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Now, in this volume authored by the art historian Margrit Hahnloser-Ingold, also the couple's granddaughter, the story of this legendary collection is told for the first time. Alongside 250 color plates, The Hahnloser Collectionoffers a chronology detailing the couple's purchases, their travels and their relationships with artists, in an unprecedented insider peek into the world of the Nabis, the Fauves and turn-of-the-century French painting.
The Hahnloser Collection was created in the early twentieth century in close friendly exchange between the collectors Arthur and Hedy Hahnloser-Bühler and their famous artist friends. The publication presents some 120 works providing an overview of this unique international collection of Swiss and French modernism as well as illustrating its exemplary cultural-political character.00The catalogue sheds light on the collectors? close contact with their artist friends including Pierre Bonnard, Ferdinand Hodler, Henri Matisse and Félix Vallotton. It provides an insight into unknown aspects of the artists? lives, their creative work and the motivation and passions of the collectors themselves. Today the collection is largely in the possession of the collectors? heirs or has been donated to the art museums of Bern and Winterthur.00Exhibition: Albertina Museum, Wien, Austria (22.02. - 23.05.2020).
The Private Collector’s Museum connects the rising popularity of private museums with evolving models of collecting and philanthropy, and new inter-relationships between private and public space. It examines how contemporary collectors construct museums to frame themselves as cultural arbiters of global distinction. By exploring a range of in-depth contemporary case studies, the book aims for a more complex understanding of the private collector’s museum, assessing how it is realised, funded and understood in a broader cultural context. It examines the ways in which this particular museum model has evolved within a historical Western tradition of collecting and museum-building, and considers how private museums will endure alongside their public counterparts. It also sheds light on the shifting patterns of collecting, such as the transition of personal art collections into the public sphere. The developments are situated within the wider context of private–public engagement in general. Providing a new analysis of philanthropy, public access and the museum, The Private Collector’s Museum is essential reading for scholars and students interested in the private museum, and key reading for those interested in related issues.
Musee des collectionneurs par excellence, le musee Marmottan Monet a vocation a faire decouvrir des chefs-d uvre provenant des plus prestigieuses collections particulieres. Le remarquable ensemble reuni par les epoux Hedy (1873-1952) et Arthur Hahnloser (1870-1936) figure au premier rang de celles-ci. Installe a Winterthour, non loin de Zurich, ce couple suisse constitue, entre 1906 et 1936, une collection unique en son genre pour orner sa demeure, la Villa Flora. Du 10 septembre 2015 au 14 fevrier 2016, le musee Marmottan Monet cree l evenement et presente cette collection pour la premiere fois en France. A cette occasion, pres de quatre-vingts chefs-d uvre de Bonnard, Vallotton, Vuillard, Van Gogh, Cezanne, Renoir ou encore Matisse, Manguin et Marquet voyageront hors de Suisse pour etre presentes dans l hotel particulier de Paul Marmottan qui sera, le temps d une exposition temporaire, l ecrin de l exceptionnelle collection Hahnloser. En 1898, Hedy Hahnloser-Buhler fait l acquisition de la Villa Flora, imposante demeure bourgeoise de Winterthour, non loin de Zurich. Elle devient avec le temps le lieu ideal pour abriter l importante collection constituee par le couple et mettant l accent sur la peinture francaise postimpressionniste. Elle abrite, depuis 1995, un musee. Durant les annees 1907-1908, aides des architectes wintherthourois Robert Rittmeyer et Walter Furrer, les epoux Hahnloser amenagent un salon specialement concu a la mesure de la batisse, qu ils decorent selon leurs souhaits jusque dans les moindres details. Aujourd hui encore, ce salon, avec son atmosphere si particuliere, marque le point de depart ideal des expositions organisees dans la Villa depuis 1995. Le couple s interesse dans un premier temps aux artistes suisses Giovanni Giacometti et Ferdinand Hodler, et, guide par un sens artistique infaillible, fait l acquisition des plus belles pieces contemporaines de ces artistes. Par l intermediaire du peintre Felix Vallotton installe a Paris, qui fait partie de leurs connaissances et dont ils acquierent des uvres majeures depuis 1908, ils se tournent bientot vers la scene artistique de la metropole francaise. Ils s enthousiasment en particulier pour les uvres de Bonnard et de Vuillard mais prennent aussi fait et cause pour l art des nabis, ces - prophetes d une nouvelle peinture -. Au fil des acquisitions, les Hahnloser ont cherche a documenter, par d autres uvres de premier plan, l environnement dans lequel les artistes qu ils mettent en lumiere evoluent. C est ainsi qu ont ete integrees a la collection des toiles d Henri Manguin et d Albert Marquet, de Manet, Renoir, Van Gogh et de Paul Cezanne ou encore d Odilon Redon, et, un peu plus tard, des travaux d Henri Matisse, avec, pour ce dernier, une preference pour de petits formats et des uvres graphiques d une qualite remarquable. Toutes ces uvres montrent la vitalite de cette collection, essentiellement fondee sur les liens d amitie qui unissent les artistes a leurs collectionneurs. Pour la premiere fois a Paris, le musee Marmottan Monet reunit les quatre-vingts chefs-d uvre de cette collection.Ouvrage edite en coedition avec le musee Marmottan Monet."
