of a circle of friends and close collaborators known as The Blue Rider. In the early twentieth century they came together to form, in their own words, 'a union of various countries to serve one purpose' - to tr "--From the Back Cover A crucial introduction to the origins of the German Expressionist movement and the influential Blue Rider group, focusing on their relationships and transcultural interests Founded in Munich in the 1910s, the Blue Rider (Der Blaue Reiter) was a revolutionary collective of artists, musicians, performers and writers that included Wassily Kandinsky, Paul Klee, Franz Marc, Gabriele Münter and Marianne Werefkin, among many others. Their experiments with color, sound and light were key to the development of Expressionism, and their practice was stunningly varied. The group’s works encompassed painting, sculpture, design, curation, publishing, printmaking, textiles, performative arts, and even branched into sound and spirituality. This book offers an essential overview of the Blue Rider collective. Often described in conjunction with the German Expressionist movement, the Blue Rider was in fact one of the first transnational modern art collectives. This is a key focus of the book, along with along with new research foregrounding the relationships, gender dynamics and multimedia practices of the collective. New scholarship from more than a dozen international experts illuminates these themes as well as questions of spatiality, studio practice and creative community, with particular focus on the contributions of women associated with the Blue Rider circle. This richly illustrated publication features works by these acclaimed artists along with a trove of materials from their personal collections, including photography, international art, crafts and vernacular artifacts, and a comprehensive biographical section that serves as an important introduction to the circle of the Blue Rider creatives, including overlooked artists such as Wladimir Burliuk and Maria Franck-Marc. Hardcover240 Pages | 200 color + black-and-white illustrationsYale University Press, 20249 x 10.7 inchesISBN 9780300278330 Blue Rider, Expressionism

Expressionists: Kandinsky, Münter and the Blue Rider

Text by Antonín Dufek This previously unpublished album contains 72 photographs by Czech photographer Jaromír Funke (1896–1945) that were likely taken in 1923, only four years into Funke’s career. These photographs feature important buildings and monuments, as well as journeys undertaken with fellow Czech photographer Josef Sudek. Hardcover92 pages, 72 color plates Kant, 20189 x 8.5 inches ISBN 9788074372377 Photography

Jaromír Funke: Kolín 1923

Edited by Waleria Dorogova and Laura MicroulisBy Rachel Silveri, Cécile Godefroy, Gail Levin, Margarete Zimmermann, Hilde D’haeyere, Steven Jacobs, Tamar Kharatishvili, Celeste Day Moore, Dirk Van Oost, Ruth Hommelen, Maude Bass-Krueger, Marjan Sterckx, Werner Adriaenssens, Kasia Stempniak, Noah Dubay, Emilie Hammen, Laurent Cotta, Christoph Benjamin Schulz, Geoffrey Ripert, Kaat Obbels and Patrick Raynaud A richly crafted tribute to the avant-garde artist and designer Sonia Delaunay, whose boundary-breaking approach is echoed in the volume’s interdisciplinarity and its inspired design Described as “the most significant contribution to Sonia Delaunay studies in a decade,” this catalogue sets a new standard for the study of this pioneering avant-garde artist, designer, and entrepreneur (1885–1979). Eschewing traditional chronological structures to better showcase groundbreaking research unifying the artist’s timeless oeuvre across mediums, this publication demonstrates Delaunay’s innate versatility and willingness to create without material limitation using her unique language of light and color. Textiles, fashion, interiors, book art, and more are highlighted across 26 chapters by leading international scholars to give new insight into Delaunay’s strategies of self-promotion, entrepreneurial endeavors, legacy-building efforts, and vast network of collaborators. These in-depth analyses, including previously underinvestigated material such as film, mosaics, tapestries, and interior design, offer a comprehensive perspective on Delaunay’s lifelong effort to unite art with life by harnessing the energy of technological advancement and the beauty of artisanal craftsmanship. Finally, an appendix provides a unique personal note—an epilogue by Patrick Raynaud, the last living member of Delaunay’s atelier—is a touching firsthand account of the artist’s working practices toward the end of her life. The design, by award-winning book creator Irma Boom, embraces Sonia Delaunay’s own approach to layout and typography, rendering a book that unites past and present to become a work of art in its own right. Hardcover540 pages | 375 color + 150 black-and-white illustrationsYale University Press, 202410.5 x 10.5 inchesISBN 9780300275766Avant-Garde

Sonia Delaunay: Living Art

Edited by Jay A. Clarke and Jill Lloyd-Peppiatt This exhibition catalog considers the work of a pioneering artist who subverted conventions in her bold depictions of the nude, self-portraits, and still-lifes. An iconoclast in her own time, Modersohn-Becker is today considered an icon of modernity.Throughout her career, Paula Modersohn-Becker boldly experimented with styles while steadfastly pursuing the truth of everyday life and her own female experience. This monograph looks at the entire spectrum of her work—figure drawings, still-lifes, self-portraiture, landscape, nudes, and portraits of young girls and old women—to illustrate the evolution of an artist reacting to seismic cultural change at the turn of the nineteenth century. Whether she was embracing or subverting the principles of realism, naturalism, impressionism, symbolism, or expressionism, Modersohn-Becker remained interested in issues of identity, peeling away outer layers to uncover what she understood as the true essence of life. This book features numerous examples of Modersohn-Becker’s striking and relatively unknown drawings of men, women, and children facing poverty, as well as her highly original figure paintings and nudes—including her unprecedented nude self-portraits. Accompanying the first museum exhibition of Modersohn-Becker’s work in the United States, it reveals the deeply personal and authentic work of an artist who resolutely forged her own path. Hardcover208 pagesPrestel, 20249.25 x 11.25 x .75 inchesISBN 9783791377346Neue Galerie Exhibition Catalogue

Paula Modersohn-Becker Exhibition Catalogue

By Bryan GilliamRichard Strauss' successful conducting and composing career spanned one of the most fascinating stretches of modern German history, from oil lamps to atomic energy, from a young empire to a divided Germany. This biography covers Strauss' early musical development, his emergence as a tone poet in the late nineteenth century, his turn to the stage at the beginning of the twentieth century, the successes and misfires of the post-World War I era, the turbulent 1930s, and the period of the Second World War and its aftermath. Paperback212 pagesCambridge University Press, 19995.5 x 0.53 x 8.5 inches9780521578950 ISBNMusic, Biography

The Life of Richard Strauss

Original Price: $48.00 UP TO 20% ADDITIONAL SAVINGS FOR MEMBERS By Victoria Hely-Hutchinson For I Left My Grandmother’s House, Victoria Hely-Hutchinson (b. 1984, British) turns not only her eye, but her ear as well to her extended family in Austria, merging fragments of family lore with keenly observed photographs. The work neither provides a tidy critique of the extant aristocracy, nor does it blithely venerate the decor, saying “ooooh,” while rolling the brocade curtains between its fingers. Instead, it simply shows and tells, through the disembodied perspective of familial subjectivity. It interrogates history but receives only demure shrugs in response. The heart of the project lies in the darkly comedic stories told over dinner by Hely-Hutchinson’s domineeringly charismatic (or is it charismatically domineering?) grandmother, an Austro-Hungarian countess, who ran away with her family’s English foreign exchange student (later known as Grandpa Hugh) at age 16, and now lives a life of ease in the French Riviera, captured with great sensitivity in Hely-Hutchinson’s documentary Vacances. Hely-Hutchinson set out to Austria, with her Grandmother’s name to unlock some portcullises, and get a seat at the dinner table. Like the stories themselves, Hely-Hutchinson’s photographs are often unresolved, sometimes riddles, sometimes poems. Is a bat loose in the house a symbol? A nod to the old expression of eccentricity, “bats in the belfry?” A visual representation of the outside world intruding upon a fortified space? In these photos, specificity and metaphor collide, and never say excuse me. The book contains a preface by the author. Hardcover68 pages | 31 color platesLibraryman, 202323 x 29 cmISBN 9789188113610Photography, Memoir

