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Author: Maria Makela Publisher: ISBN: 9780691002873 Category : Art Languages : en Pages : 368
Book Description
In April 1892 the first art Secession in the German-speaking countries came into being in Munich, Central Europe's undisputed capital of the visual arts. Featuring the work of German painters, sculptors, and designers, as well as that of vanguard artists from around the world, the Munich Secession was a progressive force in the German art world for nearly a decade, its exhibitions regularly attended and praised by Paul Klee, Wassily Kandinsky, and other modernists at the outset of their careers. "Those artists who were not included, or who thought themselves inadequately represented in the large official exhibitions held in the major German cities, had economic as well as aesthetic reasons for creating new outlets for their work.... The first of these Secessions [is] the subject of an interesting and well-researched study by Maria Makela."--James Joll, The New York Review of Books "Makela combines aesthetic analysis with institutional history, and does so very well. She has written the first thoroughly documented account of the Munich Secession in any language." --Peter Paret, The Art Bulletin ..".a carefully documented chronicle of the Munich Secession...an indispensable guide. It is a pioneering study that manages to be solid yet provocative..."--Brooks Adams, Art in America
Author: Maria Makela Publisher: ISBN: 9780691002873 Category : Art Languages : en Pages : 368
Book Description
In April 1892 the first art Secession in the German-speaking countries came into being in Munich, Central Europe's undisputed capital of the visual arts. Featuring the work of German painters, sculptors, and designers, as well as that of vanguard artists from around the world, the Munich Secession was a progressive force in the German art world for nearly a decade, its exhibitions regularly attended and praised by Paul Klee, Wassily Kandinsky, and other modernists at the outset of their careers. "Those artists who were not included, or who thought themselves inadequately represented in the large official exhibitions held in the major German cities, had economic as well as aesthetic reasons for creating new outlets for their work.... The first of these Secessions [is] the subject of an interesting and well-researched study by Maria Makela."--James Joll, The New York Review of Books "Makela combines aesthetic analysis with institutional history, and does so very well. She has written the first thoroughly documented account of the Munich Secession in any language." --Peter Paret, The Art Bulletin ..".a carefully documented chronicle of the Munich Secession...an indispensable guide. It is a pioneering study that manages to be solid yet provocative..."--Brooks Adams, Art in America
Author: Victoria Charles Publisher: Parkstone International ISBN: 1844848450 Category : Art Languages : en Pages : 200
Book Description
"A symbol of modernity, the Viennese Secession was defined by the rebellion of twenty artists who were against the conservative Vienna Künstlerhaus' oppressive influence over the city, the epoch, and the whole Austro-Hungarian Empire. Influenced by Art Nouveau, this movement (created in 1897 by Gustav Klimt, Carl Moll, and Josef Hoffmann) was not an anonymous artistic revolution. Defining itself as a "total art", without any political or commercial constraint, the Viennese Secession represented the ideological turmoil that affected craftsmen, architects, graphic artists, and designers from this period."--P.4 of dust jacket.
Author: Victoria Charles Publisher: Parkstone International ISBN: 1783103949 Category : Art Languages : en Pages : 200
Book Description
A symbol of modernity, the Viennese Secession was defined by the rebellion of twenty artists who were against the conservative Vienna Künstlerhaus' oppressive influence over the city, the epoch, and the whole Austro-Hungarian Empire. Influenced by Art Nouveau, this movement (created in 1897 by Gustav Klimt, Carl Moll, and Josef Hoffmann) was not an anonymous artistic revolution. Defining itself as a “total art”, without any political or commercial constraint, the Viennese Secession represented the ideological turmoil that affected craftsmen, architects, graphic artists, and designers from this period. Turning away from an established art and immersing themselves in organic, voluptuous, and decorative shapes, these artists opened themselves to an evocative, erotic aesthetic that blatantly offended the bourgeoisie of the time. Painting, sculpture, and architecture are addressed by the authors and highlight the diversity and richness of a movement whose motto proclaimed “for each time its art, for each art its liberty” – a declaration to the innovation and originality of this revolutionary art movement.