Why has Switzerland - a tiny, land-locked country with few natural advantages - become so successful for so long at so many things? In banking, pharmaceuticals, machinery, even textiles, Swiss companies rank alongside the biggest and most powerful global competitors. How did they get there? How do they continue to refresh themselves? Does the Swiss 'Sonderfall' (special case) provide lessons others can learn and benefit from? Can the Swiss continue to perform in a hyper-competitive global economy? Swiss Made offers answers to these and many other questions about the country as it describes the origins, structures and characteristics of the most important Swiss companies. The authors suggest success is due to a large degree to sound entrepreneurial thinking and an openness to new ideas. And they venture a surprising forecast on the country's ability to keep pace in an age of globalisation.
Res is a journal of anthropology and comparative aesthetics dedicated to the study of the object, in particular cult and belief objects and objects of art. The journal presents contributions by philosophers, art historians, archaeologists, critics, linguists, architects, artists, among others.
Animals were a primary source of inspiration and creative stimulation for the Nabi painter Pierre Bonnard (1867-1947): the theme can be found in about a third of the 2,300 paintings created by the artist over the course of his lengthy career. Ubu, Ravageau, Black and Almond were the names of a few of the canine companions that appear in his work; his cats, though never thus identified by name, also frequently populate his canvases. The appearance of other animals, such as horses, fish, chickens and cows, further testify to Bonnard's fundamental affection for the creature world; but their presence in his paintings has never before been directly addressed. This fully illustrated book examines this secret theme running throughout Bonnard's oeuvre, and will prove a delightful revelation for fans of the intimiste master.
"Throughout his long career, Henri Matisse (1869-1954) continually expanded the boundaries of his art. By repeating images in pairs, trios, and series, he conducted an ongoing dialogue with his earlier works in order to, as he put it, "push further and deeper into true painting." In this fresh approach to a much-studied artist, prominent scholars from the United States and Europe examine more than sixty works in concise chapters that focus on this aspect of Matisse's working process. From early pairs such as Young Sailor I and II (1906) and Le Lexe I and II (1907-8) through a series of late studio scenes from Vence (1946-48), Matisse is shown revisiting a given theme with the aim of devising innovative, often radical, solutions to such problems as how to portray light, handle paint, select colors, and manipulate perspective. New technical studies of the early paired works and photographs documenting the evolution of his later paintings help to elucidate Matisse's complex evolution. In numerous excerpts from letters and interviews, he is revealed as an artist who regularly questioned himself and his methods, a man of powerful intellect who regarded each new painting as an adventure. A significant addition to art historical literature, Matisse: In Search of True Painting is a revelatory study of a seminal figure in 20th-century modernism."--Page 4 of cover.
This is the first comprehensive scholarly bibliography/research guide/sourcebook on the major French Fauve painters (Henri Matisse and Georges Braque are treated in separate Greenwood bio-bibliographies). It includes information on 3,120 books and articles as well as chronologies, biographical sketches, and exhibition lists. Each artist receives a primary and secondary bibliography with many annotated entries. Secondary bibliographies include details about each artists' life and career, relationships with other artists, work in various media, iconography, and more. Designed for art historians, art students, museum and gallery curators, and art lovers alike, this volume organizes the vast literature surrounding this fascinating, revolutionary, 20th-century art group. Genuinely new art is always challenging, sometimes even shocking to those unprepared for it. In 1905, the paintings of Matisse, Derain, Vlaminck and their friends shocked conservative museum-goers; hence, the eventual popularity of art critic Louis Vauxcelles's tag les fauves, or wild beasts by which these artists became known. Although it lasted only three or four years, Fauvism is recognized as the first artistic revolution of international consequence in the 20th century. It was based on the glorification of pure saturated colors and the free expression of primitivism. It was a dynamic sensualism; an equilibrium of passion and order, fire and austerity that could not last. By the end of 1908, Fauvism collapsed in the face of Cubism, which, moreover, several Fauve artists helped to form.
Paul Gauguin (1848-1903) played a seminal role in Post-Impressionist France. In his writings and work, he favored emotional responses to nature over intellectual uses of lines, color, and composition. In 1888 he and Emile Bernard developed a new style called Synthetism. Three groups of Gauguin's symbolist followers—Pont Aven, Les Nabis, and Rose + Croix pursued and extended the Synthetist vision. This sourcebook focuses on the most prominent adherents of the three schools directly affected by Gauguin's symbolism. This is the first comprehensive, single-volume guide and bibliography of artists in these three important French avant-garde movements. This work covers the entire careers of 16 artists by providing biographical sketches, chronologies, citations to primary and secondary literature and exhibitions.