I Left My Grandmother's House

Original Price: $65.00 UP TO 20% ADDITIONAL SAVINGS FOR MEMBERSEdited by Stéphan Crasneanscki The book contains a foreword by poet, essayist and anthologist Pierre Joris (b. 1946, French, Luxembourg-American), a preface by Stéphan Crasneanscki (b. 1969, French), a text by musician, author and poet Patti Smith (b. 1946, American) and an excerpt and an essay by philosopher Jean-Luc Nancy (b. 1940, d. 2021, French).There are no photographs, no testimonies, no recordings of poet Paul Celan’s encounter with philosopher Martin Heidegger in the German village of Todtnauberg in Schwarzwald (Black Forest) in 1967. Only Celan’s poem remains, along with the possibility of an endless narrative. Endless because everything was to prevent from such a meeting between the German philosopher who tied himself to the Nazi party in 1933 and the Jewish poet who was imprisoned in a work camp and made orphan by the war. And yet on July 24th, 1967, they were brought together to give a poetry lecture in Freiburg which was followed by a private invitation of Heidegger to his hut in Todtnauberg.This meeting was the subject of the radio play, The Encounter, created by sound artist and photographer Stéphan Crasneanscki and the late philosopher Jean-Luc Nancy for the public radio channel France Culture. Crasneanscki and Nancy's anthropophonic collaboration extends beyond Strasbourg and the Black Forest, the locations which Stéphan Crasneanscki travels to regularly since childhood. He walked along the paths to nowhere that Celan and Heidegger had first traversed and retraced a topography of their encounter; of distance and wandering, by fixing the immobile silhouettes of the trees. To the absence of voice, Nancy tirelessly responded with his own. A visual and sonic correspondence emerged, which is mirrored and transcribed for the first time in this volume, with commentaries by Pierre Joris and Patti Smith.Hardcover 128 pages | 57 color Text in English and FrenchLibraryman, 20229.8 x 12.2 InchesISBN 9789188113580 Photography, Sound Arts

The Encounter

Edited by MunchEdvard Munch’s pictures capture all facets of human existence. This book gathers a selection of highlights, from The Scream and Madonna to Vampire, Melancholy and The Sick Child.Hardcover112 pages | 51 color illustrationsMUNCH, 20246.69 x 9.45 inchesISBN 9788284620091Artist Monographs, Expressionism

Edvard Munch: A Selection

Edited by Marcel Bois and Bernadette Reinhold Margarete Schütte-Lihotzky (1897–2000) entered the modernist canon with her “Frankfurt Kitchen.” She is also considered a pioneer of social architecture, a women’s rights activist, and, last but not least, a heroine of the resistance to the Nazi dictatorship. In this book, available in English for the first time, recent research in the fields of art history, contemporary history, pedagogy, and gender studies provides a nuanced picture of Schütte-Lihotzky, whose estate is archived at the University of Applied Arts Vienna. The volume explores her rich architectural oeuvre, her transnational experiences and professional networks, her political development as a Communist, and her current reception. It breaks through the mythology to present a rounded picture of Schütte-Lihotzky, an icon of architectural history.Paperback368 pagesBirkhäuser, 20235.75 x 8.25 inchesISBN 9783035626995Architecture, Gender Studies

Margarete Schütte-Lihotzky. Architecture. Politics. Gender.

By Mark Escherich, Elke Dallmann, Susanne Knorr, Ulrich WielerIn 2019, the Bauhaus institutions are celebrating the 100th anniversary of the founding of the pioneering school. In the six years up to the move to Dessau in 1925, the first Bauhaus in Weimar left few but notable traces, even beyond the city limits throughout Thuringia. In addition to the World Heritage Sites of the Bauhaus in Weimar, the unknown Bauhaus is in hidden places in Erfurt, Probstzella, Gera or Greiz. In rural areas, former Bauhäusler and their students devoted themselves to projects that in many cases have been unjustly forgotten. The volume invites you to search for clues, to get to know the unknown, early Bauhaus in its effects and after-effects. For example, it is the work and production facilities in the state that ensured that the Bauhaus idea was embedded in the school environment well beyond the Bauhaus in Weimar. Bauhaus coordinates weaves a network of what is built and designed, of events and people, creating a vivid picture of the Weimar Bauhaus era and its most important places of activity in the region, which want to be rediscovered 100 years after the founding of the Bauhaus. Mark Escherich, Elke Dallmann, Susanne Knorr and Ulrich Wieler With a foreword by Gerd Zimmermann With an inserted folding map of the Bauhaus locations in Weimar and Thuringia.Paperback104 pages | 52 black-and-white illustrationsText in GermanIdea Books, 20194.17 x 0.47 x 6.1 inchesISBN 9783944425108Art History, Design

Bauhaus-Koordinaten

By James M. BradburneWhen a puppet breaks the "fourth wall"- that is, the capacity for emotional involvement of a successful performance - it wins the trust of the audience, giving the show the power to blur the division between stage and world, between art and life. Understanding this were those artists, leading figures in the world of Art and Figure Theater, who looked to "creative play" as a source of aesthetic inspiration to seek new modes of visual expression.This volume and the accompanying exhibition Puppets and the Avantgarde. Picasso - Depero - Klee - Sarzi, curated by James M. Bradburne - from November 2023 at the Fondazione Palazzo Magnani in Reggio Emilia - open up a space for the imagination by tracing the cultural and social role of puppets in the European avant-garde at the beginning of the 20th century. An itinerary that places alongside the great names of Pablo Picasso, Fortunato Depero and Paul Klee, that of Otello Sarzi, a poetic figure who marked the artistic and educational history of Reggio Emilia. In order to understand their appeal, puppets are examined in the broadest sense: puppets operated from above – common in the palaces of princes and the drawing rooms of the bourgeoisie; and puppets manipulated from below – inhabitants of the popular world of fairs and the public square.Hardcover324 pagesText in Italian and EnglishIdea Books, 202325.5 x 21.5 cmISBN 9791254930762Movements, Avant-Garde

Puppets and the Avantgarde | Marionette e Avan Guardia

By Harvey SachsA NEW YORK TIMES NOTABLE BOOK OF 2023 “[A]n immensely valuable source for anyone desiring an accessible overview of this endlessly controversial and chronically misunderstood giant of 20th-century music.” —John Adams, New York Times Book ReviewAn astonishingly lyrical biography that rescues Schoenberg from notoriety, restoring him to his rightful place in the pantheon of twentieth-century composers.In his time, the Austrian American composer Arnold Schoenberg (1874–1951) was an international icon. His twelve-tone system was considered the future of music itself. Today, however, leading orchestras rarely play his works, and his name is met with apathy, if not antipathy. With this interpretative account, the acclaimed biographer of Toscanini finally restores Schoenberg to his rightful place in the canon, revealing him as one of the twentieth century’s most influential composers and teachers. Sachs shows how Schoenberg, a thorny character who composed thorny works, raged against the “Procrustean bed” of tradition. Defying his critics—among them the Nazis, who described his music as “degenerate”—he constantly battled the anti-Semitism that eventually precipitated his flight from Europe to Los Angeles. Yet Schoenberg, synthesizing Wagnerian excess with Brahmsian restraint, created a shock wave that never quite subsided, and, as Sachs powerfully argues, his compositions must be confronted by anyone interested in the past, present, or future of Western music.Hardcover272 pagesLiveright, 20236.4 x 1 x 9.4 inchesISBN 9781631497575Biography, Austrian Composer

Schoenberg: Why He Matters

By Freyda SpiraThe Norwegian artist Edvard Munch (1863–1944) and the German artist Ernst Ludwig Kirchner (1880–1938) are considered modernist visionaries. They were also pioneering printmakers, eschewing the mastery of one technique for experimentation across many. Born a generation apart, they worked in an expressionist mode, in which they did not simply replicate what they saw but rather filtered everything through their own imagination and memories. Exploiting the perceptual and emotional power of color and abstraction for creative expression, they portrayed what they perceived to be a fragmented, harrowing reality; both artists endured bouts of anxiety and depression, battled substance abuse, and received psychiatric care. Featuring never-before-published prints from the collection of Nelson Blitz, Jr., and Catherine Woodard, as well as etchings, lithographs, and hand-colored woodcuts from select public and private collections across the United States, this volume puts these two giants of Expressionism in a dialogue that foregrounds issues of mental health and offers a fresh approach that blends art history and the history of medical treatment. The included essays examine the artistic affinities and divergences in their printmaking and the ways in which they used shadows to imagine pathologized psychological and psychiatric experiences in their art.Paperback with flaps192 pages | 99 color imagesYale University Press, 20249 x 12 inchesISBN 9780300275858 Art History, Essays

