Movements

By Leah Dickerman "Dickerman urges against defining abstraction in terms of forward progress...less interested in the invention of abstraction than abstraction as invention. The main impact of this horizontalist approach is geographic, bringing peripheral sites into focus without denying the importance of major hubs." —Daniel Marcus, Art in America"Featuring twenty-four contributors, this MoMA catalogue explores the evolution of early modernist abstraction across various mediums, countries and movements." —Arne Glimcher, Art in AmericaIn 1912, in several European cities, a handful of artists—Vasily Kandinsky, Frantisek Kupka, Francis Picabia, and Robert Delaunay—presented the first abstract pictures to the public. Inventing Abstraction, 1910–1925 celebrates the centennial of this bold new type of artwork, tracing the development of abstraction as it moved through a network of modern artists, from Marsden Hartley and Marcel Duchamp to Piet Mondrian and Kazimir Malevich, sweeping across nations and across media. The exhibition brings together many of the most influential works in abstraction’s early history and covers a wide range of artistic production, including paintings, drawings, books, sculptures, films, photographs, sound poems, atonal music, and non-narrative dance, to draw a cross-media portrait of these watershed years.This richly illustrated publication covers a wide range of artistic production—including paintings, drawings, books, sculptures, film, photography, sound poetry, atonal music, and non-narrative dance—to draw a cross-media portrait of these watershed years. An introductory essay by Leah Dickerman, Curator in the Museum’s Department of Painting and Sculpture, is followed by focused studies of key groups of works, events, and critical issues in abstraction’s early history by renowned scholars from a variety of fields.Hardcover376 pagesMoMA, 201312 x 9.5 x 1 inchesISBN 9780870708282Exhibition Catalogue, Art History, Abstraction, Essays

Inventing Abstraction, 1910-1925

Edited by Museum Bellrive Zürich and State Collection of Prints and Drawings Munich Art historians regard Hermann Obrist (1863–1927) as one of the most influential founders and visionaries of the Art Nouveau movement in Germany. His diverse oeuvre includes tapestries, ceramics, furniture designs, metal work, and sculptures including monuments and fountains. Hermann Obrist: Sculpture, Space, Abstraction around 1900 presents for the first time in English the entire scope of Obrist’s work. This vibrantly illustrated volume presents exemplary work from each period of Obrist’s career. In addition to the illustrations, the book includes essays by expert critics who investigate Obrist’s ideas and concepts, the inspirations for abstract designs that he derived from natural forms and phenomena, and his plans for tombs and monuments. Though many of Obrist’s designs for fountains were unrealized and the majority of his tombs and monuments have been destroyed, this comprehensive volume documents the entire collection of plaster models and photographs for both unrealized and destroyed sculpture work. Created to accompany exhibitions at the Museum Bellerive in Zurich and at the Pinakothek der Moderne in Munich, Hermann Obrist: Sculpture, Space, Abstraction around 1900 is an informative collection that will fascinate scholars and historians of the Art Nouveau movement. Hardcover240 pagesBilingual edition; Text in German and EnglishScheidegger and Spiess, 20098 x 0.9 x 10 inchesISBN 9783858812391Exhibition Catalogue, Art Nouveau, Design

Hermann Obrist: Sculpture, Space, Abstraction around 1900

By Alfred Ehrhardt "...an island of tranquil beauty in a cultural sea that was becoming increasingly barbaric." —Martin Parr, The PhotobookThe reprint of the book Das Watt (The Tidelands) from 1937, as an exclusive facsimile edition by Éditions Xavier Barral...is an ode to nature and a masterpiece of book art." —BINT, Photobooks Alfred Ehrhardt (1901–1984) taught at the Bauhaus between 1928 and 1933 alongside scenographer Oskar Schlemmer and painters Josef Albers and Wassily Kandinsky. Accused of Bolshevism in 1933 by the Nazis, Erhardt was forced to leave the Bauhaus. At that time he was working in painting, drawing and printmaking, but his exile precipitated a turn toward photography and film, of which the fundamentals he taught himself. In 1934, after leaving Germany, Ehrhardt produced his first photographic reportage—a series of spare, enigmatic images taken on the windswept sand dunes of the Curonian Spit along the Lithuanian-Russian border. This gorgeously produced book presents his works from that time. Strongly influenced by his years of modernist training at the Bauhaus, Ehrhardt’s photographs focus on the clear geometric patterns abundant in this seaside wilderness. Maritime landscapes, shells, corals and crystals offered a plethora of subjects from which Ehrhardt could produce stark, stylized compositions. Hardcover96 pagesText in German, French, and EnglishEditions Xavier Barral, 20140.8 x 10 x 12 inchesISBN 9782365110266Landscape Photography, Experimental Photography, Bauhaus

Alfred Ehrhardt: Das Watt

By Klaus-Jürgen Sembach “A picture of artistic revitalization.” ―PerspectiveFor a fruitful period between the 1880s and the First World War, European and North American culture deferred to nature. With a symphony of flowing lines and organic shapes, Art Nouveau (“New Art”) inflected architecture, design, painting, graphic work, applied arts, and illustration.With a spirit of willful reform, its practitioners sought to distance themselves from the imitative historicism that characterized much 19th-century art and replace it with undulating, decorative qualities. Turning to vine tendrils, flowering buds, and bird feathers as ornamental reference, they pursued not only a linear freedom but also liberation from the weight of artistic tradition and expectation.At the same time, Art Nouveau followed the example of the earlier English Aesthetic and Arts and Crafts movements to reject established hierarchies of artistic practice, to emphasize a return to hand-craftsmanship, and to synthesize artistic media and practices into a Gesamtkunstwerk, or total work of art. In this, as in its turn to nature, Art Nouveau is often seen as an aesthetic response to the Industrial Revolution, a recoil from the mass-produced and mechanic, and an elevation of the human hand and wonders of the great outdoors.This fresh TASCHEN edition considers Art Nouveau as a broad historical phenomenon with distinct local features. We consider the style’s wider artistic, economic, and political circumstances, as well as its particular flavor in such hubs as Vienna, Glasgow, Munich, Weimar, and Chicago. Outstanding proponents such as Victor Horta, Antoni Gaudí, and Charles Rennie Mackintosh are featured in connection with the cities of their greatest activity. The result is a vivid portrait of the age and a movement that is as much entrenched in our imagination of the fin de siècle as it is in the trajectory of modernism. Please note that Rare/Out-of-Print titles are very limited in stock.Hardcover240 pagesTaschen; 25th Anniversary Ed., 20169.7 x 0.8 x 12.1 inchesISBN 9783836520966Art Nouveau, Gesamtkunstwerk, Art History

Art Nouveau

By Uta Hasekamp Art Nouveau was a phenomenon with many faces. Between 1890 and 1910, artists developed a variety of styles from the plant-like forms of the Belgian-French Art Nouveau to the ornamentation of the Viennese Secession. They were all striving to create a new, modern style and pursued a comprehensive renewal of art and, in some countries, a renewed national identity. Hardcover264 pagesKoenemann, 201910.6 x 0.9 x 12.2 inchesISBN 9783955883010Art Nouveau, Design

By Norbert Wolf "The Art Nouveau movement covered it all--decorative arts, architecture, fashion, dance, advertising and more--and this book seeks to restore the movement's prominence in the discussion of modern art." —Los Angeles Times"The book explores the origins of art nouveau, possible theories as to its demise, and the all-important quandary that has plagued art historians for over a century: Is art nouveau a true artistic period?" —The Washington Post"Tall, narrow, with an elegant linear design like that of the aesthetic it celebrates, this book is a gorgeous object, with top-quality reproductions. Norbert Wolf’s commentary is provocative, broad and deep, illuminating links between artists, architects and designers as diverse as Munch and Mondrian, Gaudí and Gallé." —Jackie Wullschlager, Financial TimesThis sumptuous volume explores key aspects of Art Nouveau—decorative arts, architecture, fashion, dance, advertising, and more—with an in-depth approach and stunning illustrations. The Art Nouveau movement became an international phenomenon at the beginning of the twentieth century that ushered in the era of modernity in almost every aspect of cultural life. For decades critics have argued that Art Nouveau was not an artistic period in its own right, but an amalgam of artists and styles that served as a bridge between neoclassicism and modernism. In this comprehensive, authoritative, and copiously illustrated book, art historian Norbert Wolf explores Art Nouveau as a logical outgrowth of the historic forces in which it arose. This book focuses on the movement's wide variety of applications and reclaims its prominence in the pantheon of modern art history. Chapters on aesthetics, spirituality, and the cult of beauty offer luminous examples of works by Mucha, Gaudi, Hoffman, Klimt, Horta, Munch, and Tiffany, among many others. Wolf's text is both informed and accessible, providing an exciting narrative that brings the Art Nouveau movement into clear focus. Beautifully produced to appeal to a wide range of readers, this new volume gives one of the world's most popular styles the serious consideration it deserves. Hardcover304 pages, 241 color illustrationsPrestel Publishing, 20158.9 x 1.2 x 12.7 inchesISBN 9783791381558Art Nouveau, Aesthetics

