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The first comprehensive catalog of an important German-Jewish expressionist painter. On the occasion of the one hundredth anniversary of the artist's birth, this catalogue presents for the first time an overview of Marie-Louise von Motesiczky's paintings in an elegant volume of full color reproductions accompanied by illuminating commentary. Born in Vienna, she studied with Max Beckmann, who became a significant influence on the young artist. Later, in exile in London, Motesiczky grew close to Oskar Kokoschka and became acquainted with some of the leading intellectuals of the twentieth century, including Elias Canetti, with whom she shared a long and intimate relationship. The paintings and drawings in this book explore the artist's transition from the edgy realism of her early years to the softer and more poetic paintings of her later work. Her portraits, for which she is most famous, include compelling self-examinations as well as a moving series devoted to her mother. Essays on Motesiczky's youth in Vienna, her friendship with Beckmann, and her time in London provide crucial background to a unique and fascinating artist whose wider recognition is long overdue.
The Memory Factory introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan: despite men-only policies in its main art institutions, it offered a myriad of unexpected ways for women artists to forge successful public careers. Women artists came from the provinces, Russia, and Germany to participate in its vibrant art scene. However, and especially because so many of the artists were Jewish, their contributions were actively obscured beginning in the late 1930s. Many had to flee Austria, losing their studios and lifework in the process. Some were killed in concentration camps. Along with the stories of individual women artists, the author reconstructs the history of separate women artists' associations and their exhibitions. Chapters covering the careers of Tina Blau, Elena Luksch-Makowsky, Bronica Koller, Helene Funke, and Teresa Ries (among others) point to a more integrated and cosmopolitan art world than previously thought; one where women became part of the avant-garde, accepted and even highlighted in major exhibitions at the Secession and with the Klimt group.
Eighteen new articles on the works of Goethe and other authors of the Goethezeit, along with the customary book review section. The Goethe Yearbook is a publication of the Goethe Society of North America. It publishes original contributions to the understanding of Goethe and other authors of the Goethezeit. Its book review section evaluates awide selection of publications on the period, and is important for all scholars of 18th-century literature. The eighteen articles in this volume treat a wide range of topics. The volume opens with the last work of the late StuartAtkins, on Renaissance and Baroque elements in Faust, and proceeds to a critical appreciation of the Goethe scholarship of the late Géza von Molnár, before offering Molnár's last essay, also on Faust. A number of articles explore questions of the "Ich," the Ego, and subjectivity in the writings of Goethe and of others of his age such as Rousseau, Moritz, Fichte, and Novalis. Three articles deal with Faust, one with Götz von Berlichingen's Weislingen, one with the genealogy of the poem 'Auf dem See, ' and one with Egmont. An article focuses on the women figures in Wilhelm Meister, and there is a short story titled 'Mignon' by Irmgard ElsnerHunt. Other articles explore Grillparzer's Sappho, Wilhelm Müller's Lieder der Griechen, and Karls Enkel's Dahin! Dahin! Ein Göte-Abend. There is also a Laudatio to Daniel Barenboim in addition to the customary book review section. Contributors: Stewart Atkins, Katharina Mommsen, Peter Fenves, Géza von Molnár, Fritz Breithaupt, Anthony Krupp, Elliott Schreiber, Edgar Landgraf, Horst Lange, Volker Kaiser, Rainer Nägele, Martha B. Helfer, Marion Schmaus, Brigitte Prutti, Charles A. Grair, Lorna Fitzsimmons, Irmgard Elsner Hunt. Book review editor is Martha B. Helfer. Simon J. Richter is associate professor of German at the Universityof Pennsylvania.
Graphic artist, illustrator, painter, and cartoonist Rahel Szalit (1888–1942) was among the best-known Jewish women artists in Weimar Berlin. But after she was arrested by the French police and then murdered by the Nazis at Auschwitz, she was all but lost to history, and most of her paintings have been destroyed or gone missing. Drawing on a range of primary and secondary sources, this biography recovers Szalit’s life and presents a stunning collection of her art. Szalit was a sought-after artist. Highly regarded by art historians and critics of her day, she made a name for herself with soulful, sometimes humorous illustrations of Jewish and world literature by Sholem Aleichem, Heinrich Heine, Leo Tolstoy, Charles Dickens, and others. She published her work in the mainstream German and Jewish press, and she ran in artists’ and queer circles in Weimar Berlin and in 1930s Paris. Szalit’s fascinating life demonstrates how women artists gained access to Jewish and avant-garde movements by experimenting with different media and genres. This engaging and deeply moving biography explores the life, work, and cultural contexts of an exceptional Jewish woman artist. Complementing studies such as Michael Brenner’s The Renaissance of Jewish Culture in Weimar Germany, this book brings Rahel Szalit into the larger conversation about Jewish artists, Expressionism, and modern art.
This extraordinary book documents the therapeutic journey taken by Rut, a childhood victim of sexual abuse, from her suppressed childhood pain to her artistic expression of the trauma. Her pictorial work created during her psychotherapy enables her in her speechlessness and depression to recapture the story of her childhood, and, in dialogues with her psychotherapist, to integrate it into her everyday life. Rut's pictures and texts give direct evidence of the trauma of sexual abuse; they make it perceptible, arouse empathy, demonstrate its psychological consequences, and at the same time show a way to work through the trauma. In the second part of the book, the two co-authors, both psychotherapists, discuss the creative process and pictorial work in an art-therapeutic and scientific setting, thus establishing a theoretical background. This book delineates part of Rut's psychological healing process, and is of great interest to professionals and students in psychology, psychotherapy, psychiatry and medicine, as well as art therapy, education, social work and spiritual counseling.
Essays om filipinsk litteratur
This volume discusses a variety of aspects of cross-curricularity in language learning and teaching. It highlights the multidimensional character of language classes conducted at different educational levels, from pre-school to the university level, and discusses several important issues from a theoretical perspective, providing certain practical solutions and implications to the enumerated problems. The material of the book is divided into four parts, essentially reflecting the main areas of interest here. These parts deal with such notions as language learning and teaching; media in foreign language didactics; art and literature in language education; and (inter-)culturality and cross-curricularity in language learning and teaching. The book will be particularly useful to teacher-practitioners and scholars interested in various forms of integrating the content of different school subjects in language education.