Munch and Kirchner: Anxiety and Expression

Edited by Ulrike Groos and Anja Richter Text by Jan Bürger Whether in the visual arts, literature, cinema, science or fashion–in the crises after World War I, the fascination with “types” was largely influenced by a debate that was pervasive in the Weimar period: the search for the “face of the era.” People were looking for new role models, and the portraits by artists of the New Objectivity movement such as Otto Dix, George Grosz, Jeanne Mammen and Hanna Nagel testify to this. Many of the clichéd images, such as those of the “new woman” or the “worker,” however, continue to have an effect in the present, reminding us with their classification of individuals of a problem that lives on in today’s bigotry.A broad spectrum of contributors from art history, medical history, media studies, and sociology venture into a detailed investigation of the historical context of the 1920s and the complex interactions between art and its time. An installation developed especially for the exhibition by contemporary artist Cemile Sahin, born in 1990, spans an arc to the present.FEATURED ARTISTS:Atelier Gerstenberg, Hans Baluschek, Rudolf Bergander, Albert Birkle, Richard Birnstengel, Friedrich Bochmann, Steffi Brandl, Gottfried Brockmann, Friedrich Busack, Heinrich Maria Davringhausen, Dodo (Dörte Clara Wolff), Erich Drechsler, Kate Diehn-Bitt, Rudolf Dischinger, Otto Dix, Erich Drechsler,Hermann Fechenbach, Conrad Felixmüller, Fred Goldberg, Otto Griebel, George Grosz, Hans Grundig, Lea Grundig, Elsa Haensgen-Dingkuhn, Hainz Hamisch, Olga Hayduk, Nini und Carry Hess, Heinrich Hoerle, Karl Hubbuch, Lotte Jacobi, Grethe Jürgens, Alexander Kanoldt, Annelise Kretschmer, Bernhard Kretzschmar, Paula Lauenstein, Lotte Lesehr-Schneider, Elfriede Lohse-Wächtler, Jeanne Mammen, Hanna Nagel, Gerta Overbeck, Lotte B. Prechner, Kurt Querner, Anton Räderscheidt, August Sander, Christian Schad, Josef Scharl, Rudolf Schlichter, Wilhelm Schnarrenberger, Georg Scholz, Friedrich Seidensticker, Alice Sommer, Cami Stone, Erika Streit, Ernst Thoms, Adolf Uzarski, Kurt Weinhold, Erik Winnertz,Richard Ziegler and Cemile SahinHardcover304 pages | 180 illustrationsHatje Cantz, 2023Text in German and English11.8 x 9.1 inchesISBN 9783775756006New Objectivity, Portraiture

Look at the People!/Sieh Dir Die Menschen An!: The New Objectivity "Type" Portrait in the Weimar Period

Edited with text by Judith RaumText by Esther Cleven, Magdalena Droste, Tanya Harrod, Juliet Kinchin, Corinna Rader, and Katja StelzPhotographs by Uta NeumannA sumptuous introduction to the innovative fabrics of a long-overlooked Bauhaus textile artistA radical pioneer of Bauhaus textile design, Otti Berger created fabrics that fundamentally changed the understanding of what textiles could be and do. A core member of the textile faculty at the Bauhaus alongside Anni Albers and Gunta Stölzl, Berger also was an entrepreneur in the frenzied culture of early 1930s Berlin. Working closely with architects of the New Objectivity movement such as Lilly Reich, Ludwig Hilberseimer and Hans Scharoun, she designed upholstery, wall fabrics, curtains and floor coverings that explored novel production methods, and thereby redefined the relationship between aesthetics and function.This book is the first comprehensive study of Berger’s textile work. It makes available for the first time her previously unpublished treatise on fabrics and examines her methodologies of textile production. By arranging her fabrics according to their application, author Judith Raum’s research offers an entirely new perspective on Berger’s oeuvre, emphasizing its craftsmanship and the entrepreneurial side of her work.Hardcover352 pages | 360 color and 140 black-and-white imagesHatje Cantz, 20248.75 x 12 inchesISBN 9783775755009 Artist Monograph, Bauhaus, Textile Design

Otti Berger: Weaving for Modernist Architecture

By Camilla Smith“In this study, Camilla Smith wrests Jeanne Mammen from narratives of a sexually liberated Weimar culture and its fall to reveal a more compelling and complex artist. With both sensitivity and precision, Smith illuminates the complexities of Mammen's 'inner emigration'-the fine lines between non-conformism and dissent, camouflage and accommodation-followed by the risks and possibilities of post-war culture in Berlin.” ―Frederic J. Schwartz, Emeritus Professor of History of Art and Architecture, University College London“Beautifully illustrated and compulsively readable, Jeanne Mammen: Art Between Resistance and Conformity in Germany, 1916–1950 explores the dramatic life and multifaceted work of one of Europe's most innovative artists. Moving beyond the dazzling “Glitter and Doom” of Mammen's Weimar-era illustrations, Camilla Smith thematizes Mammen as an observer, artist, and translator, a woman alive to the possibilities of her age who lived through two world wars and negotiated her own inner immigration under the Nazi dictatorship. The is a thrilling new examination of an essential modernist artist whose significance has too long escaped scrutiny.” ―Elizabeth Otto, Professor of Modern & Contemporary Art History, University at Buffalo (SUNY)Jeanne Mammen's watercolour images of the gender-bending 'new woman' and her candid portrayals of Berlin's thriving nightlife appeared in some of the most influential magazines of the Weimar Republic and are still considered characteristic of much of the 'glitter' of that era. This book charts how, once the Nazis came into power, Mammen instead created 'degenerate' paintings and collages, translated prohibited French literature and sculpted in clay and plaster-all while hidden away in her tiny studio apartment in the heart of Berlin's fashionable west end.What was it like as a woman artist to produce modern art in Nazi Germany? Can artworks that were never exhibited in public still make valid claims to protest? Camilla Smith examines a wide range of Mammen's dissenting artworks, ranging from those created in solitude during inner emigration to her collaboration with artist cabarets after the Second World War. Smith's engaging analysis compares Mammen's popular Weimar work to her artistic activities under the radar after 1933, in order to fundamentally rethink the moral complexities of inner emigration and its visual culture. While Mammen's artistry is considered through the lens of gender politics to reveal her complex relationship with the urbanisation of her time, this book also highlights the crucial role played by a lost generation of inner émigré women artists as agents of German modernity.The examination of Mammen's life and work demonstrates the crucial role women artists played as both markers and agents of German modernity, but the double marginalisation they have nonetheless encountered as inner émigrés in recent history. It will be of interest to students of German studies, art history, literature, history, gender studies and cultural studies.Paperback304 pages | 27 color & 76 black-and-white illustrationsBloomsbury Visual Arts, 20249 x 6 inchesISBN 9781350239425Artist Monograph, Woman Artist, Weimar Republic

Jeanne Mammen: Art Between Resistance and Conformity in Modern Germany, 1916–1950