By Alastair Duncan A noted expert in his field, Alastair Duncan examines the rise and fall of a “new art” that was not only a style of architecture, furniture, glass, and other applied arts, but a social and cultural movement. At the end of the nineteenth century, the movement began as a reaction by artists and designers to the cult of Victorian revivalism and an artistically limiting traditionalism. The daringly different designs of such artists as Tiffany, Morris, and Lalique, to name a few, were celebrated by the newly affluent middle class in Europe, yet the “new art” fell into obscurity after the First World War, and was finally revitalized in the 1960s. Duncan places the contributions of Art Nouveau’s pioneers within their historical context and gives a detailed account of their approaches and their works Paperback216 pagesThames & Hudson, 19946 x 0.7 x 8.3 inchesISBN 9780500202739Art Nouveau

Art Nouveau (World of Art)

By Riichi Miyake Photography by Keiichi Tahara At the turn of the 20th century, architecture took an imaginative leap. As new construction materials and technologies met such far-flung stimuli as the Far East, Nirvana, and the unleashed unconscious of Freudian psychoanalysis, buildings by the likes of Gaudí, Horta, Hoffmann, Loos, and Mackintosh instilled structure with the sinuous lines of nature, surfaces with a fairy tale shimmer, and spaces with an ethereal wash of light or shadowy, mysterious hush.In this dramatic portfolio, architectural photographer Keiichi Tahara travels across Europe to present the finest examples of this Art Nouveau architecture. From the glamorous facade of the Grand Hotel Europa to the elaborate sweep of a staircase or the perfect poise of a single chandelier, Tahara captures the intricate details as much as the holistic spatial effects of these ambitious, marvelous structures. With an eye attuned to the style’s organic detailing, he surveys its floral patterns, vine-like balustrades, and the soft, hollow interiors that seem to summon us into some primordial place.Drenched in sunshine or draped in dramatic shadows, Tahara’s pictures excel in evoking not only the unrivalled aura of these buildings but also the particular, fin-de-siècle spirit of their age, caught on the axel of a century, and characterized by reflection and yearning, as much as technological, philosophical, and political advance. Texts by Riichi Miyake accompany Tahara’s pictures to describe the buildings’ floor plans, designs, and the broader context of their dreamlike environments. Hardcover966 pages (spanning 3 volumes)Text in English, French, and GermanTaschen, 201712 x 5.5 x 17.5 inchesISBN 9783836530576Fin-de-Siècle, Art Nouveau, Architecture

Keiichi Tahara: Architecture Fin-de-Siècle

By Petr Wittlich and Jan Malý Since the collapse of the Iron Curtain in 1991, Prague has become one of Europe’s—and the world’s—most popular tourist destinations. As in London, Paris, and Rome, visitors flock to the gorgeous buildings and monuments that grace the streets of Prague, entranced by structures ranging from Gothic and baroque to cubist and neoclassical. And while hundreds of thousands stroll over the Charles Bridge and gaze up at the St. Vitus Cathedral each year, far fewer venture away from the crowds to seek out the countless gems of art nouveau peppered throughout Prague. With Art-Nouveau Prague, Petr Wittlich—one of Europe’s leading experts on nineteenth- and twentieth-century architecture—tours those monuments and buildings of Prague representative of the art nouveau movement and offers insightful commentary on each. Along the way, Wittlich visits such sites as the Municipal House, the Wilson Railway Station, the Grand Hotel Europa, and works by sculptors František Bílek, Ladislav Šaloun, and Stanislav Sucharda. An introductory essay by Wittlich emphasizing the role of art nouveau within contemporary currents of modern European art accompanies more than one hundred color illustrations of some of the most stunning examples of art nouveau architecture and decoration in existence, and a detailed bibliography provides additional reading for each of the sites displayed in the book. Paperback135 pagesKarolinum Press, Charles University, 20098 x 0.4 x 10 inchesISBN 9788024613468Prague, Art Nouveau

Art-Nouveau Prague

Original Price: $60 UP TO 20% ADDITIONAL SAVINGS FOR MEMBERS Please note that this book is shelf-worn. Edited by Valerio Terraroli Contributions by Gabriella Belli, Carlo Bertelli, Germano Celant, Ester Coen This monumental art reference series will offer a complete and up-to-date survey of the major movements and art phenomena of the 1900s and the first years of the new millennium in an original interdisciplinary analysis of artistic culture. It provides an extraordinary repertory of images and a vast source of information, enriched fact-finding windows and technical information compiled by experts. This first volume in the series highlights the artistic situation at the beginning of the last century and explores the different artistic choices taken in the search for modernity and of art as a total experience. Volume 1 examines avant-garde movements in the years between 1900 and 1901—the Fauves, the Cubists and others—both as complex syntheses of nineteenth century artistic culture and as alternatives to the traditional language of figurative art. The period examined starts with emblematic moments such as the Great Exhibition in Paris, which opened a century of technological marvels, and closes with the end of the initial phase of the Dada movement and the foundation of the Bauhaus school. Hardcover456 pages | 379 color illustrationsSkira Publishing, 20068.6 x 1.5 x 11.3 inchesISBN 9788876246043Avant-garde

Art of the Twentieth Century; 1900-1919 The Avant-garde Movements

Edited by Detlef Mertins and Michael W. JenningsFirst published in 1923, the journal G: Material zur Elementaren Gestaltung (G: Materials for Elemental Form-Creation) helped shape a new phase in the history of the European avant-garde. Founded by Hans Richter, a pioneer of abstract animated film, G featured works by some of the important names in the advanced cultures of Europe: Hans Arp, Walter Benjamin, Theo van Doesburg, Viking Eggeling, Naum Gabo, Werner Graeff, George Grosz, Hugo Häring, Raoul Hausmann, Ludwig Hilberseimer, Frederick Kiesler, El Lissitzky, Ludwig Mies van der Rohe, Antoine Pevsner, Man Ray, and Tristan Tzara.This edition, the first in English translation, preserves the original design by Lissitzky, Richter, and Graeff, and includes essays that explore the role of the journal in its time and in relation to contemporary culture. An introduction analyzes the principles of the journal, situates it in the culture of the early 1920s, and evaluates its achievements. Please note that Rare/Out-of-Print titles are very limited in stock.Hardcover280 pages | 22 color and 118 black-and-white illustrations, 2 four-page folded insertsGetty PublicationsISBN 9781606060391Art History, Avant-Garde, Essays

G: An Avant-Garde Journal of Art, Architecture, Design, and Film, 1923-1926

By James M. BradburneWhen a puppet breaks the "fourth wall"- that is, the capacity for emotional involvement of a successful performance - it wins the trust of the audience, giving the show the power to blur the division between stage and world, between art and life. Understanding this were those artists, leading figures in the world of Art and Figure Theater, who looked to "creative play" as a source of aesthetic inspiration to seek new modes of visual expression.This volume and the accompanying exhibition Puppets and the Avantgarde. Picasso - Depero - Klee - Sarzi, curated by James M. Bradburne - from November 2023 at the Fondazione Palazzo Magnani in Reggio Emilia - open up a space for the imagination by tracing the cultural and social role of puppets in the European avant-garde at the beginning of the 20th century. An itinerary that places alongside the great names of Pablo Picasso, Fortunato Depero and Paul Klee, that of Otello Sarzi, a poetic figure who marked the artistic and educational history of Reggio Emilia. In order to understand their appeal, puppets are examined in the broadest sense: puppets operated from above – common in the palaces of princes and the drawing rooms of the bourgeoisie; and puppets manipulated from below – inhabitants of the popular world of fairs and the public square.Hardcover324 pagesText in Italian and EnglishIdea Books, 202325.5 x 21.5 cmISBN 9791254930762Movements, Avant-Garde

Puppets and the Avantgarde | Marionette e Avan Guardia

By Victor Margolin "An ambitious effort. This book puts the masters of European Modernism into perfect focus as inventors, propagators, and practitioners of a visual language that continues to hold sway over contemporary graphic style."—Steven Heller"Worth the wait. . . . Margolin usefully presents what he calls the ’failed hope’ of this movement in this valuable effort."—Publishers Weekly Following World War I, a new artistic-social avant-garde emerged with the ambition to engage the artist in the building of social life. Through close readings of the works of Alexander Rodchenko, El Lissitzky, and László Moholy-Nagy whose careers covered a broad range of artistic practices and political situations, Victor Margolin examines the way these three artists negotiated the changing relations between their social ideals and the political realities they confronted. Focusing on the difficult relationship between art and social change, Margolin brings important new insights to the understanding of the avant-garde's role in a period of great political complexity. Paperback276 pagesUniversity Of Chicago Press, 19979.2 x 6.4 x 0.6 inchesISBN 9780226505169Art History, Avant-Garde

