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Paul Klee—one of the preeminent artists of the twentieth century—was associated with all of the major movements of the first half of the century: expressionism, cubism, surrealism, and abstraction. In this economic and political history, O. K. Werckmeister traces Klee's career as a professional artist, concentrating on the years 1914-20 in which Klee rose from obscurity to recognition in the visual culture of the incipient Weimar Republic. Werckmeister reveals the degree to which Klee, who has been traditionally portrayed as aloof from politics and the vicissitudes of the art market, was subject to and interacted with material conditions. Drawing on rich documentary evidence—records of Klee's sales, reviews of his exhibitions, the artist's published writings about his art, unpublished correspondence, as well as contemporary criticism—Werckmeister follows Klee's transformation from an idiosyncratic abstract individualist to a metaphysical storyteller to mystical sage. Werckmeister argues that this latter image was promoted by a number of influential art critics and dealers acting in cooperation with the artist himself. This posture prompted Klee's success first in the war-weary modernist art world of 1916-18 and then in the pseudo-revolutionary art world of 1919-20. This work is a critical challenge to the myth of Klee's art and to the hagiography of his artistic personality. Werckmeister's historical account is sure to be a controversial yet significant contribution to Klee studies—one that will change the nature of Klee scholarship for some time to come.
Known for their colour, dream images, their wit and playful imagination, the works of Paul Klee are among the most famous of modern art. This new volume presents a group of 130 oils, watercolours, drawings and prints representative of his career.
Andy Warhol bequeathed us the words "Death can really make you look like a star." But death per se is not a catalyst for the relevance of an artist. What is of crucial importance is the proper management structure for the posthumous preservation and development of an artistic estate. The handbook by Loretta Würtenberger presents the possible legal framework, appropriate financing models, as well as the proper handling of the market, museums, and academia. Her business, Fine Art Partners, has advised artists and artists' estates for many years in their structuring and development of estate concepts as well as in operative questions. Based on numerous international examples, the author explains the different alternatives for maintaining an artist's estate and makes recommendations on how to ideally handle work, archives, and mementos following the death of an artist.
Explores German cinema's enthusiasm for and anxiety about the blurring of postwar cultural boundaries
Clement Greenberg is widely recognized as the most influential and articulate champion of modernism during its American ascendency after World War II, the period largely covered by these highly acclaimed volumes of The Collected Essays and Criticism. Volume 3: Affirmations and Refusals presents Greenberg's writings from the period between 1950 and 1956, while Volume 4: Modernism with a Vengeance gathers essays and criticism of the years 1957 to 1969. The 120 works range from little-known pieces originally appearing Vogue and Harper's Bazaar to such celebrated essays as "The Plight of Our Culture" (1953), "Modernist Painting" (1960), and "Post Painterly Abstraction" (1964). Preserved in their original form, these writings allow readers to witness the development and direction of Greenberg's criticism, from his advocacy of abstract expressionism to his enthusiasm for color-field painting. With the inclusion of critical exchanges between Greenberg and F. R. Leavis, Fairfield Porter, Thomas B. Hess, Herbert Read, Max Kozloff, and Robert Goldwater, these volumes are essential sources in the ongoing debate over modern art. For each volume, John O'Brian has furnished an introduction, a selected bibliography, and a brief summary of events that places the criticism in its artistic and historical context.
Looking at the status and meaning of Bauhaus objects in relation to the school’s history, this book features contributions from some of the most brilliant scholars writing in the field today. It offers an entirely new treatment of the Bauhaus school and through a strong thematic structure, the questions and subsequent conclusions presented by the contributors re-examine the history of the Bauhaus and its continuing legacy.
"In the course of his creativity, Klee developed his artistic will slowly, almost hesitantly. His work formed organically. Undogmatic and open to all graphic life, he let himself be inspired by the art of the past and the present. Fairytale lyrics and grotesque satire, tender jesting and real demonism, profound mysticism and sober romanticism live in Klee's work, which always radiates his personal sphere with all its variety. In this monograph, an immensely compressed picture of the artistic as well as the human side of his career evolves by way of the extensive pictorial material and accompanying essays, a picture which gives information about "Klee's contribution to the expansion of artistic articulation"."--Jacket.