By Patrick Rössler “Shining a new light on the life and work of Herbert Bayer, this insightful book makes a vital contribution to our understanding of modernism and the 20th century events that shaped its practitioners, and how this extraordinary designer navigated those complex times.” ―Robin Schuldenfrei, Reader in 20th Century Modernism, The Courtauld Institute of Art, University of London, UK“Extensively researched, Rössler's lively text analyzes Bayer's artistic, personal, and political journey from the Bauhaus to the US and hits issues head on-addressing difficult questions regarding history, emigration, politics, and biography” ―Gwen F. Chanzit, Curator Emerita, Denver Art Museum, and Professor Emerita, University of Denver, USA“Gorgeously illustrated and rigorously researched, this book lays bare the crucial missing decade in the life and work of this innovative, influential, and often misunderstood artist. Patrick Rössler's engaging and unflinching account is a must read for anyone interested in design history and the contradictions of creative life in Nazi Berlin.” ―Elizabeth Otto, Professor of Modern & Contemporary Art History, the University at Buffalo (SUNY), USAHerbert Bayer was one of the most extraordinary artists associated with the Bauhaus school. A true multimedia artist, he united graphic design, art, and architecture in a unique style that came to represent the bold aesthetic approach of the movement. A teacher with the school until 1928, Bayer went on to become a highly successful graphic designer in Germany, and later one of the most prominent figures in the 20th-century art scene of the United States.This broad biographical account, which presents previously unseen archival photographs and episodes from the life of Bayer and other influential Bauhaus artists such as Walter Gropius, Marcel Breuer and László Moholy-Nagy, follows Bayer through the Weimar Republic, Nazi Germany and finally to his exile in the United States. Specifically, Patrick Rössler reveals for the first time Bayer's unique experience of 1930s Germany, where, with his commercial and artistic life shattered by terror and censorship, he distracted himself with leading a hedonistic life. Shining a light on Bayer's time in Berlin during the Weimar Republic, and his route out of the Nazi state, Rössler provides rich new insights into how Bauhaus artists navigated a protracted period of social upheaval and dictatorship, where commercial success was fraught with a deep hostility towards the regime and the temptations of emigration.Revealing the tensions of an avant-garde artist struggling to practice during a period of repression, Herbert Bayer, Graphic Designer speaks to both the memory of those who left Nazi Germany, but also the perseverance of artists and intellectuals throughout history who have worked under authoritarian regimes. Drawing on never before interpreted documents, letters and archival material, Rössler tells Bayer's compelling story – documenting the life of a unique artist and offering a valuable contribution to research in émigré experiences. Hardcover336 pages; 32 color, 100 black-and-white imagesBloomsbury Visual Arts, 20246.45 x 1 x 9.5 inchesISBN 9781350229679 Graphic Design, Biography

Herbert Bayer, Graphic Designer: From the Bauhaus to Berlin, 1921–1938

Edited by Deborah Ascher Barnstone and Maria Makela Material Modernity explores creative innovation in German art, design, and architecture during the Weimar Republic, charting both the rise of new media and the re-fashioning of old media. Weimar became famous for the explosion of creative ingenuity across the arts in Germany, due to experiments with new techniques (including the move towards abstraction in painting and sculpture) and inventive work in such new media as paper and plastic, which utilized both new and old methods of art production. Individual chapters in this book consider inventions such as the camera and materials like celluloid, examine the role of new materials including concrete composites in opening up fresh avenues in the plastic arts, and relate advances in the understanding of color perception and psychology to an increased interest in visual perception and the latent potential of color as both architectural ornament and carrier of emotional force in space.While art historians usually argue that experimentation in the Weimar Republic was the result of an intentional rejection of traditional modes of expression in the conscious attempt to invent a modern art and architecture unshackled from historic media and methods, this volume shows that the drivers for innovation were often far more complex and nuanced. It first of all describes how the material shortages precipitated by the First World War, along with the devastation to industrial infrastructure and disruption of historic trade routes, affected art, as did a spirit of experimentation that permeated interwar German culture. It then analyzes new challenges in the 1920s to artistic conventions in traditional art modes like painting, sculpture, drawing, architecture, textiles, and print-making and simultaneously probes the likely causes of innovative new methods of artistic production that appeared, such as photomontage, assemblage, mechanical art, and multi-media art. In doing so, Material Modernity fills a significant gap in Weimar scholarship and art history literature.Paperback240 pages | 8 color and 54 black-and-white illustrationsBloomsburg Publishing, 20249 x 6 inchesISBN 9781350228740Weimar Germany, Art History, Artist Material Studies

Material Modernity: Innovations in Art, Design, and Architecture in the Weimar Republic

By Theodor AdornoTranslated by Douglas RobertsonDelves into Theodor W. Adorno’s lesser-known musical career and successful music criticism.Theodor W. Adorno is recognized as one of the twentieth century’s most prominent social theorists. Though best known for his association with the Frankfurt School of critical theory, Adorno began his career as a composer and successful music critic. Comprehensive and illuminating, Orpheus in the Underworld centers on Adorno’s concrete and immediate engagement with musical compositions and their interpretation in the concert hall and elsewhere. Here, Adorno registers his initial encounters with the compositions of the Second Viennese School, when he had yet to integrate them into a broad aesthetics of music. Complementarily essays on Bela Bartók, Jean Sibelius, and Kurt Weill afford insight into his understanding of composers who did not fit neatly into the dialectical schema propounded in the Philosophy of New Music. Additionally, essays on recording and broadcasting show Adorno engaging with these media in a spirit that is no less productive than polemical and focused as sharply on their potentialities as on their shortcomings. Orpheus in the Underworld offers a captivating exploration of Adorno’s musical compositions, shedding new light on his understanding of influential composers and his critical perspectives on recording and broadcasting. Hardcover300 pagesSeagull Books, 20246 x 9 inchesISBN 9781803093222 Music Philosophy, Essays

Orpheus in the Underworld: Essays on Music

By Alex Ross"Capacious and enthralling . . . In Wagner’s operas, sums up Ross, 'we see the highest and the lowest impulses of humanity entangled.' In Wagnerism, however, those impulses—aesthetic, sexual, philosophical and political—are deftly untangled, then enticingly presented for the general reader. The result is a superb example of cultural history and, given its themes, a work surprisingly relevant to this plague-ridden, watershed year." —Michael Dirda, The Washington PostAlex Ross, renowned New Yorker music critic and author of the international bestseller and Pulitzer Prize finalist The Rest Is Noise, reveals how Richard Wagner became the proving ground for modern art and politics—an aesthetic war zone where the Western world wrestled with its capacity for beauty and violence.For better or worse, Wagner is the most widely influential figure in the history of music. Around 1900, the phenomenon known as Wagnerism saturated European and American culture. Such colossal creations as The Ring of the Nibelung, Tristan und Isolde, and Parsifal were models of formal daring, mythmaking, erotic freedom, and mystical speculation. A mighty procession of artists, including Virginia Woolf, Thomas Mann, Paul Cézanne, Isadora Duncan, and Luis Buñuel, felt his impact. Anarchists, occultists, feminists, and gay-rights pioneers saw him as a kindred spirit. Then Adolf Hitler incorporated Wagner into the soundtrack of Nazi Germany, and the composer came to be defined by his ferocious antisemitism. For many, his name is now almost synonymous with artistic evil.In Wagnerism, Alex Ross restores the magnificent confusion of what it means to be a Wagnerian. A pandemonium of geniuses, madmen, charlatans, and prophets do battle over Wagner’s many-sided legacy. As readers of his brilliant articles for The New Yorker have come to expect, Ross ranges thrillingly across artistic disciplines, from the architecture of Louis Sullivan to the novels of Philip K. Dick, from the Zionist writings of Theodor Herzl to the civil-rights essays of W.E.B. Du Bois, from O Pioneers! to Apocalypse Now.In many ways, Wagnerism tells a tragic tale. An artist who might have rivaled Shakespeare in universal reach is undone by an ideology of hate. Still, his shadow lingers over twenty-first century culture, his mythic motifs coursing through superhero films and fantasy fiction. Neither apologia nor condemnation, Wagnerism is a work of passionate discovery, urging us toward a more honest idea of how art acts in the world. Paperback784 pagesPicador, 20215.38 x 1.25 x 8.25 inchesISBN 9781250800084German History, Music History

Wagnerism: Art and Politics in the Shadow of Music [paperback]

Edited by Caroline Schwanzer and Mirko PogoreutzEssays by Ulrike Matzer and Andreas Nierhaus Karl Schwanzer was on fire for architecture. He reformed Austrian architecture after 1945 and, in the post-war period, significantly shaped the image of a new, free Austria at home and abroad. As an importer and exporter of ideas, he worked on over 600 projects and designs over 28 years of his career.This book is an illustrated chronology of his oeuvre, bringing to life developments and modulations. At the same time, it is also an architectural and contemporary history as well as a homage to architectural photography; Schwanzer only worked with excellent photographers such as Lucca Chmel, Barbara Pflaum, Franz Hubmann, Sigrid Neubert, and with Maria Wölfl, who has yet to be discovered. The photographs of temporary buildings that are no longer in existence are particularly valuable.Paperback480 Pages | 280 Illustrations, 200 ColorText in German and EnglishBirkhäuser, 20206.5 x 1.25 x 8.75 inchesISBN 9783035622638 Architecture, Austria