The Struggle for Utopia: Rodchenko, Lissitzky, Moholy-Nagy, 1917-1946

Original Price: $50.95 UP TO 20% ADDITIONAL SAVINGS FOR MEMBERS Edited by Timothy O. Benson and Éva Forgács The avant-garde movements of Central Europe were an integral part of modernism’s evolution as it reached its peak throughout the continent during the 1920s. Written documents—manifestoes, artists’ statements, and reviews—were the lifeblood of these movements and, during the periods when political events conspired to isolate them, one of their few means of communication and exchange. Much of this crucial evidence has become lost to us, and the artistic avant-gardes of Central Europe have been a blind spot of modernist studies. Until their narratives have been recovered, the story of modernism will remain incomplete. In this book an international team of scholars has selected an essential compendium of documents that take an important step toward regaining this lost perspective. Between Worlds contains primary documents of the avant-gardes in Austria, the Czech lands, Germany, Hungary, Poland, Romania, and Yugoslavia from 1910 to 1930. The manifestoes and magazines of Western European radical art circles are well known to Western scholars, but few have researched the pages of magazines such as Zenit, Integral, Punct, 75 HP, Tank, and Ma. We know about Italian Futurism but not about Polish Futurism. Few Westerners are aware that French surrealist magazines drew much of their inspiration from Czech publications. The hundreds of documents in the book, almost all of them translated into English for the first time, bring back into circulation landmark texts by the major writers, editors, artists, magazines, and movements of Central Europe. With this publication they are restored to their rightful place in the pantheon of modernism. Between Worlds is distributed for the Los Angeles County Museum of Art. Please note that Rare/Out-of-Print titles are very limited in stock. Hardcover736 pages | 32 illustrationsMIT Press, 20026.6 x 2 x 9.9 inchesISBN 9780262025300Avant-garde, Modernism

Between Worlds: A Sourcebook of Central European Avant-Gardes, 1910-1930

By Steven Heller "Magazine design connoisseurs will go wild for Steven Heller's Merz to Emigré and Beyond...Laden with beautifully ground breaking print designs...Beautifully realized, Heller's not-so-secret history is one to be read on many differing levels." —i-D"A well-illustrated, impeccably researched and chronological study, this book looks set to be the definitive volume on its subject." —Grafik"It will provide everyone from design students, art historians, academics and coffee-table/armchair connoisseurs with a visually breathtaking reference book, as well as a thorough and engaging read." —Fernando Guitiérrez, partner at the Pentagram design agency, London, Creative Review Merz to Emigré and Beyond is a historical survey of avant-garde cultural and political magazines and newspapers all the way from the early twentieth century to the present day. The book features a unique selection of international publications from Europe and the USA including Merz (1920s), View (1940s), East Village Other (1960s), Punk (1970s), Raw (1980s) and Emigré (1990s). The design of these magazines, often raucous and undisciplined, was as ground breaking as the ideas they disseminated. Many were linked to controversial artistic, literary and political movements, such as Dada, Surrealism, Modernism, the New Left and Deconstruction. They contain the work of many leading experimental artists and designers of their time—from Kurt Schwitters and El Lissitzky in the 1920s and 30s, to Art Spiegelman and Rudy Vander Lans in the 1980s and 90s.Paperback240 pages | 500 Illustrations Phaidon Press, 201410 x 1 x 11.5 inchesISBN 9780714865942Graphic Design, Cultural Studies, History

Merz to Emigre and Beyond

Edited by Eric Dluhosch and Rostislav Svacha "Tiege was at one and the same time both an agent provocateur and seismograph, at once provoking action and debate and yet simultaneously reacting with the utmost sensitivity to the shifting political spectrum of his time." —Kenneth Frampton Karel Teige (1900-1951), a leading figure of the avant-garde of the 1920s and 1930s, participated in every important argument and controversy of those turbulent years. He edited the most influential avant-garde journals on Czech and international cultural affairs and wrote profoundly original essays and books on the theory and criticism of art and architecture. He also produced paintings, collages, photomontages, film scripts, book covers, and typefaces and participated in theatrical performances. When the Communists took over Czechoslovakia in 1948, Teige was first hailed as a progressive, then denounced for not toeing the party line—even though he was never a card-carrying member of the Communist Party. He died a broken man, forbidden to speak out or to publish. Since the recovery of his work after the "velvet revolution" of 1989, his legacy has been revived not only in Prague, but also in Western Europe and the United States. Teige firmly believed in an ars una, free of the artificial separation of one branch of the arts from the other. The concept of ars una is reflected in the essays of this book, which provide intellectual riches without overly compartmentalized attempts at "academic" criticism. Because the only significant writing by Teige to appear so far in English is his well-known argument with Le Corbusier, the Mundaneum Affair, four essays by Teige have been included. Contributors: Polana Bregantová, Lenka Bydzovská, Rumjana Daceva, Eric Dluhosch, Vojtech Lahoda, Miroslav Petrícek, Jr., Klaus Spechtenhauser, Karel Srp, Rostislav Svácha, Daniel Weiss Please note that Rare/Out-of-Print titles are very limited in stock.Hardcover446 pagesMIT Press, 19999.6 x 10.1 x 1.3 inchesISBN 9780262041706Artist Monograph

Karel Teige / 1900-1951;  L'Enfant Terrible of the Czech Modernist Avant-Garde

By Magdalena Droste In a fleeting fourteen year period, sandwiched between two world wars, Germany’s Bauhaus school of art and design changed the face of modernity. With utopian ideals for the future, the school developed a pioneering fusion of fine art, craftsmanship, and technology to be applied across painting, sculpture, design, architecture, film, photography, textiles, ceramics, theatre, and installation.As much an intense personal community as a publicly minded collective, the Bauhaus was first founded by Walter Gropius (1883–1969), and counted Josef and Anni Albers, Wassily Kandinsky, Paul Klee, Oskar Schlemmer, Gunta Stölzl, Marianne Brandt and Ludwig Mies van der Rohe among its members. Between its three successive locations in Weimar, Dessau and Berlin, the school fostered charismatic and creative exchange between teachers and students, all varied in their artistic styles and preferences, but united in their idealism and their interest in a “total” work of art across different practices and media.This book celebrates the adventurous innovation of the Bauhaus movement, both as a trailblazer in the development of modernism, and as a paradigm of art education, where an all-encompassing freedom of creative expression and cutting-edge ideas led to functional and beautiful creations. Hardcover96 pagesTaschen, 20158.4 x 0.5 x 10.4 inchesISBN 9783836560146Applied Arts, Bauhaus

Bauhaus (Basic Art Series 2.0)

Original Price: $60 UP TO 20% ADDITIONAL SAVINGS FOR MEMBERS By Marion von Osten "Lavishly illustrated" —SWISS Featuring the latest research commissioned on the occasion of the Bauhaus centenary, this book explores the global influence of the renowned Bauhaus school of arts and its famed artists.Bauhaus Imaginista marks the centennial anniversary of this fascinating and popular school of art, which championed the idea of artists working together as a community. The Bauhaus reconnected art with everyday life and was active in the fields of architecture, performance, design, and visual art. Founded by Walter Gropius, its faculty included such luminaries as Paul Klee, Wassily Kandinsky, László Moholy-Nagy, and Josef Albers.Placing emphasis on the international dissemination and reception of the Bauhaus, this book expresses the Bauhaus’ influence, philosophy, and history beyond Germany. Rethinking the school from an international perspective, it sets its entanglements against a century of geopolitical change, as many of its artists fled World War II Germany. Bauhaus Imaginista takes readers on a global visual tour of Bauhaus influence from art and design museums to campus galleries and art institutes in India, Japan, China, Russia, Brazil, Berlin, and the United States.Hardcover312 PagesThames & Hudson, 20199.8 x 1.3 x 12.4 inchesISBN 9780500021934Bauhaus, Art History, Architecture, Design

Bauhaus Imaginista

By Frank Whitford The aesthetic of our contemporary environment, including everything from housing estates to furniture and newspapers, is partly the result of a school of art and design founded in Germany in 1919, the Bauhaus. While in operation for only fourteen years, shut down by the Nazis in 1933, the school left an indelible mark on design and the practice of art education throughout the world. Placing Bauhaus into its sociohistorical context, Frank Whitford traces the ideas behind the school’s conception and describes its teaching methods. He examines the activities of the teachers—who included eminent artists such as Paul Klee, Josef Albers, and Wassily Kandinsky—and the daily lives of the students. Reissued and revised to mark the centenary of the founding of the Bauhaus, this is an accessible introduction to perhaps the most significant design movement of the last hundred years. Paperback226 pagesThames and Hudson, 2019 5.9 x 8.3 x 0.7 inches ISBN 9780500204436Bauhaus

Bauhaus (Anniversary Edition)

