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The very first comprehensive work on Louis-Philippe furniture, this book surveys the most important furniture types, stylistic features, woods, mounts and fittings and cloth upholstery. During the years between 1850 and 1870, furniture was made throughout Europe, which borrowed stylistically from Rococo forms. Between the Biedermeier era and the subsequent period, during which industrialism took hold in Germany, the Louis-Philippe style, named after the monarch who took advantage of the July 1830 revolution to declare himself the King of France, developed a formal idiom distinctively its own. The most memorable event of this period is surely the industrialization of furniture making, with the creation of tools and machines that enabled pieces to be cut and then assembled much more quickly and easily, leading to the manufacture of furniture that middle classes can easily afford. Text in English and German
New reproduction of the artist's Skizzenbuch aus dem Felde, with afterword translated into English. The sketches were created from March to June 1915, while Marc was serving on the Western Front of World War I. The originals are owned by the Graphische Sammlung der Staatsgalerie Stuttgart. Released in celebration of the artist's 100th birthday.
Catalogus met werken en statements van de Duitse beeldend kunstenaar (1921-1986) en met een hommage aan hem door 70 bekende kunstenaars.
The Museum of East Asian Art Cologne juxtaposes works by Leiko Ikemura with outstanding pieces of Chinese and Japanese art from its collection.
There was once a little raccoon who wanted to go out in the night -- to know an owl, to see if the moon is a rabbit, and to find out how dark is the dark. But his mother said, "Wait. Wait till the moon is full." So the little raccoon waited and wondered, while the moon got bigger and bigger and bigger. Until at last, on a very special evening, the moon was full.
This book endeavours to present the development of Modernist art, from its Impressionist origins to the pluralist art scene of the early 2000's
A catalogue of fifteenth and sixteenth century German paintings in the National Gallery of Art, Washington DC.
This book explores the image and identity of émigré painters, sculptors and graphic artists from Nazi Germany in Britain between 1933 and 1945. It focuses on a neglected field of Exile Studies, that of exiled artists in Britain. Methodologies used in this study have been developed by Exile Studies and History of Art, but also by Postcolonialism, scholars of which usually apply their ideas to the Afro-Asian emigration of the second part of the twentieth century. Thus this study represents methodologically a new way of looking at the emigration from Nazi Germany. Identity and Image is divided into five chapters: After an introductory Chapter One (historiography of the topic, methodology of the study, structure of the book), Chapter Two establishes socio-political patterns of emigration and provides an historical framework for Chapters Three and Four, which concentrate on the image and identity of the refugee artist, the former based on written sources and the latter on visual material. In detail, Chapter Three analyses the British image of the refugee artists and their works on the one hand and the émigrés' self-representations on the other, the latter exemplified by refugee organisations (the Free German League of Culture/Freier Deutscher Kulturbund, the Austrian Centre, the Anglo-Sudeten Club and the Czech Institute) and institutions founded by émigré artists (Jack Bilbo's Modern Art Gallery and Arthur Segal's Painting School). Chapter Four examines the works produced in internment and those exhibited and produced for the refugee organisations discussed in Chapter Three. Chapter Five discusses the results of this study in the light of three postcolonial concepts: diaspora communities, the notion of home and the gendered identity of the refugee. The appendix lists all painters, sculptors and graphic artists from Nazi Germany in Britain with biographical details. Apart from visual and written sources discussed for the first time, there are two major results of the study: First, although the artists were united as refugees, this unity did not lead to a unity in art - "refugee art" is a construction put forward by the British press and the refugee organisations, particularly the Free German League of Culture. Second, contrary to claims that modern art was international and formed a universal unity that "transgressed" nationality, neither the West/Europe nor modernism form unities; instead, in the 1930s and 1940s, cultures in Europe constructed conceptions of other European cultures on the basis of nation-state identities.