This collection of pithy, brilliantly acerbic pieces is a companion to Sixty Stories, Barthelme's earlier retrospective volume. Barthelme spotlights the idiosyncratic, haughty, sometimes downright ludicrous behavior of human beings, but it is style rather than content which takes precedence.
This double volume of the renowned international journal of anthropology and comparative aesthetics includes “Aesthetics’ non-recyclable ground” by Félix Duque; “Seeing through dead eyes” by Jonathan Hay; “The hidden aesthetic of red in the painted tombs of Oaxaca” by Diana Magaloni; “A consideration of the quatrefoil motif in Preclassic Mesoamerica” by Julia Guernsey; “Hunters, Sufis, soldiers, and minstrels” by Cynthia Becker; “Figures fidjiennes” by Marc Rochette; “A sacred landscape” by Rachel Kousser; “Military architecture as a political tool in the Renaissance” by Francesco Benelli; “The icon as performer and as performative utterance” by Marie Gasper-Hulvat; “Image and site” by Jas’ Elsner; “Untimely objects” by Ara H. Merjian; “Max Ernst in Arizona” by Samantha Kavky; “Form as revolt” by Sebastian Zeidler; “Embodiments and art beliefs” by Filippo Fimiani; “The theft of the goddess Amba Mata” by Deborah Stein; and contributions to “Lectures, Documents and Discussions” by Gottfried Semper, Spyros Papapetros, Erwin Panofsky, Megan R. Luke, Francesco Paolo Adorno, and Remo Guidieri.
A philosophical perspective on the relation between Paul Klee’s art and his thought. The artist Paul Klee once said that “art does not reproduce the visible but makes visible.” In Klee’s Mirror John Sallis examines the various ways in which Klee’s art makes visible things that ordinarily go unseen. He shows how Klee’s art is like a mirror capable of reflecting not only the surface appearance of things, but also their hidden depth and the cosmic setting to which they belong. Tracing the relation of Klee’s paintings and drawings to music, poetry, and philosophy, Sallis also takes account of Klee’s own extensive writings, both theoretical and autobiographical, and of the incisive lectures that he presented while teaching at the Bauhaus. Featuring large, high-quality reproductions, Klee’s Mirror shows how the painter’s theories both are exemplified in his art and, in turn, are enhanced and extended by what his art achieves and reveals. “Klee’s Mirror is a masterful interpretation of one of the most inspiring artists in the Western tradition, one that will surely capture the interest of philosophers, art history scholars, as well as students and lovers of Paul Klee’s works.” — Alejandro A. Vallega, author of Sense and Finitude: Encounters at the Limits of Language, Art, and the Political “Paul Klee mused in his diary that his art was a kind of mirror whose aim was not ‘to reflect the surface’ but rather ‘to penetrate inside’ such that, for example, his ‘human faces are truer than the real ones.’ In his exquisite new study, Sallis takes up the complex question of Klee’s mysterious mirrors. On the one hand, Klee’s works themselves are mirrors of truth, making visible, Sallis tells us, ‘what otherwise remains invisible,’ reflecting ‘what lies beyond the visible surface of things.’ On the other hand, Klee’s own theoretical writings are extraordinarily articulate and they uniquely mirror his artistic work. Klee’s paintings are not, however, illustrations or representations of Klee’s ideas. The mirror of Klee’s painting demands a new kind of reflective writing. Finally, there is the mirror of Sallis’ own work, deftly navigating between Klee’s brilliant double mirror play, producing in turn a startlingly and innovative mode of writing that twists free of the dualism of sensibility and intelligibility.” — Jason M. Wirth, author of The Conspiracy of Life: Meditations on Schelling and His Time