By Mark Escherich, Elke Dallmann, Susanne Knorr, Ulrich WielerIn 2019, the Bauhaus institutions are celebrating the 100th anniversary of the founding of the pioneering school. In the six years up to the move to Dessau in 1925, the first Bauhaus in Weimar left few but notable traces, even beyond the city limits throughout Thuringia. In addition to the World Heritage Sites of the Bauhaus in Weimar, the unknown Bauhaus is in hidden places in Erfurt, Probstzella, Gera or Greiz. In rural areas, former Bauhäusler and their students devoted themselves to projects that in many cases have been unjustly forgotten. The volume invites you to search for clues, to get to know the unknown, early Bauhaus in its effects and after-effects. For example, it is the work and production facilities in the state that ensured that the Bauhaus idea was embedded in the school environment well beyond the Bauhaus in Weimar. Bauhaus coordinates weaves a network of what is built and designed, of events and people, creating a vivid picture of the Weimar Bauhaus era and its most important places of activity in the region, which want to be rediscovered 100 years after the founding of the Bauhaus. Mark Escherich, Elke Dallmann, Susanne Knorr and Ulrich Wieler With a foreword by Gerd Zimmermann With an inserted folding map of the Bauhaus locations in Weimar and Thuringia.Paperback104 pages | 52 black-and-white illustrationsText in GermanIdea Books, 20194.17 x 0.47 x 6.1 inchesISBN 9783944425108Art History, Design

Bauhaus-Koordinaten

Original Price: $40.00 UP TO 20% ADDITIONAL SAVINGS FOR MEMBERS By Erik Schmitt American Bauhaus creates a space for the history of Black Mountain College, which provided a new creative home for many World War II refugees in Europe from 1933 to 1957 and allowed the Bauhaus to live on in the United States. A unique place of freedom and creativity that became home to some of the most important artists of the 20th century! In 1992, the Partner and Creative Director at studio1500 Erik Schmitt attended the reunion of Black Mountain College in San Francisco. The school is credited with shaping some of the greatest artists in American history: Willem de Kooning, John Cage, Merce Cunningham, Buckminster Fuller, Franz Kline, and Robert Rauschenberg among them. Schmitt was invited because his two aunts and their family friend Ruth Asawa attended BMC. He took extensive notes that day and took photographs at the cocktail party after the event at Ruth Asawa’s home. Those quotes and photographs are the foundation of the book American Bauhaus. Each quote has a page devoted to it. The quote is presented in its entirety along with the time it was uttered. A fragment of the quote is also reproduced at a large scale bleeding off the edge of the page and traveling onto the following spread. In essence, it is an evocation of the interplay of the conversation that took place on that day. The name of the book, American Bauhaus was inspired by a quote Erik Schmitt recorded on the day of the reunion by Peter Oberlander who remembered Joseph Albers saying “Black Mountain is a minimal version of the Bauhaus…Go there.” Paperback112 pagesSlanted Publishers, 20227.01 x 10.04 x 0.39 inchesISBN 9783948440381 Black Mountain College, American Art

American Bauhaus: Eames, Albers, Gropius, Kline, Rauschenberg, Asawa

By Gerda Breuer, T'ai Smith, Eva Forgacs, John Maciuika, Rafael Cardoso, Joseph Grima, Julia Bryan-Wilson, Martino Gamper, and Sara Ouhadou; edited by Regina Bittner and Reneé Padt Amid all the hammering, planing, sawing and weaving, the workshops at the Bauhaus Dessau must have been quite loud and active spaces. Craft Becomes Modern: The Bauhaus in the Making looks at the Bauhaus from the perspective of this noisy activity―handcraft. No term was more fiercely disputed there. Although conceived as “laboratories for industry,” a great deal was still done by hand in the Dessau workshops. Workshops at the Bauhaus straddled the different priorities and practical realities at play, falling somewhere between factory and craft business, between free experimentation and industrial contract work. From this field of tension, the Bauhaus tried to define handcraft anew as a utopian pursuit that could coexist with industrial culture. The Bauhaus’ interest in industrialization has been thoroughly studied; the persistence of craft among its teachers and students much less so. Craft Becomes Modern surveys this aspect of the Bauhaus’ teaching and work, and puts it in historical context. And these debates are far from over―this volume includes contributions from a range of contemporary design theorists and practitioners, including Julia Bryan-Wilson, Martino Gamper, John Maciuika, Rafael Cardoso, Joseph Grima, Gerda Breuer, T’ai Smith, Eva Forgacs and Sara Ouhadou, offering new insights for understanding handcraft in the 21st century. Please note that Rare/Out-of-Print titles are very limited in stock. Hardcover252 pagesKerber, 20178.3 x 0.8 x 11.5 inchesISBN 9783735603432Bauhaus, Contemporary Design

Craft Becomes Modern: The Bauhaus in the Making

By Oliver Zybok, et al.Works from the Stifting Bauhaus Dessau CollectionDespite the famous pedagogical philosophy and teachers of the Bauhaus, the school’s students have never received their due recognition. This historic publication includes works by Theo Balden, Eugen Batz, Max Bill, Marianne Brandt, Werner Drewes, Werner Gilles, Werner Graeff, Carl Marx, Erich Mende, Karl Peter Röhl, Wera Meyer-Waldeck and Fritz Winter.Hardcover192 pages | 179 color illustrationsText in English and GermanHatje Cantz, 20149.1 x 0.8 x 11.2 inchesISBN 9783775736008Bauhaus, Art Theory, Anthology

Bauhaus. Die Kunst der Schüler (Bauhaus. The Art of the Students)

Edited by Walter Gropius and László Moholy-Nagy. A facsimile of the gorgeous Bauhaus edition of Malevich's classic treatise on Suprematism. Kasimir Malevich (1879–1935) debuted his new creative theory of basic geometric shapes with the publication of his Suprematist manifesto in 1915. He later published a follow-up entitled The Non-Objective World in 1927, which further elucidated his vision of an art that emphasized the “primacy of pure feeling.” With Suprematism, Malevich strove to move his artistic focus away from representation, choosing instead to evoke emotion through a fundamental grammar system of squares, circles and other basic shapes. Though he was not an official member of the Bauhaus, Malevich’s emphasis on simplified forms provided an important link between the school of design and the Suprematist movement.As part of the publisher’s ongoing Bauhausbücher series, Lars Müller’s facsimile edition of Malevich’s text is translated into English with the original design and typography. Hardcover102 pages | 92 black-and-white illustrations7 x 9 inchesLars Müller Publishers, 2021ISBN 9783037786642Bauhaus, Facsimile

Kasimir Malevich: The Non-Objective World (Bauhausbücher 11)

Edited by Ute Eggeling & Michael Beck With essays by Volker Adolphs, Tayfun Belgin, Eva Dewes, Janina Dahlmanns, Mara Folini, Helmut Friedel, Gisela Geiger, Cathrin Klinsohr-Leroy, Ulrich Luckhardt, Mario-Andreas von Luttichau, Osamu Okuda, Christian Ring, and Aya Soika. From the first exhibition of German expressionism they saw in Venice, Swiss couple Gabriele and Anna Braglia, fascinated by the vivid colors and great expressive power of the artworks, set about to acquire select paintings, watercolors, and drawings from the movement. Their treasure trove of German expressionism was made accessible to the public in Lugano, Switzerland, in September 2015. This exquisitely produced publication accompanies the exhibition of their exceptional collection, providing a comprehensive overview of approximately fifty works of art. From Paul Klee, Emil Nolde, and the Blaue Reiter artists to Lyonel Feininger and Max Pechstein, the paintings in the Swiss Braglia Collection represent important contributions to German expressionism. Reproduced here in full-page color illustrations, these works are complemented by essays from international experts on the movement. An ideal book for lovers of German expressionism and art in general, Nolde, Klee & Der Blaue Reiter will be appreciated for its pictorial reproductions, its charming and enlightening essays, and as a catalog for this outstanding collection. Hardcover232 pagesHirmer Publishers, 20169.5 x 1.1 x 11.8 inchesISBN 9783777424972Expressionism, Blue Rider

Nolde, Klee & Der Blaue Reiter: The Braglia Collection

By Ulrike LorenzBridging the gap: The onset of ExpressionismIn the German city of Dresden on June 7, 1905, the foundation of the Die Brücke artists’ group (1905–1913) is widely regarded as the birth of Expressionism. Led by Ernst Ludwig Kirchner, Fritz Bleyl, Erich Heckel, and Karl Schmidt-Rottluff, the group sought to reject the limits of academia and, as their name suggested, to bridge the path to an artistic future. Their manifesto, printed with woodblock, insisted on absolute freedom from convention in their work as well as their lives.This new, liberated art incorporated portraits, landscapes, and city scenes, but substituted an objective rendering of reality with an expression of interior geography. In paintings, as well as their favored wood and linocut prints, the artists of Die Brücke would fill pictorial space with jagged lines, crude forms, and clashing colors, all to express their subjective experience of the world. Like the Fauves, the artists took stylistic lead from non-Western traditions of Oceanic and African arts, while also reviving the print and painting techniques of Albrecht Dürer and Lucas Cranach the Elder.This richly illustrated book introduces this essential expressionist movement. We examine Die Brücke’s key works and protagonists; its varied, international inspirations; and its crucial influence on later 20th century art. Along the way, we find candid nudes, crowded street views, and blissful bathing idylls, each of them vivid with energy and intent on a new kind of art. Hardcover96 pagesTaschen, 20168.5 x 0.5 x 10.3 inchesISBN 9783836537001Die Brücke, Expressionism

Brücke (Basic Art Series 2.0)

By Aya Soika and Meike Hoffman The Brücke Museum in Berlin houses the world’s largest collection of works by the early twentieth-century expressionist movement Die Brücke, or The Bridge. Formed in Dresden by Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner, and Karl Schmidt-Rottluff, this group had a major impact on the evolution of modern art. But as Escape into Art? reveals, they were also affected by the rise of Germany’s National Socialist party in the 1930s. Discussing in detail the everyday reality of the Brücke artists under National Socialism, this book takes a critical look at the fates and artistic practice of the movement’s former members in the years after 1933.Explaining the measures carried out against Brücke members as a result of Nazi art policy, Escape into Art? describes how, in 1937, thousands of works by these artists were confiscated from German museums by National Socialist authorities and then shown in a traveling exhibition called “Degenerate Art.” Using numerous sources that have never before been studied, the authors examine not only how these acts affected the creative work and self-image of the painters themselves, but also today’s popular image of expressionism, its vilification as degenerate, and the creation of the Brücke artists’ legend after the end of the Second World War. How much scope for action was there, the book asks, and how should we evaluate the narratives of inner emigration and the zero hour today?​Including 180 color plates from the museum’s collection, Escape into Art? offers an in-depth exploration of the effects of National Socialism on Brücke artists and beyond. Hardcover224 pagesHirmer Publishers, 20199.5 x 1.3 x 12 inchesISBN 9783777432861

Escape into Art?

