Download Free Neue Sachlichkeit 1918 33 Book in PDF and EPUB Free Download. You can read online Neue Sachlichkeit 1918 33 and write the review.

Neue Sachlichkeit is thought by many to have too many diverse elements to be a unified movement. Originally divided by G.F. Hartlaub into two 'wings', Neue Sachlichkeit has since been broken down by critics into more groups, sometimes with opposing styles or regional influences. However, the importance of these divisions has rarely been explored in depth. Unlike previous surveys, which accept Neue Sachlichkeit as a divided entity, this book shows for the first time that in spite of its divisions, it may still be regarded as a unified, coherent movement. While different artists may have sought to express different specific concerns, what they all had in common was that they were uncomfortable with the world as it stood, and it is the way that this was expressed, making use of the object, that gave Neue Sachlichkeit its unity. This was just as true of the literature and photography of Neue Sachlichkeit, where the same themes as those found in the painting were frequently used. The fact that these are shared themes across different cultural media demonstrates that Neue Sachlichkeit reflected a mood of its time, and this book explores the ways in which this mood was expressed.
One of the aims of the book is to shed more light on the notion Neue Sachlichkeit in its appearance in a variety of fields as painting, architecture, music, photography and literature, in order to get a clearer idea of its scope. Several contributions will do so by analysing the heterogeneity in the use of the term concerning its function in the fight for recognition in the art-fields around 1930 - in other words, Neue Sachlichkeit will be analysed as a positioning strategy. Especially its participation in the broader discourse on modernity, as well as its international and intermedial dimension will be highlighted, often using the historical avant-garde as point of reference. From this perspective, the present volume wants to be read as a plea for a differentiated description of the many shared aspects and some differences between the avant-garde and Neue Sachlichkeit.
"This book traces composer Kurt Weill's changing relationship with the idea of "America." Throughout his life, Weill was fascinated by the idea of America. His European works such as The Rise and Fall of the City of Mahagonny (1930), depict America as a capitalist dystopia filled with gangsters and molls. But in 1935, it became clear that Europe was no longer safe for the Jewish Weill, and he set sail for New World. Once he arrived, he found the culture nothing like he imagined, and his engagement with American culture shifted in intriguing ways. From that point forward, most his works concerned the idea of "America," whether celebrating her successes, or critiquing her shortcomings. As an outsider-turned-insider, Weill's insights into American culture are somewhat unique. He was more attuned than native-born citizens to the difficult relationship America had with her immigrants. However, it took him longer to understand the subtleties in other issues, particularly those surrounding race relations. Weill worked within transnational network of musicians, writers, artists, and other stage professionals, all of whom influenced each other's styles. His personal papers reveal his attempts to navigate not only the shifting tides of American culture, but the specific demands of his institutional and individual collaborators"--
Avant-Garde and Criticism sheds new light on the complex aims, functions, practices and contexts of art-criticism in relation to the European avant-garde. Although many avant-garde works and the avant-gardes of various countries have been analyzed, considerably less attention has been given to the reviews in newspapers and journals on avant-garde literature, art, architecture and film. This volume of Avant-Garde Critical Studies will look at how art critics operated in a strategic way. The strategies of avant-garde criticism are diverse. Art critics, especially when they are artists themselves, attempt to manipulate the cultural climate in their favour. They use their position to legitimize avant-garde concepts and to conquer a place in the cultural field. But they are also markedly influenced by the context in which they operate. The position of fellow-critics and the ideological bias of the papers in which they publish can be as important as the political climate in which their criticism flourishes. The analysis of avant-garde art criticism can also make clear how strategies sometimes fail and involuntarily display non-avant-garde characteristics. On the other hand traditionalist criticism on the avant-garde offers new insights into its status and reception in a given time and place. This volume is of interest for scholars, teachers and students who are interested in the avant-garde of the interbellum-period and work in the field of literature, art, film and architecture.
"Essays cover a range of media from painting and the decorative arts to theater, sculpture, and the science of seeing." from Introduction.