Leidenschaftlich modern – Karl Schwanzer und seine Architektur/ Eine Anthologie in Fotografien / Passionately Modern – Karl Schwanzer and His Architecture / An Anthology in Photographs 1947–75

Edited by Isabelle Jansen, Johannes Eichner and Matthias MühlingAvailable again in an attractive package and price, this highly regarded monograph celebrates Münter’s important contributions to modern art—beyond her association with the Blue Rider movement.Filled with the vibrant color that is the hallmark of Münter’s oeuvre, this dynamic consideration of the German painter offers a lively and detailed analysis of her life, work, and contributions to modern painting. While Münter is most often linked to Wassily Kandinsky and the Blue Rider movement, this book offers a refreshing appreciation of her work in its own right.Multifaceted, imaginative, and stylistically diverse, Münter’s creative output spanned genres to include portraits, landscapes, interiors, and abstractions. Beautifully reproduced images allow readers to marvel at Münter’s joyful vibrant hues, her bold brushstrokes and her experimental and innovative approach to painting. Lively texts offer important biographical insights into her artistic evolution and place her work in the broader context of modern art.Comprehensive and insightful, this newly formatted edition pays tribute to a hugely influential woman artist whose work is all too often overlooked.Paperback272 pagesPrestel, 20237.88 x 0.83 x 10.63 inchesISBN 9783791379845Blue Rider, German Expressionism

Gabriele Munter: Painting to the Point

Edited by Janis Staggs As inviting and sensual as a warm summer day, this opulent exhibition catalog offers a deep appreciation of Klimt’s ornate, exquisitely detailed, and atmospheric landscape paintings.For the last twenty years of his career, Gustav Klimt devoted considerable energy to painting landscapes during his summer vacations—and these bucolic scenes became some of his most sought-after pictures. Filled with vibrant high-quality reproductions and featuring engaging essays by leading scholars in the field, this exhibition catalog situates Klimt’s landscapes alongside fin-de-siècle fashion, photography, and decorative arts of the Wiener Werkstätte in particular. Klimt’s landscapes are examined within the context of his larger oeuvre and traces the evolution of his style: from one informed by the academic tradition, to his ornate “golden style” decorative approach influenced by the ideal of the Gesamtkunstwerk, and then to a more painterly manner of working in pure color. The book also considers Klimt’s relationship with his muse, fashion designer Emilie Flöge; his deep engagement with the Viennese avant-garde; and the specific techniques he employed to achieve mesmerizing, harmonious works that literally shimmer with light and color. Hardcover344 pagesPrestel, 20249.25 x 1.14 x 11.22 inchesISBN 9783791377360Neue Galerie Exhibition Catalogue

Klimt Landscapes Exhibition Catalogue

By Ralph Jentsch Text by Juerg Judin, Pay Matthis Karstens, Mechthild Hagemann Previously unseen early works from the Weimar Republic's greatest chronicler and satirist. This volume is dedicated to the early life and career of the brilliant young artist Georg Ehrenfried Gross (1893-1959), who would later become known as George Grosz. Known for his politically charged paintings and caricatural depictions of Berlin life in the 1920s, the youthful Gross had a long way to go before changing his name and becoming the most popular and sharp-tongued chronicler of the Weimar Republic. Gross made his first oil paintings in 1912 while still a student, and by 1914 was working in a style deeply influenced by Expressionism, Futurism and popular illustration. Presenting over 50 works made between the years 1904 and 1917, all but a few exhibited for the first time ever, the inaugural exhibition of Das kleine Grosz Museum, and this accompanying catalog, trace the artistic and biographical trajectory of this great artist's journey.Hardcover 178 pages Walther Konig, 20228.25 x 1 x 11 inchesISBN 9783753302041Artist Monograph, Arts & Photography Criticism

Gross Before Grosz: The Early Years

By Ulrich Bischoff With unparalleled artistic originality Max Ernst (1891–1976) transformed everything he touched. By pushing the boundaries and breaking loose from the confined view of the culture of his time, he became one of the most important figures of Dadaism and Surrealism. Driven by the counter-reaction to the horrors of World War I, he became a pioneer of the Dada movement. The closing of the famed Dada exhibit in Cologne for ‘obscenity’ led Ernst to spend the rest of his life in Paris, where he came in contact with the Surrealists. Above all, Ernst stands out for his varied style and technique, having produced an oeuvre that reaches from paintings, drawings, and sculpture, across texts and stage settings to collage novels and the development of his own ‘frottage’ technique. During World War II, Ernst, like many of his colleagues, became an ‘undesirable foreigner’ and was forced to emigrate; however, he returned to France after the war. Continuing a career that spanned decades, in 1954 he received the Grand Prize for Painting at the Biennial in Venice. This book is a journey through magic, vividness, and fantasy. It is a gateway into the intricate mind and world of Max Ernst. Hardcover96 pagesTaschen, 20238.5 x 0.75 x 10.5 inchesISBN 9783836595292Surrealism, Artist Monograph

Max Ernst (Basic Art Series 2.0)

By Robert Elton Brooker III and Adam ErdeszForeword by Marton Orosz “Albert Kner is a hidden treasure of the design world, and deserves far greater recognition for his many achievements. This book presents not only his later, important work in package design and consumer research, but also explores his extensive work in graphic design when he was still living in Europe. Brooker and Erdész have done a superb job in presenting Kner’s remarkable life in all its phases; their narrative is supported by 112 inspiring illustrations in black-and-white and full color. A wonderful book from start to finish.” —Bruce Kennett, author and designer of W. A. Dwiggins: A Life in Design Albert Kner (1899-1976) invented hundreds of things we encounter in our daily lives, such as the cardboard six pack and the flip top cigarette box. Yet his name is almost unknown. He started his life in Hungary in the book arts, having designed and typeset his first book at age 12. His artistic training was interrupted by World War I, where he suffered a paralyzing war injury that forced him to tape one eye shut in order to sleep. He did not enter the family printing business, a decision that saved his life, but also led to decades of artistic struggle as a designer of books, posters, packaging, stage sets, and furniture. In 1940, with limited English, Albert emigrated to Chicago with his wife and two young children. Almost instantly he was hired as Design Director of the largest cardboard manufacturer in America. His charge: make cardboard beautiful. Hardcover222 pagesCorvina Books and the Club of Odd Volumes; First Edition, 2023ISBN 9789631369236Design

Albert Kner: Artist, Icon, Legend - Discovering His Legacy in Industrial Design

Original Price: $50 UP TO 20% ADDITIONAL SAVINGS FOR MEMBERS By Tobias G. Natter This unique and utterly fascinating appreciation of Gustav Klimt’s oeuvre reveals some of his most famous works in their original settings and offers valuable historic insight into his artistic vision. Interior design was supremely important to Gustav Klimt, and many of his paintings were created for specific settings or spaces. This aspect of Klimt’s practice comes beautifully to life in this book that illustrates how some of the artist’s most beloved canvases appeared in situ—in private dining rooms and salons, galleries, museums, and public exhibition spaces. Works such as the portraits of Emilie Flöge and Hermine Gallia, the shocking Nuda Veritas, and landscapes A Morning by the Pond and The Tall Poplar I are presented in double-page spreads. Full-color reproductions of paintings by Klimt are juxtaposed with black-and-white vintage photographs of the original interiors with the featured paintings overlaid in color. Thoughtful and personal texts by Klimt scholar Tobias Natter accompany each spread, providing invaluable contextual insight about how these pictures were conceived as part of the interior design of their respective rooms and spaces, and the passionate collectors who first owned these pictures. Meticulously produced and packaged, this book provides a refreshing perspective on Klimt’s oeuvre and artistic vision. Hardcover140 pagesPrestel, 20239.5 x 1 x 11.5 inchesISBN 9783791379784Gustav Klimt, Art History