Von Magdalena M. Moeller Der Band versammelt Spitzenwerke von Erich Heckel, Karl Schmidt-Rottluff, Ernst Ludwig Kirchner, Max Pechstein und Otto Mueller aus dem reichen Bestand des Brücke-Museums Berlin. Sie werden in einen spannungsreichen Dialog mit den im Oldenburger Land entstandenen Werken der Künstlergruppe gesetzt. Von 1907 bis 1912 kamen Schmidt-Rottluff, Heckel und Pechstein immer wieder ins abgelegene Nordseebad Dangast. Hier vollzogen sie den Wechsel vom pastosen Farbauftrag der frühen Werke zum die Tradition der Raumillusion hinter sich lassenden Flächenstil. Es entstanden einige Hauptwerke des epochemachenden Brücke-Stils. Der Band ist eine Hommage an die faszinierende Geschichte der Brücke im Oldenburger Land. Glanzstücke aus dem Brücke-Museum geben in einem Rausch aus Farben einen Querschnitt durch das Schaffen der Künstlergruppe. Meisterliche, von und nach Dangast gesandte Künstlerpostkarten bilden den spontanen wie intimen Gegenpol zu den großformatigen Hauptwerken. Please note that Rare/Out-of-Print titles are very limited in stock. Hardcover160 pages | 118 illustrationsText in GermanHirmer, 20177.7 x 9.8 inchesISBN 9783777426693Expressionism

Die Welt in Diesen Rauschended Farben

By Rudolf Kuenzli Dada developed in distinct periods and locations, providing the structure of the book. From Europe and New York during the First World War it spread to Eastern Europe and Japan in the 1920s. Its re-emergence as Neo-Dada in the 1950s and influence on Fluxus in the 1960s was linked to emigres such as Marcel Duchamp and Hans Richter. Survey: International Dada expert Rudolf Kuenzli surveys Dada in its historical context and examines its significant impact and resonance in art and culture today. Linking visual art, performance and literature, this is a fresh treatement of Dada as the Dadaists saw it. A reassessment of one of the twentieth century's most revolutionary movements in the arts, Kuenzli's clear style is accessible to the scholar and the general reader. Works: Each image is accompanied by an extended caption. The book is organized chronologically and geographically around major explosions of Dada activity. From its inception in Zurich during the First World War, we follow Dada to New York, Berlin, Hannover, Cologne, Paris, Central and Eastern Europe, and Japan, finally looking at Neo-Dada. Arp's Automatic Drawing; Marcel Duchamp's readymades and Man Ray's assemblages; Francis Picabia's paintings linking machine and human form; collage with political comment from Raoul Hausmann and Hannah Höch; Kurt Schwitters' all-encompassing concept of Merz; Max Ernst; from the East, the graphics of Lajos Kassak and El Lissitzky; Okada Tatsuo's constructions and fireworks attached to the cover of Mavo magazine. A look at Neo-Dada includes Robert Rauschenberg's Erased de Kooning and the Happenings of Hi Red Center. Documents include a comprehensive collection of original Dada writings, researched at the International Dada Archive and sourced from around the world. Poetry, manifestos and statements are presented together with letters between Tristan Tzara and Marcel Duchamp; Beatrice Wood describes 'The Richard Mutt Case' (the first exhibition of a urinal) to her readers of The Blind Man in 1917; and in recent interviews artists such as Allan Kaprow and Arman relate their Dada inheritance. Please note that Rare/Out-of-Print titles are very limited in stock Hardcover304 pagesPhaidon Press, 200610.2 x 1.5 x 11.8 inchesISBN 9780714844237Dadaism, Movements

Dada (Themes and Movements)

By Hans Richter and Michael White “One of the best and most consistently interesting documents on this extraordinary movement that has been published.” ―The Sunday Times “Where and how Dada began is almost as difficult to determine as Homer’s birthplace,” writes Hans Richter, the artist and filmmaker closely associated with this radical movement from its earliest days. Here he records and traces Dada’s history, from its inception in wartime Zurich to its collapse in Paris in the 1920s, when many of its members joined the Surrealist movement, to the present day when its spirit reemerged in the 1960s in movements such as Pop Art. This absorbing eyewitness narrative is enlivened by extensive use of Dada documents, illustrations, and texts by fellow Dadaists.To celebrate one hundred years of Dada, Thames & Hudson is reissuing this unique document exactly as it first appeared in an expanded centenary edition. This edition features a new introduction telling the story of how the book came about and an extended commentary that identifies Richter’s sources and brings the study up-to-date for a new generation of readers. Paperback376 pages | 180 illustrations, 8 in color Thames & Hudson, 2016 6 x 1 x 8.3 inchesISBN 9780500204313Dada, Movements

Dada: Art and Anti-Art (World of Art)

By Irene Gammel "Irene Gammel's Baroness Elsa mounts an enthusiastic case for her as one of the great unsung modernists."—Village Voice"The Baroness could not have asked for a more thoughtful and engaged monument than Gammel's book."—The New York Times Book Review Elsa von Freytag-Loringhoven (1874-1927) is considered by many to be the first American dadaist as well as the mother of dada. An innovator in poetic form and an early creator of junk sculpture, "the Baroness" was best known for her sexually charged, often controversial performances. Some thought her merely crazed, others thought her a genius. The editor Margaret Anderson called her "perhaps the only figure of our generation who deserves the epithet extraordinary." Yet despite her great notoriety and influence, until recently her story and work have been little known outside the circle of modernist scholars. In Baroness Elsa, Irene Gammel traces the extraordinary life and work of this daring woman, viewing her in the context of female dada and the historical battles fought by women in the early twentieth century. Striding through the streets of Berlin, Munich, New York, and Paris wearing such adornments as a tomato-soup can bra, teaspoon earrings, and black lipstick, the Baroness erased the boundaries between life and art, between the everyday and the outrageous, between the creative and the dangerous. Her art objects were precursors to dada objects of the teens and twenties, her sound and visual poetry were far more daring than those of the male modernists of her time, and her performances prefigured feminist body art and performance art by nearly half a century. Paperback562 pagesThe MIT Press, 20037 x 1.3 x 9 inchesISBN 9780262572156Dada

Baroness Elsa: Gender, Dada, and Everyday Modernity

By Rene Steinke “Steinke shows palpable admiration and respect for her proto-feminist protagonist. This is an intelligent, spirited work that stimulates interest in the baroness’s work and times.”—Publishers Weekly“Steinke has drawn a fully realized character whose Dadaist impulses, even though the filter of time and fiction, still startle.”—Chicago TribuneNo one in 1917 New York had ever encountered a woman like the Baroness Elsa von Freytag-Loringhoven—poet, artist, proto-punk rocker, sexual libertine, fashion avatar, and unrepentant troublemaker. When she wasn't stalking the streets of Greenwich Village wearing a brassiere made from tomato cans, she was enthusiastically declaiming her poems to sailors in beer halls or posing nude for Man Ray or Marcel Duchamp. In an era of brutal war, technological innovation, and cataclysmic change, the Baroness had resolved to create her own destiny—taking the center of the Dadaist circle, breaking every bond of female propriety...and transforming herself into a living, breathing work of art. Paperback 384 pages Harper Collins, 20055 x 8 inches ISBN 9780060778019Biography, Women Artists, Dada

