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This is an illustrated study of the reception of classical sculptures in the early modern period. Viccy Coltman contrasts the culture of British 18th century collecting, which integrated sculpture into the domestic interior, with the focus upon individual specimens by archaeologists like Adolf Michaelis a century later.
Ende der 1940er-Jahre beschäftigten sich berühmte Künstler der New York School - Robert Rauschenberg, Ad Reinhardt, Mark Rothko, Frank Stella und Barnett Newman - intensiv mit der Farbe Schwarz. Es entstand eine erstaunliche Anzahl von nahezu monochromen schwarzen Bildserien, die heute zu den Glanzstücken international bedeutender Sammlungen wie dem Whitney Museum in New York zählen und in Black Paintings erstmals vereint gezeigt werden. Die Publikation mit einem fundierten Essay von Stephanie Rosenthal beleuchtet Unterschiede und Gemeinsamkeiten der im New York der Nachkriegszeit entstandenen Werke und verfolgt die Frage, welche Bedeutung sie im gesamten Schaffen der Künstler einnehmen. Einen der Ausgangspunkte des Buches bildet dabei die These, dass die schwarzen Gemälde für Durchbrüche und Übergänge im OEuvre der Maler stehen. (Englische Ausgabe ISBN 978-3-7757-1860-8) Ausstellung: Haus der Kunst, München 15.9.2006-14.1.2007
The first site-specific outdoor public sculpture ever to be commissioned for the United States from Anselm Kiefer (b. 1945) was unveiled in 2019 at the top of Rockefeller Center's Channel Gardens, facing Fifth Avenue. Titled 'Uraeus', the work consists of a gigantic open book with eagle's wings 30 feet in span, both made of lead, on top of a 20-foot-tall lead-clad stainless steel column. Clustered around the base of the column are further outsize lead books, while a large snake coils up the column. Lead is one of the artist's preferred materials for its soft, fluid properties traditionally associated with alchemical transformation, especially its second stage: dissolution. In Kiefer's mind alchemy is a symbol for the artist you have to destroy and then recreate. Uraeus extends his vocabulary of striking mythic forms, presented at an arresting new scale. It explores longtime motifs in his work that, in this context and contemporary moment, resonate in powerful new ways. Kiefer is the most prominent German artist of the generation born in or shortly after World War II, a figure of international standing who was recently awarded the J. Paul Getty Medal (2017).
From 1854 to 1855, George Eliot spent eight months in Germany, a period that marked the start of her life with George Lewes. Though Eliot documented this journey more extensively than any other, it has remained an under-researched part of Eliot's biography. In her meticulously documented and engaging book, Gerlinde Röder-Bolton draws on Eliot's own writings, as well as on extensive original research in German archives and libraries, to provide the most thorough account yet published of the couple's visit. Rich in historical, social, and cultural detail, George Eliot in Germany, 1854-55 not only records the couple's travels but supplies a context for their encounters with people and places. In the process, Röder-Bolton shows how the crossing of geographical boundaries may be read as symbolic of Eliot's transition from single woman to social outcast and from translator and critic to writer of fiction.
With more than 1,100 entries written by an international group of over 150 contributors, the Encyclopedia of Contemporary German Culture brings together myriad strands of social, political and cultural life in the post-1945 German-speaking world. With a unique structure and format, an inclusive treatment of the concept of culture, and coverage of East, West and post-unification Germany, as well as Austria and Switzerland, the Encyclopedia of Contemporary German Culture is the first reference work of its kind. Containing longer overviews of up to 2,000 words, as well as shorter factual entries, cross-referencing to other relevant articles, useful further reading suggestions and extensive indexing, this highly useable volume provides the scholar, teacher, student or non-specialist with an astonishing breadth and depth of information.
The frames of classical art are often seen as marginal to the images that they surround. Traditional art history has tended to view framing devices as supplementary 'ornaments'. Likewise, classical archaeologists have often treated them as tools for taxonomic analysis. This book not only argues for the integral role of framing within Graeco-Roman art, but also explores the relationship between the frames of classical antiquity and those of more modern art and aesthetics. Contributors combine close formal analysis with more theoretical approaches: chapters examine framing devices across multiple media (including vase and fresco painting, relief and free-standing sculpture, mosaics, manuscripts and inscriptions), structuring analysis around the themes of 'framing pictorial space', 'framing bodies', 'framing the sacred' and 'framing texts'. The result is a new cultural history of framing - one that probes the sophisticated and playful ways in which frames could support, delimit, shape and even interrogate the images contained within.