Gustav Klimt: Interiors

Edited by Stefanie Kitzberger , Cosima Rainer, and Linda SchädlerBauhaus artist Friedl Dicker-BrandeisThe work of Friedl Dicker-Brandeis (1898–1944) occupies a key position in the broader history of the Austrian avant-garde while also deepening our understanding of modernism.Her work covers an impressive range of media and genres in the visual and applied arts. Influenced by her studies at Vienna’s Kunstgewerbeschule (which later became the University of Applied Arts Vienna), the Itten Private School, and the Bauhaus in Weimar, she worked as a painter, stage designer, architect, designer in Vienna and Berlin, in exile, and as a deportee.This book explores the heterogeneity of Dicker’s work, reconstructs her artistic strategies and references to aesthetic and political discourses from the 1920s to the 1940s, and documents for the first time her works in the collection of the University of Applied Arts Vienna.Essays by Julie M. Johnson, Robin Rehm, Daniela Stöppel, and others. Monograph made to accompany an exhibition in Vienna and Zurich; awarded as one of the most beautiful books in Austria in 2022.Hardcover352 pages | 150 colored illustrationsDe Gruyter, 20226.5 x 9.4 inchesISBN 9783110789065 Monograph, Bauhaus Design and Architecture

Friedl Dicker-Brandeis: Works from the Collection of the University of Applied Arts Vienna

Edited by Christian Bauer The first book devoted to a forgotten expressionist artist and the impact he had on his famous companion. A multifaceted artist and charismatic figure in Vienna’s art scene, Erwin Osen (1891–1970) is best known today as Egon Schiele’s friend and one of his models. While their relationship inspired some of Schiele’s masterpieces, Osen also left his mark on expressionism through his work, which is ripe for rediscovery.A true Renaissance man, Osen counted drawing and painting among his art practices, as well as stage decor and set design, acting, pantomime, singing, cabaret, theater, and filmmaking. He and Schiele shared a studio, as well as an interest in the experience of patients in healthcare settings. Both a biography and a chronicle of the fruitful interaction between two artists, Erwin Osen shines a light on a fascinating and underappreciated creative.Hardcover224 pages | 250 color platesHirmer Publishers, 20237.75 x 1 x 11 inchesISBN 9783777441429Austrian Artist, Expressionism

Erwin Osen: Egon Schiele’s Artist Friend

Edited by Hemma Schmutz, Brigitte Reutner-Doneus, and Lentos Kunstmuseum LinzA richly illustrated appreciation of artist and educator Friedl Dicker-Brandeis and her wide-ranging achievements. Friedl Dicker-Brandeis (1989–1944) was one of the most important students of the Bauhaus. She was a painter, art teacher, and politically active poster artist. Initially, she specialized in textile and graphic design, and later she worked as an interior designer. Her paintings reflect her profound study of the classical avant-garde. This publication traces in detail the wide-ranging creative achievements of an artist who suffered great political persecution. The lavishly illustrated volume positions Dicker-Brandeis’s work within the framework of Classic Modernism and shows how versatile she was as an artist. Until the end, she tried to encourage children in the ghetto of Theresienstadt to draw, offering secret art lessons, for which the Nazi regime harshly persecuted her. Contributors to this book describe the particular characteristics of her artistic work, and they also delve into the art therapy techniques she pioneered and developed. Hardcover252 pages | 200 color platesHirmer Publishers, 20228.75 x 1.1 x 10.75 inchesISBN 9783777438467Avant-Garde, Modernism

Friedl Dicker-Brandeis: Bauhaus Student, Avant-Garde Painter, Art Teacher

By Walter BenjaminIntroduction by George SteinerTranslated by John Osborne"He drew, from the obscure disdained German baroque, elements of the modern sensibility: the taste for allegory, surrealist shock effects, discontinuous utterance, a sense of historical catastrophe."—Susan Sontag"If the killing of Lorca was Fascism’s first great crime against literature, Benjamin’s death was undoubtedly the second."—The Listener"Walter Benjamin is the most important German aesthetician and literary critic of this century."—George SteinerThe Origin of German Tragic Drama is Walter Benjamin's most sustained and original work. It begins with a general theoretical introduction on the nature of the baroque art of the sixteenth and seventeenth centuries, concentrating on the peculiar stage-form of royal martyr dramas called Trauerspiel. Benjamin also comments on the engravings of Durer and the theatre of Calderon and Shakespeare. Baroque tragedy, he argues, was distinguished from classical tragedy by its shift from myth into history. Georg Lukacs, an opponent of Benjamin's aesthetics, singled out The Origin of German Tragic Drama as one of the main sources of literary modernism in the twentieth century.Paperback256 pagesVerso Publishers, 20235 x 7.8 inchesISBN 9781804290460Literary Theory

The Origin of German Tragic Drama

Text by Diane V. Silverthorne, Dan Reynolds, Megan Brandow-FallerA landmark of graphic modernism, the Vienna Secession’s magazine is brought to life in a complete facsimile reprint with new essays and translationsThe brainchild of Koloman Moser, Alfred Roller, Josef Hoffmann, Bertold Löffler and others—the leading graphic artists of the Vienna Secession and the Wiener Werkstätte—Die Fläche (German for The Surface) laid out an extraordinary group vision for design through adventurous work by these designer-professors and more than 100 of their students. Packed with bold ideas for posters, advertisements, book covers, woodcut prints and much more, the result is an inexhaustibly rich sourcebook of graphic forms, modern ideas and technical experiments, all reflecting a reorientation in design practice and teaching that would resonate around the world.This full-size facsimile of all 14 issues of Die Fläche lets readers experience this rare gem as it was meant to be seen, while new essays and translations explore its significance.Die Fläche is the first volume in Letterform Archive’s facsimile series, which presents landmarks of print and design history with exacting reproductions and new essays that provide rich context and fresh insights. Hardcover344 pages | 400 color, 25 black-and-white imagesLetterform Archive Books, 20238.7 x 1.6 x 13.2 inchesISBN 9781736863312Viennese Secession, Graphic Design

Die Fläche: Design and Lettering of the Vienna Secession, 1902–1911

Foreword by Wolf Eiermann and Lisa Felicitas MattheisText by Lisa Felicitas Mattheis, Kristina Jaspers, Marek ZydowiczHow expressionism crossed genres in pursuit of the total artwork, from Nolde to MurnauAs a revolutionary cultural movement, Expressionism endeavored to join art and life and diminish the separation between the arts. The Gesamtkunstwerk—the total artwork—became the ideal for artists. Expressionism in Art and Film traces this crossing of genre boundaries, outlining mutual influences between painting, graphics and film. Exaggerated figures, strong contrast and distorted perspective pervaded all three mediums, reflecting the tremendous angst of the early 20th century’s social upheavals. Social critique also figured centrally in the movement, in caricatured depictions of modern men and women. This volume highlights these elements of Expressionism, drawing parallels between art and film. Artists Erich Heckel, Emil Nolde, Paula Modersohn-Becker, Alexander Kanoldt, Ernst Ludwig Kirchner and Otto Mueller figure here, as well as directors Robert Wiene, F.W. Murnau and Ernst Lubitsch.Hardcover240 pages | 130 color imagesText in English and GermanSilvana Editoriale, 20229.5 x 1 x 11 inchesISBN 9788836650361Expressionism, Art and Film

Expressionism in Art and Film

Edited with text by Kristina LemkeText by Jens Bove, Wolfgang Brückle, Anne Vitten, Patrick Rössler, Rolf Sachsse, Birgit Schillak-Hammers, and Steffen Siegel Dazzling photographs from one of the most radical periods in modern photography This volume offers insight into one of photographic history’s most fruitful moments—the interwar period in Central Europe. Thematic chapters present works by Gertrud Arnd, Ilse Bing, Karl Blossfeldt, Lotte Jacobi, André Kertész, Lucia Moholy, August Sander, Umbo and many others. Paperback300 pages | 148 color illustrationsText in German and English9.5 x 11.25 inchesKerber, 2021ISBN 9783735607454Photography, Central Europe

New Ways of Seeing: Photography of the '20s and '30s

Edited by Olaf Peters This generously illustrated and comprehensive book focuses on a decisive decade in Max Beckmann’s career as one of the leading figurative painters of the twentieth century. This publication will provide insight into a critical period in the artist’s development and the accomplishments that earned him such high esteem. Beckmann’s brief but profoundly jarring service as a medical orderly during World War I led to a nervous breakdown. He assimilated his experiences and incorporated recent and radical developments in art, such as Cubism and Expressionism, leading him to advance new pictorial conceptions beginning in 1915.To many of his contemporaries, the work Beckmann created between 1917 and 1925 placed him at the forefront of the latest developments in representational painting. In 1925, Beckmann’s celebrated status was confirmed by his prominence in the groundbreaking “Neue Sachlichkeit” (New Objectivity) exhibition in Mannheim, although he later distanced himself from the term.This book will situate Beckmann artistically and historically. Essays by both established experts and emerging scholars investigate the seminal energy found in the work he created between 1915 to 1925—a period to which the artist himself repeatedly returned over the course of his lifetime.The self-referential aspect of Beckmann’s output is key to understanding his progression as an artist, which comes more clearly into focus via an analysis of these critical early years. Hardcover256 pagesPrestel, 20239.25 x 2.05 x 11.22 inchesISBN 9783791379944Neue Galerie Exhibition Catalogue