Holy Skirts: A Novel of a Flamboyant Woman Who Risked All for Art

By Lucy R. Lippard A protest against the brutality of World War I and a rejection of traditional culture and aesthetics, the Dada movement proclaimed itself as anti-art. In the visual arts, literature, and graphic design, the Dadas shocked and scandalized audiences of the early 1900s with their expressions of disillusionment with politics and society. This select anthology reconstructs the movement's anarchic history and its harsh, vivid spirit by presenting the prose, poetry, and polemic of the artists themselves and their poet friends. Focusing chiefly on visual artists, this collection ranges from Tristan Tzara's manifesto and Jean Arp's declaration of Dada principles to statements by Man Ray and Jean Cocteau. It features interviews with Hannah Höch and Marcel Duchamp, in addition to articles by Max Ernst, Richard Hülsenbeck, Marcel Janco, Hans Richter, George Grosz, and other prominent figures. Editor Lucy R. Lippard—a well-known feminist art critic, author, and theorist—provides brief biographies for each contributor. These absorbing and provocative insights into Dada philosophy illustrate the movement's enduring vitality and its continuing power to affect modern art. Paperback192 pagesDover Publications, reprint edition 2007Original publish date 19715.4 x 0.4 x 8.4 inchesISBN 9780486456997Dada, Art Theory

Dadas on Art; Tzara, Arp, Duchamp and Others

By Matthew Biro"Matthew Biro’s spirited account of the cyborg in the Berlin Dada movement reveals how artists imagined new forms of hybrid identity and challenged contemporaries to reflect on their own technologically-mediated lives. Engaging with politics, perception, embodiment, and the urban experience to define what it means to be human, Dada artists developed constellations of questions that remain central to artistic practices today. Brushing history against the grain, as Benjamin urged us to do, Matthew Biro combines formal analysis with critical theory to understand Weimar Germany’s profound cultural legacy." —Maria Tatar, Harvard University"Impressively well-researched, The Dada Cyborg provides a series of insightful readings of various montage works and activities in order to reconstruct the Dada movement as one with which we—as citizens of a cyborgian age—should be deeply familiar." —Lutz Koepnick, author of Framing Attention: Windows on Modern German CultureIn an era when technology, biology, and culture are becoming ever more closely connected, The Dada Cyborg explains how the cyborg as we know it today actually developed between 1918 and 1933 when German artists gave visual form to their utopian hopes and fantasies in a fearful response to World War I.In what could be termed a prehistory of the posthuman, Matthew Biro shows the ways in which new forms of human existence were imagined in Germany between the two world wars through depictions of cyborgs. Examining the work of Hannah Höch, Raoul Hausmann, George Grosz, John Heartfield, Otto Dix, and Rudolf Schlichter, he reveals an innovative interpretation of the cyborg as a representative of hybrid identity, as well as a locus of new modes of awareness created by the impact of technology on human perception. Tracing the prevalence of cyborgs in German avant-garde art, Biro demonstrates how vision, hearing, touch, and embodiment were beginning to be reconceived during the Weimar Republic.Biro’s unique and interdisciplinary analysis offers a substantially new account of the Berlin Dada movement, one that integrates the group’s poetic, theoretical, and performative practices with its famous visual strategies of photomontage, assemblage, and mixed-media painting to reveal radical images of a “new human.”Paperback 336 pages | 50 black-and-white photos7 x 10 inches University of Minnesota Press, 2009ISBN 9780816636204Dada, Avant-Garde

The Dada Cyborg - Visions of the New Human in Weimar Berlin

Edited by Dawn Ades The revolutionary Dada movement, though short-lived, produced a vast amount of creative work in both art and literature during the years that followed World War I. Rejecting all social and artistic conventions, Dadaists went to the extremes of provocative behavior, creating “anti-art” pieces that ridiculed and questioned the very nature of creative endeavor. To understand their movement’s heady mix of anarchy and nihilism—combined with a lethal dash of humor—it’s essential to engage with the artists’ most important writings and manifestos. And that is is precisely where this reader comes in. Bringing together key Dada texts, many of them translated into English for the first time, this volume immerses readers in some of the most famous (and infamous) periodicals of the time, from Hugo Ball’s Cabaret Voltaire and Francis Picabia’s 391to Marcel Duchamp’s The Blind Man and Kurt Schwitters’s Merz. Published in Europe and the United States between 1916 and 1932, these journals constituted the movement’s lifeblood, communicating the desires and aspirations of the artists involved. In addition to providing the first representative selection of these texts, The Dada Reader also includes excerpts from many lesser-known American and Eastern European journals. Compiled with both students and general readers in mind, this volume is necessary reading for anyone interested in one of the most dynamic and influential movements of the twentieth century. Please note that Rare/Out-of-Print titles are very limited in stock. Paperback320 pagesUniversity Of Chicago Press, 20066 x 0.9 x 9 inchesISBN 9780226006987Dadaism

The Dada Reader: A Critical Anthology

By Michael White "With Generation Dada, White has presented readers with a powerful new portrait of an avant-garde that flourished in one of the most fraught cities of the early twentieth century." —Catherine Craft, Burlington Magazine“In a well researched, detailed examination of the Berlin avant-garde in the context of WWI, White . . . offers a fresh analysis of the key events and personal relationships that helped form the artistic practices of some of the central figures of the German Dada movement. In an informative but refreshingly accessible style, the author manages to pay close attention to the intricacies of cultural and historical context as well as the formal elements of the works themselves . . . demonstrating a keen eye for the relationship between content and form.” —ChoiceFor the Berlin Dadaists, their identity as a collective—Club Dada, to members—was an integral part of their artistic practice. But the circumstances that brought together the likes of George Grosz, John Heartfield, Raoul Hausmann, and Johannes Baader—renamed Propaganda Marshall, Monteurdada, Dadasoph, and Oberdada within the organization—have remained largely unexamined until now. Drawing on extensive archival research, this book documents the group'ss beginnings in wartime Berlin and reveals how these relationships influenced its provocative acts, which were inextricably tied to the era's chaos and brutality. Studying how the Dadaists saw themselves as a new generation—in contrast to their pacifist forebears, the Expressionists—the book sheds light on key developments and events, such as the First International Dada Fair, held in Berlin in 1920. It also offers the first serious consideration of the group's role in constructing its own legacy, even as the works were deliberately rooted in the ephemeral.Michael White is reader in the history of art at the University of York and is best known internationally for his research on the early-20th-century De Stijl group in the Netherlands. Hardcover382 pages | 20 color and 130 black-and-white illustrationsYale University Press, 20137.8 x 1.2 x 10 inchesISBN 9780300169034Art History, Dada, German History

Generation Dada: The Berlin Avant-Garde and the First World War

Edited by Roland Marz With contributions by Peter-Klaus Schuster, Ronald Marz, Olaf Peters, Anke Daemgen, and Andrea Hollmann This exhibition presented a selection of important paintings from the Nationalgalerie, Berlin, one of Germany's major collections of twentieth-century art. Major Expressionist and Neue Sachlichkeit artists represented include Max Beckmann, Otto Dix, George Grosz, Erich Heckel, Ernst Ludwig Kirchner, Emil Nolde, Max Pechstein, and Karl Schmidt-Rotluff. Arranged thematically and with in-depth explanatory texts, the catalog traces the evolution of German art as it moved from the mountains to city life, from optimism to bitter disillusionment. Essays by key scholars and curators examine these artists’ varied responses to their country’s abrupt encounter with industrialization and urbanization. Please note that this book is Out of Stock. Hardcover164 pagesNeue Galerie New YorkPrestel, 200411.5 x 9.6 x 0.8 inches ISBN 9783791330419Neue Galerie Exhibition Catalogue, Expressionism

Arcadia and Metropolis: Masterworks of German Expressionism from the National Galerie Berlin

Edited by Pamela Kort Filled with irreverent wit, comical elements, and absurdist humor, the comic-grotesque has fascinated artists since ancient times. However, it was not until the late nineteenth century that it reemerged as a novel modernist method. This catalog begins with Arnold Böcklin's comic-grotesque pictorial compositions, and brings together a dazzling array of artists-including Paul Klee, Max Klinger, Alfred Kubin, Emil Nolde, and Max Ernst-who, inspired by his example, forged a unique aesthetic with enormous consequences for modern German art. Essays consider the connection between the visual arts and the rise of cabaret culture and satirical journals. In addition, the authors examine the legacy of the comic-grotesque in relation to the denunciation of Böcklin's art and its eventual reemergence in the work of the Dadaists. Please note that Rare/Out-of-Print titles are very limited in stock.Hardcover208 pagesNeue Galerie New YorkPrestel, 200411.5 x 9.6 x 1 inchesISBN 9783791331959Neue Galerie Exhibition Catalogue, Modernism, Dadaism, Essays

Comic Grotesque: Wit and Mockery in German Art, 1870-1940

Edited by Olaf Peters "An excellent collection of most of the works that made up the Nazi’s notorious 1937 Degenerate Art Exhibition." ―The Daily Beast This book accompanies the first major museum exhibition devoted to a reconstruction of the infamous Nazi display of modern art since the presentation originated by the Los Angeles County Museum of Art in 1991. During the Nazi regime in Germany, "degenerate art" was the official term for much of the most important modern art of the day. "Degenerate art" was defined by the Nazi regime as artwork that was not in line with the National Socialists' ideas of beauty. Their condemnation extended to works in nearly every major art movement: Expressionism, Dada, New Objectivity, Surrealism, Cubism, and Fauvism. Banned artists included Max Beckmann, Paul Klee, and Oskar Kokoschka. Richly illustrated, Degenerate Art elucidates the historical and intellectual context of the notorious exhibition in Munich in 1937, which spurred the attack on modern art. The book contains reflections on the genesis and evolution of the term "degenerate art" and details of the National Socialist policy on art. Art works from the exhibition Degenerate Art are compared to works of art from The Great German Art Exhibition, which was held at the same time and displayed the works of officially approved artists. The book also presents the after-effects of the attack on modernism that are felt even today. Please note that Rare/Out-of-Print titles are very limited in stock.Hardcover320 pagesNeue Galerie New YorkPrestel, 20149.5 x 1.3 x 11.2 inchesISBN 9783791353678Neue Galerie Exhibition Catalogue, Modernism, Art History, Essays