By uniquely treating Gerhard Richter?s entire oeuvre as a single subject, Darryn Ansted combines research into Richter?s first art career as a socialist realist with study of his subsequent decisions as a significant contemporary artist. Analysis of Richter?s East German murals, early work, lesser known paintings, and destroyed and unfinished pieces buttress this major re-evaluation of Richter?s other well known but little understood paintings. By placing the reader in the artist?s studio and examining not only the paintings but the fraught and surprising decisions behind their production, Richter?s methodology is deftly revealed here as one of profound yet troubled reflection on the shifting identity, culture and ideology of his period. This rethinking of Richter?s oeuvre is informed by salient analyses of influential theorists, ranging from Theodor Adorno to Slavoj ?i?ek, as throughout, meticulous visual analysis of Richter?s changing aesthetic strategies shows how he persistently attempts to retrace the border between an objective reality structured by ideology and his subjective experience as a contemporary painter in the studio. Its innovative combination of historical accuracy, philosophical depth and astute visual analysis will make this an indispensible guide for both new audiences and established scholars of Richter?s painting.
This book examines how the productive interplay between nineteenth-century literary and visual media paralleled the emergence of a modern psychological understanding of the ways in which reading, viewing and dreaming generate moving images in the mind.
This lavishly illustrated volume is the first major global history of ornament from the Middle Ages to today. Crossing historical and geographical boundaries in unprecedented ways and considering the role of ornament in both art and architecture, Histories of Ornament offers a nuanced examination that integrates medieval, Renaissance, baroque, and modern Euroamerican traditions with their Islamic, Indian, Chinese, and Mesoamerican counterparts. At a time when ornament has re-emerged in architectural practice and is a topic of growing interest to art and architectural historians, the book reveals how the long history of ornament illuminates its global resurgence today. Organized by thematic sections on the significance, influence, and role of ornament, the book addresses ornament's current revival in architecture, its historiography and theories, its transcontinental mobility in medieval and early modern Europe and the Middle East, and its place in the context of industrialization and modernism. Throughout, Histories of Ornament emphasizes the portability and politics of ornament, figuration versus abstraction, cross-cultural dialogues, and the constant negotiation of local and global traditions. Featuring original essays by more than two dozen scholars from around the world, this authoritative and wide-ranging book provides an indispensable reference on the histories of ornament in a global context. Contributors include: Michele Bacci (Fribourg University); Anna Contadini (University of London); Thomas B. F. Cummins (Harvard); Chanchal Dadlani (Wake Forest); Daniela del Pesco (Universita degli Studi Roma Tre); Vittoria Di Palma (USC); Anne Dunlop (University of Melbourne); Marzia Faietti (University of Bologna); María Judith Feliciano (independent scholar); Finbarr Barry Flood (NYU); Jonathan Hay (NYU); Christopher P. Heuer (Clark Art); Rémi Labrusse (Université Paris Ouest Nanterre la Défense); Gülru Necipoğlu (Harvard); Marco Rosario Nobile (University of Palermo); Oya Pancaroğlu (Bosphorus University); Spyros Papapetros (Princeton); Alina Payne (Harvard); Antoine Picon (Harvard); David Pullins (Harvard); Jennifer L. Roberts (Harvard); David J. Roxburgh (Harvard); Hashim Sarkis (MIT); Robin Schuldenfrei (Courtauld); Avinoam Shalem (Columbia); and Gerhard Wolf (KHI, Florence).
German Post-Expressionism is the first study to reconstruct historically the evolution of Die neue Sachlichkeit, the slogan coined as a designation for the Post-Expressionist figural art that developed throughout Germany following the failed revolution of 1919. Rather than starting with the moment this Post-Expressionist movement was christened with a slogan (1923), Crockett investigates the sources and precepts of Post-Expressionism beginning with the anti-Expressionist stance of Dada in 1918 and the loss of faith in Expressionism on the part of some of its chief supporters during 1919-20.