Max Beckmann: The Formative Years, 1915-25 Exhibition Catalogue

Von Jürgen Joseph Kaumkötter Jürgen Kaumkötter zeigt, welche große Bedeutung das als "Selbstbildnis mit Judenpass" bekannt gewordene Werk von Felix Nussbaum für die Holocaust-Kunst hat.Im Jahr 1943 malt der 39-jährige Felix Nussbaum ein kleinformatiges Selbstbildnis. 1944 versteckt er es in einem Depot in Brüssel. 1975 gerät es in die Sammlung des Kulturgeschichtlichen Museums Osnabrück und damit in die Stadt, von der er sich mit diesem Bild entschieden distanzierte. Heute ist das als "Selbstbildnis mit Judenpass" bekannte Porträt eines der berühmtesten Kunstwerke des 20. Jahrhunderts und gilt als Symbol der Verfolgung der Juden Europas. Seine herausragende künstlerische Qualität erfährt jedoch kaum Wertschätzung. Ein ikonographisch-biografisches Deutungsmuster engt bis heute die Wahrnehmung des Malers Nussbaum ein und verstellt den Blick auf das Meisterwerk. Jürgen Joseph Kaumkötter entwickelt auf der Basis seiner langjährigen Forschungen zur Kunst aus dem politischen Territorium der Verfolgung durch das NS-Regime einen neuen methodischen Ansatz zur Beurteilung der Holocaust-Kunst. Eine Rückbesinnung auf vor-ikonologische kunsthistorische Methoden – ohne die "modernen" Techniken zu vernachlässigen – ermöglicht dabei einen freieren Blick auf das Genre. Jetzt ist ein Umdenken über den Umgang mit der Holocaust-Kunst an der Zeit.Hardcover352 Seiten, 140 FarbabblidungenText in GermanWallstein verlag GmbH, 20236.5x 9.5 inchesISBN 9783835350298Neue Sachlichkeit, Surrealismus

Felix Nussbaum und die Holocaust-Kunst: Das Selbstbildnis mit Judenpass

pEdited by Heinz Liesbrock Texts by Gottfried Boehm, Vincent Broqua, Fritz Horstman, Raimer Jochims, Donald Judd, Heinz Liesbrock, Amy Jean Porter, Jeannette Redensek, Margit Rowell, and Nicholas Fox Weber The essential account of Albers’ enormously influential proto-Minimalist series, featuring studies and archival materials Josef Albers’s groundbreaking series Homage to the Square comprises roughly two thousand oil paintings. His continuous reflections and refinements for more than 25 years inspired numerous young minimal and conceptual artists in their search for a reduced formal language. This outstanding catalogue explores the secret of Albers’s subtle aesthetic and unearths its preconditions: What is the significance of the square? How does his impression of color and its use as a material change during this period? Featuring studies on paper, archival materials, as well as essays by internationally-leading Albers experts such as Jeannette Redensek and Heinz Liesbrock, this richly illustrated publication sheds light on the various inspirations that influenced Albers early on in Europe and later in America, and illustrates the lasting impact of his art and thinking.As an influential teacher, writer, painter, and color theorist JOSEF ALBERS (1888, Bottrop–1976, New Haven, CT) is one of the leading pioneers of twentieth-century modernism. From 1923 onwards he taught at the Bauhaus, and continued to do so after his emigration to the USA in 1933 at Black Mountain College in North Carolina, and at Yale University, where he worked on his Homage to the Square from 1950 until his death.Hardcover356 pages | 220 illustrationsHatje Cantz, 20228.75 x 12 inchesISBN 9783775754163 Monographs

Josef Albers: Homage to the Square 1950–1976

By Katy Hessel "Sweeping . . . Part revisionist history, part coffee-table book, part collective portrait, part archival treasure hunt."—Tiana Reid, The New York Times "The Story of Art Without Men is an extraordinary achievement that will have a disruptive cultural legacy and help determine the landscape for years to come." —Helena Lee, Harper’s Bazaar"[The Story of Art Without Men] should become a founding text in the history of art by women . . . Inspiring and indispensable."—Bidisha Mamta, GuardianInstant New York Times bestsellerThe story of art as it’s never been told before, from the Renaissance to the present day, with more than 300 works of art.How many women artists do you know? Who makes art history? Did women even work as artists before the twentieth century? And what is the Baroque anyway?Guided by Katy Hessel, art historian and founder of @thegreatwomenartists, discover the glittering paintings by Sofonisba Anguissola of the Renaissance, the radical work of Harriet Powers in the nineteenth-century United States and the artist who really invented the “readymade.” Explore the Dutch Golden Age, the astonishing work of postwar artists in Latin America, and the women defining art in the 2020s. Have your sense of art history overturned and your eyes opened to many artforms often ignored or dismissed. From the Cornish coast to Manhattan, Nigeria to Japan, this is the history of art as it’s never been told before.Hardcover512 pagesW. W. Norton, 20236.4 x 9.6 inchesISBN 9780393881868 Art History, Women's Studies

The Story of Art Without Men

Edited by Walter Gropius and László Moholy-Nagy. A facsimile of the gorgeous Bauhaus edition of Malevich's classic treatise on Suprematism. Kasimir Malevich (1879–1935) debuted his new creative theory of basic geometric shapes with the publication of his Suprematist manifesto in 1915. He later published a follow-up entitled The Non-Objective World in 1927, which further elucidated his vision of an art that emphasized the “primacy of pure feeling.” With Suprematism, Malevich strove to move his artistic focus away from representation, choosing instead to evoke emotion through a fundamental grammar system of squares, circles and other basic shapes. Though he was not an official member of the Bauhaus, Malevich’s emphasis on simplified forms provided an important link between the school of design and the Suprematist movement.As part of the publisher’s ongoing Bauhausbücher series, Lars Müller’s facsimile edition of Malevich’s text is translated into English with the original design and typography. Hardcover102 pages | 92 black-and-white illustrations7 x 9 inchesLars Müller Publishers, 2021ISBN 9783037786642Bauhaus, Facsimile

Kasimir Malevich: The Non-Objective World (Bauhausbücher 11)

By MaryAnne StevensContributions by Maria Alambritis, Julien Domercq, Charlotte de Mille, John Milner, Daniel Ralston, Christopher Riopelle, Camilla Smith and Sabine Wieber Through the 1880s the very essence of representation, meaning and process in Western art were profoundly interrogated. Plausible representations of the external world were cast aside in favour of non-naturalism expressed in varying degrees, from modest distortions of reality to pure abstraction.The decades that followed, up to the outbreak of the First World War in 1914, were a complex, vibrant period of artistic questioning, searching, risk-taking and innovation. Concentrating on this period of great upheaval, this book will explore the constructive dialogue between painting and sculpture, and the influential roles played by three giants of the era, Paul Cézanne, Paul Gauguin and Vincent van Gogh, across European art as a whole. While acknowledging the centrality of Paris as a cultural capital, it will also uniquely highlight other centres of artistic ferment in Europe, from Brussels and Barcelona to Berlin and Vienna, and track the variety of routes into modernism in the early twentieth century.This fully illustrated catalogue will contain four essays, introductions to each city of ferment and biographies of the artists. Hardcover272 pages | 150 color illustrations11 x 9.5 inchesNational Gallery Global, 2023ISBN 9781857096958Exhibition Catalogues, Modernism, European Art