Degenerate Art: The Attack on Modern Art in Nazi Germany 1937 Exhibition Catalogue

Preface by Ronald S. Lauder and Renee PriceWith contributions from Leonhard Helten, Sharon Jordan, Olaf Peters, Jana Nentwig, Dorothy Price, Jurgen Muller and Adelheid Rasche This lavishly illustrated book examines Berlin in depth during a period of explosive growth between the two world wars. Between 1871 and 1919, the population of Berlin quadrupled, and the city became the political center of Germany, as well as the turbulent crossroads of the modern age. This was reflected in the work of artists, directors, writers, and critics of the time. As an imperial capital, Berlin was the site of violent political revolution and radical aesthetic innovation. After the German defeat in World War I, artists employed collage to challenge traditional concepts of art. Berlin Dadaists reflected upon the horrors of war, and the terrors of revolution and civil war. Between 1924 and 1929 as the spirit of modernity took hold, jazz, posters, magazines, advertisements, and cinema played a central role in the development of Berlin’s urban experience. The concept of the “Neue Frau”—the modern, emancipated woman–helped move the city in a new direction. Finally, Berlin became a stage for political confrontation between the left and the right and was deeply affected by the economic crisis and mass unemployment at the end of the 1920s. This book explores in numerous essays and illustrations the artistic, cultural, and social upheavals in Berlin between 1918 and 1933, and places them in a broader historical framework.Hardcover400 pages | 400 color illustrations, 40 black-and-white illustrationsNeue Galerie New YorkPrestel Verlag, 20159.6 x 1.7 x 11.5 inchesISBN 9783791354903Neue Galerie Exhibition Catalogue, Art History, Dadaism, Modernism

Berlin Metropolis: 1918-1933 Exhibition Catalogue

Edited by Olaf PetersWith contributions by Stefanie Heckmann, Andreas Huyssen, Alfred Pfabigan, and Ernst Ploil This generously illustrated and comprehensive book examines German and Austrian artists in the 1930s as they reacted to a time of crisis and dissent.The 1930s in Germany and Austria were marked by economic crisis, political disintegration, and social chaos. This beautifully illustrated catalog surveys the development of the arts in these two countries between the two World Wars. Presenting nearly 150 paintings and works on paper, this book reveals artistic developments that foreshadowed, reflected, and accompanied the beginning of World War II. Works by Max Beckmann, Otto Dix, Max Ernst, Oskar Kokoschka, and Alfred Kubin are presented alongside pieces by lesser-known artists such as Friedl Dicker-Brandeis, Albert Paris Gütersloh, Karl Hubbuch, Richard Oelze, Josef Scharl, Franz Sedlacek, and Rudolf Wacker. This book features essays about the appropriation of artistic idioms, the reactions of artists toward their historical circumstances, and major political events that shaped the era. This catalogue carries key works of known artists like Max Beckmann, Otto Dix, Max Ernst, Oskar Kokoschka and Alfred Kubin and less known artist like Friedl Brandeis, Albert Pari Gütersloh. Hardcover288 pagesNeue Galerie New York Prestel, 20189.6 x 1.3 x 11.5 inchesISBN 9783791357607Neue Galerie Exhibition Catalogue, Art History, Essays

Before the Fall: German and Austrian Art of the 1930s Exhibition Catalogue

Edited by Jill Lloyd and Michael Peppiatt The paintings of Vincent van Gogh (1853-1890) became the epitome of modern, international art during the period after his death up to the outbreak of World War I. In no other country was Van Gogh so admired as he was in Germany: Ernst Ludwig Kirchner and other artists of Die Brücke were fascinated by Van Gogh's brushwork and strongly contrasting colors as well as by the dynamic aura of his glowing palette. Vasily Kandinsky and the artists of Der Blaue Reiter esteemed Van Gogh for rejecting visible reality and penetrating the essence of nature. Austrian artists Egon Schiele and Oskar Kokoschka, on the other hand, were especially impressed by the soulful expression of Van Gogh's art and his insightful psychological portraits. This catalog examines the enormous influence of Van Gogh on German and Austrian Expressionism. It presents numerous masterpieces by Van Gogh and the Expressionists, including extremely powerful works by the painters of Die Brücke, Der Blaue Reiter, and the Viennese avant-garde. Please note that Rare/Out-of-Print titles are very limited in stock. Hardcover180 pagesNeue Galerie New YorkHatje Cantz, 200711.4 x 9.7 x 0.9 inches ISBN 9783775719162Neue Galerie Exhibition Catalogue, Expressionism, Die Brücke, Blue Rider

Van Gogh and Expressionism Exhibition Catalogue

Edited by Natalia Sidlina "The story of the friendships that made modern art. Brought together in the UK for the first time in 80 years, this exhibition book offers unprecedented access to the landmark exhibition's collection of masterpieces. Expressionists is a story of friendships told through art - the groundbreaking work of a circle of friends and close collaborators known as The Blue Rider. In the early twentieth century they came together to form, in their own words, 'a union of various countries to serve one purpose' - to tr "--From the Back Cover A crucial introduction to the origins of the German Expressionist movement and the influential Blue Rider group, focusing on their relationships and transcultural interests Founded in Munich in the 1910s, the Blue Rider (Der Blaue Reiter) was a revolutionary collective of artists, musicians, performers and writers that included Wassily Kandinsky, Paul Klee, Franz Marc, Gabriele Münter and Marianne Werefkin, among many others. Their experiments with color, sound and light were key to the development of Expressionism, and their practice was stunningly varied. The group’s works encompassed painting, sculpture, design, curation, publishing, printmaking, textiles, performative arts, and even branched into sound and spirituality. This book offers an essential overview of the Blue Rider collective. Often described in conjunction with the German Expressionist movement, the Blue Rider was in fact one of the first transnational modern art collectives. This is a key focus of the book, along with along with new research foregrounding the relationships, gender dynamics and multimedia practices of the collective. New scholarship from more than a dozen international experts illuminates these themes as well as questions of spatiality, studio practice and creative community, with particular focus on the contributions of women associated with the Blue Rider circle. This richly illustrated publication features works by these acclaimed artists along with a trove of materials from their personal collections, including photography, international art, crafts and vernacular artifacts, and a comprehensive biographical section that serves as an important introduction to the circle of the Blue Rider creatives, including overlooked artists such as Wladimir Burliuk and Maria Franck-Marc. Hardcover240 Pages | 200 color + black-and-white illustrationsYale University Press, 20249 x 10.7 inchesISBN 9780300278330 Blue Rider, Expressionism

Expressionists: Kandinsky, Münter and the Blue Rider

By Peter Selz "Selz has given us the final documentation of the Expressionist movement. Based on a thorough investigation of all documents available, on personal and written interviews with the surviving artists or members of their families, the book has established the story of the unfolding of Expressionism step by step." —Journal of Aesthetics and Criticism "Mr. Selz has undertaken an exhaustive examination of the movement in Dresden, Munich, and Vienna . . . he uncovers much that is unfamiliar and presents what we already know in a meaningful historical perspective. His scholarship is dazzling and will earn him the gratitude of everyone who works in the field." —Yale ReviewFirst published in 1957, German Expressionist Painting was the first comprehensive study of the most pivotal movements in the art of 20th century. When it was written, however, German Expressionism seemed like an eccentric manifestation far removed from what was then considered the mainstream of modern art. But as historians well know each generation alters the concept of mainstream to encompass those aspects of the past which seem most relevant to the present. The impact of German Expressionism on the art and thought of later generations could never have been anticipated at the time of the original writing of this book.Peter Selz is Professor Emeritus of the History of Art at the University of California, Berkeley. Among his many books are Nathan Oliveira (California, 2002), Barbara Chase-Riboud, Sculptor (1999), Beyond the Mainstream (1996), and Art in Our Times (1981). Paperback512 pagesUniversity of California Press, 19746 x 1 x 9.5 inchesISBN 9780520025158Expressionism