Author: Matthew Jefferies Publisher: Bloomsbury Publishing ISBN: 1137085304 Category : History Languages : en Pages : 338
Book Description
It has often ben suggested that artists and writers in Germany's imperial era shunned social engagement, preferring instead apolitical introspection. However, as Matthew Jefferies reveals, whether one looks at the painters, poets and architects who helped to create an official imperial identity after 1871; the cultural critics and reformers of the later 19th century; or the new generation of cultural producers that emerged in the years around 1900, the social, political and cultural were never far apart. In this attractively illustrated book, Jefferies provides a lively introduction to the principal movements in German high culture between 1871 and 1918, in the context of imperial society and politics. He not only demonstrates that Germany's 'Imperial culture' was every bit as fascinating as the much better known 'Weimar culture' of the 1920s, but argues that much of what came later has origins in the imperial period. Filling a significant gap in the current historiography, this study will appeal to all those with an interest in the rich and diverse culture of Imperial Germany.
Author: Shearer West Publisher: Manchester University Press ISBN: 9780719052798 Category : Art Languages : en Pages : 264
Book Description
This work provides an introduction to the visual arts in Germany from the early years of German unification to World War II. The study is an analysis of painting, sculpture, graphic art, design, film and photography in relation to a wider set of cultural and social issues that were specific to German modernism. It concentrates on the ways in which the production and reception of art interacted with and was affected by responses to unification, conflict between left and right political factions, gender concerns, contemporary philosophical and religious ideas, the growth of cities, and the increasing important of mass culture.
Author: Robert Jensen Publisher: Princeton University Press ISBN: 0691241953 Category : Art Languages : en Pages : 376
Book Description
In this fundamental rethinking of the rise of modernism from its beginnings in the Impressionist movement, Robert Jensen reveals that market discourses were pervasive in the ideological defense of modernism from its very inception and that the avant-garde actually thrived on the commercial appeal of anti-commercialism at the turn of the century. The commercial success of modernism, he argues, depended greatly on possession of historical legitimacy. The very development of modern art was inseparable from the commercialism many of its proponents sought to transcend. Here Jensen explores the economic, aesthetic, institutional, and ideological factors that led to its dominance in the international art world by the early 1900s. He emphasizes the role of the emerging dealer/gallery market and of modernist art historiographies in evaluating modern art and legitimizing it through the formation of a canon of modernist masters. In describing the canon-building of modern dealerships, Jensen considers the new "ideological dealer" and explores the commercial construction of artistic identity through such rhetorical concepts as temperament and "independent art" and through such institutional structures as the retrospective. His inquiries into the fate of the juste milieu, a group of dissidents who saw themselves as "true heirs" of Impressionism, and his look at a new form of art history emerging in Germany further expose a linear, dealer- oriented history of modernist art constructed by or through the modernists themselves.
Author: Robin Lenman Publisher: Manchester University Press ISBN: 9780719036361 Category : Art Languages : es Pages : 296
Book Description
In times past, everyday business might mean making a trip to the pawnbroker, giving a loan to a trusted friend of selling off a coat, all to make ends meet. Both women and men engaged in this daily budgeting, but women's roles were especially important in achieving some level of comfort and avoiding penury. In some communities, the daily practices in place in the seventeenth century persisted into the twentieth, whilst other groups adopted new ways, such as using numbers to chart domestic affairs and turning to the savings banks that appeared in the nineteenth century. These strategies promised respectability and greater access to new consumer goods: better clothes and finer furnishings accompanied a newly disciplined behaviour. Therefore, in the material world of the past and in the changing habits of earlier generations lie crucial turning points. This book explores these previously under-researched patterns and practices that gave shape to modern consumer society.
Author: Maria Makela
Author: Maria Makela
Author: Victoria Charles
Author: Victoria Charles
Author: Matthew Jefferies
Author: Shearer West
Author: Robert Jensen
Author: Robin Lenman
Author: Peter Paret
Author: 
Author: Michael Buhrs