After Impressionism: Inventing Modern Art

By Robert Wiesenberger and Raphael Koenig The first monographic publication in English on German Expressionist artist and architect Paul Goesch, who long struggled with—and was persecuted and ultimately murdered for—his schizophreniaPaul Goesch (1885–1940) produced one of the most inventive, peculiar, and poignant bodies of work to emerge from Weimar Germany. An artist and architect, he made both fanciful figurative drawings and visionary architectural designs. The latter, from the extensive holdings of the Centre for Canadian Architecture in Montreal, are the focus of this publication, the first in English dedicated to Goesch. Amid the aftermath of First World War, a generation of young architects sketched their visions for utopia. Goesch stands out among them for his formal range, his kaleidoscopic color sense, and his playful and pluralistic embrace of architectural history, as well as for his long struggles with schizophrenia, a condition for which he was institutionalized and ultimately murdered by the Nazis. This publication highlights the decorative portals and archways that predominate in Goesch’s work. These represent the artist’s metaphysical passages, as a spiritualist steeped in diverse religious and esoteric beliefs, and his altered psychological states. They also suggest Goesch’s liminal status between art and architecture, “sanity” and “madness,” the trained insider and the institutionalized “outsider.” Celebrated in his time and since forgotten, Goesch is presented here in the context of period discussions on art, architecture, and mental health. Paperback104 pages | 46 color and black-and-white illustrationsYalue University Press, 202310 x 8 inchesISBN 9780300269697Monograph, Architecture

Portals: The Visionary Architecture of Paul Goesch

von Thomas Richter Christian Schad – Bausteine zur Biographie (Band 1) Das in Aschaffenburg, der Wahlheimat des Künstlers, erhaltene Privatarchiv Christian Schads sowie der mehr als 3.200 Werke umfassende Nachlass erlauben erstmals einen Gesamtüberblick über das Schaffen des international anerkannten ›Meisters der Neuen Sachlichkeit‹. Exemplarisch werden die Ziele und Strategien eines Künstlers in ihrem Zeitkontext zwischen Erstem Weltkrieg, Weimarer Republik, NS-Diktatur und deutscher Nachkriegszeit dargestellt.Christian Schad – Bildlegenden und Texte (Band 2)Christian Schad, berühmter Vertreter der Neuen Sachlichkeit und ›Erfinder‹ der Schadographie, verfasste als umfassend gebildeter und interessierter Literat in Jahrzehnten zahlreiche Texte zur Kunst sowie Kurzgeschichten und Gedichte, esoterische und okkultistische Studien, die einen neuen Zugang zu seinem bildkünstlerischen Schaffen eröffnen. Neben einer Auswahl aus diesen Texten werden auch erstmals Schads eigene Interpretationen seiner Hauptwerke, die 54 »Bildlegenden«, vollständig publiziert und abgebildet.HardcoverVolume 1: 479 pages; Volume 2: 176 pagesText in GermanImhof Verlag, 202010.35 x 12.72 InchesISBN 9783731907909Monographs

Christian Schad: Künstler im 20. Jahrhundert (2 Volume Set)

von Anna Grosskopf und Tobias HoffmannFrauen im Fokus: Der Band präsentiert 42 faszinierende Künstlerinnen, die in der namhaften Sammlung des Bröhan-Museums vertreten sind. Von den Malerinnen der Berliner Secession über die Frauen der Wiener Werkstätte bis zu Metall-, Keramik-, Möbel- und Textildesignerinnen der Bauhauszeit zeigt sich ein breites Panorama weiblicher Gestaltung.Hardcover224 Seiten, 150 Abbildungen in FarbeText in GermanHirmer Verlag, 20238.6 x 10.2 InchesISBN 9783777440095Movements, Wiener Werkstätte

Ansehen! Kunst und Design von Frauen 1880 - 1940

von Cathrin Klingsöhr-Leroy Künstlerbildnisse im Kreis von Brücke und Blauem Reiter Die Künstlergruppen Brücke und Blauer Reiter wollten die Welt mit ihren Bildern verändern. Wer waren diese Revolutionäre der Kunst und wie sahen sie sich selbst? Der Band zeigt Selbstbildnisse der Malerinnen und Maler sowie Porträts und Fotos, die sie gegenseitig von sich fertigten, und spürt so der Entwicklung eines radikal neuen Künstlerselbstverständnisses nach.Indem Malerinnen und Maler der Avantgarde den Bruch mit dem traditionellen Kunstbegriff provozierten, mussten sie sich selbst neu erfinden. Dieses neue, zunehmend individualisierte Selbstverständnis, das sich in den Porträts niederschlägt, spiegelt sich auch in Tagebüchern, Briefen, Programmen und Streitschriften. Die Gegenüberstellung der unterschiedlichen Bildnisse zeigt den spannenden Prozess der Selbstinszenierung, das Ringen mit Traditionen, das Gemeinsame der Künstlerfreunde, aber auch ihr Bedürfnis nach Abgrenzung.Hardcover152 SeitenText in GermanHirmer Verlag GmbH, 20229.3 x 11.8 InchesISBN 9783777437927German Expressionism, Brücke und Blauer Reiter

Ich Bin Mein Stil

von Michael SchmidOtto Wagner hat Wiens Gesicht entscheidend mitgeprägt. Als Architekt, als Stadtplaner, als Lehrer. Einige der wichtigsten Gebäude des legendären Wien um 1900 hat Wagner entworfen. Die Postsparkasse, die Kirche am Steinhof, die Wohnhäuser an der Wienzeile, die Stadtbahnpavillons am Karlsplatz, in Schönburnn und in Hietzing. Aus Wagners Stadtbahn ging das Wiener U-Bahnnetz hervor. Wagner war in vielem ein revolutionärer Vordenker, oft konfrontiert mit großen Widerständen seitens des Kaiserhauses und konservativer Kreise. Doch letztlich haben sich seine Ideen durchgesetzt."Otto Wagner - Der Kunst- und Kulturführer zum bedeutendsten Stadtplaner Wiens" begleitet zu allen in Wien erhaltenen Gebäuden des großen Architekten. Dabei werden die kunsthistorischen Aspekte wie die Geschichten hinter den Bauten beleuchtet. Paperback223 SeitenText in GermanEchomedia Buchverlag, 20184.33 x 0.79 x 7.48 inchesISBN 9783903113381Modernism, Viennese Secession, Architecture

Otto Wagner: Der Kunst- und Kulturführer zum bedeutendsten Stadtplaner Wiens

By Robert Musill Translated by Genese GrillAlthough known principally for his modernist masterpiece, The Man Without Qualities, Robert Musil (1880-1942) was also a playwright and drama critic. Musil's plays and theatrical investigations, written between 1921-1929, are inseparable form his later literary work and from his life-long commitment to art as a social and cultural activity. His brilliant plays and critical writings are not minor aspects of his artistic life, but essential works, preparing the way for and intrinsically connected to his great, unfinished novel.In the theater of the fraught period between the two world wars, Musil recognized a crisis that was symptomatic of larger social, political, and aesthetic problems. In seeing Art as a social and cultural stimulus, he leveled piercing critiques at the commodification and conformism of the Culture Industry of his time and pointed the way toward a living, transformative theater.As an observer and researcher of the psychology of aesthetic experience, a student of anthropology and mysticism, and a writer who sometimes practiced the art of literature like an essayist and scientific experimenter, Musil saw in theater the ideal testing ground for questions about perception, reality, and the effects of ritual practices like formal variation, repetition, and the suspension of normal consciousness. In contrast to the mostly shallow entertainment on offer, Musil saw the potential of theater and all of art as a force that could incite existential shattering of received ideas and a renewal of "motivated" existence.Theater Symptoms constitutes not only the first volume in English of Musil's finished plays and a selection of play fragments with a large body of previously untranslated critical work, including manifestoes of his utopian theatrical vision. His theoretical essays and reviews elucidate the symptoms of and possible cures for the dangerous decline, not only of theater or art, but also, in Musil's view, of social relations: a descent from an ethico-aesthetic and "motivated" conduct of life to that of an uncritical, ethically lazy, aesthetically insensitive, and consumer-driven society. Musil's reviews of Stanislavski's Moscow Troupe, cabaret performances of Yvette Guilbert, the Yiddish theater, Expressionist stage innovations, productions of Shakespeare, Shaw, Schnitzler, Chekhov, and others, reveal Musil as a perceptive and visionary analyst of what theater was and what it could be.Paperback622 pagesContra Mundum Press, 2020‎5 x 1.38 x 7.99 inchesISBN 9781940625416Theater, Essays

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