German Expressionist Painting

Edited by Fabio Benzi and Renske Cohen Tervaert Contributions by Fabio Benzi, Maria Elena Versari, Manuel Barrese, Verena Krieger, Sjoerd Van Faassen, Monica Cioli, Francesco Tedeschi, Christine Poggi, Lotte Johnson, Niccolo` D’agati, Eugenia Paulicelli, Günter Berghaus, Marta Braun, Matteo Fochessati, Gianni Franzone, Silvia Barisione, Paolo Bolpagni and Alberto Cibin A new, expansive study on Futurism which explores for the first time its relationships with other European avant-gardes during 1912 to 1939Futurism & Europe: The Aesthetics of a New World examines for the first time the many interconnections between Futurism and other European avant-gardes as varied as the Bauhaus in Germany, De Stijl in the Netherlands, Omega Workshops in Britain, Constructivism in Russia and Esprit Nouveau in France. Featuring over twenty essays by an international team of experts, this expansive book covers a range of topics and mediums including painting, sculpture, architecture, interior and stage designs, graphic work, fashion, theatre and cinema, as well as a diverse variety of functional objects from furniture and carpets to ceramics and toys.Spanning various avant-gardes from 1912 to 1939, artists featured include Italian futurists such as Giacomo Balla, Umberto Boccioni and Fortunato Depero, alongside other European artists including Sonia Delaunay, Le Corbusier, Fernand Léger, Walter Gropius, Alexander Rodchenko, Fritz Lang, László Moholy-Nagy, Wassily Kandinsky, Hans Arp, Duncan Grant, Natalia Goncharova and Vladimir Tatlin. Broad in scope, this pioneering book examines the intersections between Futurism and other European avant-garde movements in their shared quest for a new aesthetic, triggering a lively exchange of new ideas, friction and rivalry. Hardcover384 pages | 400 color illustrations8.87 x 11.80 inchesYale University Press, 2023ISBN 9780300272406Futurism, European Art

Futurism & Europe The Aesthetics of a New World

By Éva Forgács “I was unable to put down [this book]; one that will be used by those interested in the field for a long time to come.” —Dr. Oliver Botar, Hungarian Cultural Studies"Éva Forgács is a brilliant guide to the history of modern and contemporary art in Hungary. These essays—whether appraising the achievements of Modern Movement heroes like László Moholy-Nagy or excavating the overlooked practices of neo-avant-garde artists of the 1970s and 1980s—combine deep understanding of modern art with a critical perspective on the many myths which have been attached to it. Hungarian modernism now seems far more vivid." David Crowley, Royal College of Art"Éva Forgács has a remarkable ability to condense her cosmopolitan breadth of scholarship into admirably coherent, easily comprehensible writing. She situates the subject of her research within the broader sociocultural context of its times in such a readable manner that it is informative for the layperson and professional alike. We come away with the feeling that our time has been well spent indeed. Her publications exemplify art history at its best." —Hattula Moholy-Nagy Insightful essays and rarely-seen images tracing, from birth to maturation, several generations of Hungarian modernism, from the avant-garde to neo-avant-garde. This wide-ranging collection by Éva Forgács, a leading scholar of Modernism, corrects long-standing misconceptions about Hungarian art while examining the social milieu and work of dozens of important Hungarian artists, including László Moholy-Nagy and Lajos Kassák. This book paints a fascinating image of twentieth-century Budapest as a microcosm of the social and political turmoil raging across twentieth-century Europe. Paperback320 pagesDoppelHouse Press, 20176 x 0.8 x 8.9 inchesISBN 9780997003413Art History, Essays

Hungarian Art: Confrontation and Revival in the Modern Movement

By Walter Frisch "In a brilliant and original synthesis of developments in music, art, and literature, German Modernism offers an important new reading of the years of transition between Romanticism and Modernism. Frisch's study is essential reading for anyone interested in why and how twentieth-century music developed as it did." —Joseph Auner, editor of A Schoenberg Reader"German Modernism is impressive for the author's wide-ranging historical treatment, which encompasses political, social, and cultural history with sovereign skill. With distinction, Walter Frisch reveals central aspects of the era between the nineteenth and twentieth centuries, to which music historiography has increasingly ascribed a special profile as 'modern.' No less notable are the focused musical analyses that illuminate works from many different genres. In contrast to cultural history that remains ignorant of music, and musical analysis that pays no attention to social and historical context, this blend of interdisciplinary comprehensiveness and detailed musical analysis makes an exemplary impression." —Hermann Danuser, Professor of Music, Humboldt University, BerlinIn this pioneering, erudite study of a pivotal era in the arts, Walter Frisch examines music and its relationship to early modernism in the Austro-German sphere. Seeking to explore the period on its own terms, Frisch questions the common assumption that works created from the later 1870s through World War I were transitional between late romanticism and high modernism. Drawing on a wide range of examples across different media, he establishes a cultural and intellectual context for late Richard Wagner, Richard Strauss, Gustav Mahler, and Arnold Schoenberg, as well as their less familiar contemporaries Eugen d'Albert, Hans Pfitzner, Max Reger, Max von Schillings, and Franz Schreker.Frisch explores "ambivalent" modernism in the last quarter of the nineteenth century as reflected in the attitudes of, and relationship between, Nietzsche and Wagner. He goes on to examine how naturalism, the first self-conscious movement of German modernism, intersected with musical values and practices of the day. He proposes convergences between music and the visual arts in the works of Brahms, Max Klinger, Schoenberg, and Kandinsky. Frisch also explains how, near the turn of the century, composers drew inspiration and techniques from music of the past—the Renaissance, Bach, Mozart, and Wagner. Finally, he demonstrates how irony became a key strategy in the novels and novellas of Thomas Mann, the symphonies of Mahler, and the operas of Strauss and Hofmannsthal. Paperback332 pagesUniversity of California Press, 20076 x 0.8 x 8.8 inchesISBN 9780520251489Music Criticism, Essays, Modernism

German Modernism: Music and the Arts

By Gregor Langfeld "Offers a useful analysis of a key aspect of modern German art heretofore unexplored in the literature. Langfeld clearly outlines the scope of his inquiry, and his approach is well organized and well documented with primary material. Recommended."—ChoiceWhy did the Museum of Modern Art and the Guggenheim in New York, and art collectors and curators such as Katherine Dreier and Alfred Barr, collect modern German art in the first half of the twentieth century? And why did certain works of art belong to the canon while others did not?In this book, Gregor Langfeld argues that National Socialism played a crucial role in the canonization of movements such as Expressionism and the Bauhaus. A role which undermined the post-1945 reputations of many artists associated with classical and figurative trends. Langfeld offers important new insights into the political and ideological motivations behind the New York art world's fluctuations in opinion, fashion, and price. Please note that Rare/Out-of-Print titles are very limited in stock.Paperback232 pages | 40 color plates, 100 halftonesUniversity of Chicago Press, 20156.7 x 0.5 x 9.2 inchesISBN 9789089647665Modernism, American Art, German Art

German Art in New York: The Canonization of Modern Art 1904 - 1957

von Cathrin Klingsöhr-Leroy Künstlerbildnisse im Kreis von Brücke und Blauem Reiter Die Künstlergruppen Brücke und Blauer Reiter wollten die Welt mit ihren Bildern verändern. Wer waren diese Revolutionäre der Kunst und wie sahen sie sich selbst? Der Band zeigt Selbstbildnisse der Malerinnen und Maler sowie Porträts und Fotos, die sie gegenseitig von sich fertigten, und spürt so der Entwicklung eines radikal neuen Künstlerselbstverständnisses nach.Indem Malerinnen und Maler der Avantgarde den Bruch mit dem traditionellen Kunstbegriff provozierten, mussten sie sich selbst neu erfinden. Dieses neue, zunehmend individualisierte Selbstverständnis, das sich in den Porträts niederschlägt, spiegelt sich auch in Tagebüchern, Briefen, Programmen und Streitschriften. Die Gegenüberstellung der unterschiedlichen Bildnisse zeigt den spannenden Prozess der Selbstinszenierung, das Ringen mit Traditionen, das Gemeinsame der Künstlerfreunde, aber auch ihr Bedürfnis nach Abgrenzung.Hardcover152 SeitenText in GermanHirmer Verlag GmbH, 20229.3 x 11.8 InchesISBN 9783777437927German Expressionism, Brücke und Blauer Reiter

Ich Bin Mein Stil

By MaryAnne StevensContributions by Maria Alambritis, Julien Domercq, Charlotte de Mille, John Milner, Daniel Ralston, Christopher Riopelle, Camilla Smith and Sabine Wieber Through the 1880s the very essence of representation, meaning and process in Western art were profoundly interrogated. Plausible representations of the external world were cast aside in favour of non-naturalism expressed in varying degrees, from modest distortions of reality to pure abstraction.The decades that followed, up to the outbreak of the First World War in 1914, were a complex, vibrant period of artistic questioning, searching, risk-taking and innovation. Concentrating on this period of great upheaval, this book will explore the constructive dialogue between painting and sculpture, and the influential roles played by three giants of the era, Paul Cézanne, Paul Gauguin and Vincent van Gogh, across European art as a whole. While acknowledging the centrality of Paris as a cultural capital, it will also uniquely highlight other centres of artistic ferment in Europe, from Brussels and Barcelona to Berlin and Vienna, and track the variety of routes into modernism in the early twentieth century.This fully illustrated catalogue will contain four essays, introductions to each city of ferment and biographies of the artists. Hardcover272 pages | 150 color illustrations11 x 9.5 inchesNational Gallery Global, 2023ISBN 9781857096958Exhibition Catalogues, Modernism, European Art

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