Die Berlinische Galerie widmet der Künstlerin Jeanne Mammen eine umfassende Retrospektive. Im Mittelpunkt stehen ihre ikonischen Arbeiten aus dem Berlin der 1920er-Jahre.
The most famous work by German artist Hannah Höch (1889-1978) remains Cut with the Kitchen Knife: Dada Through the Last Weimar Beer Belly Culture Epoch (1919), exhibited at the International Dada Fair
This awesomely big, heavy hardback book is the catalogue published to accompany a major exhibition of Weimar Art held at the Los Angeles County Museum of Art in 2015. It contains some 150 glossy, m…
Writer : Ruth Roellig (1878-1969). Preface by german sexologist and activist Magnus Hirschfeld.
Das Ungleiche Paar Lucas Cranach the Elder Born: 1472, Died: 1553 Weimar Academy of Fine Arts in Vienna Austria He touches her breast and she takes money Luther Cranach Elder was a close friend of Martin Luther and his paintings and prints were so influenced by Luther's teachings that he came to be referred as "The Painter of the Reformation." Protestants looked on Catholic art as idolatry an example might be the Michelangelo's Sistine Chapel Frescoes. Protestant churches became rather bare compared to Catholic. But Protestant painters did make wonderful use of small visual images, like this painting and prints which became important teaching tools. They produced great painters like Cranach and maybe the greatest Protestant Reformation era painter Albrecht Durer. 2926, 1-27-22
Schnitt mit dem Küchenmesser heisst die bekannte Collage von der dadaistischen Künstlerin Hannah Höch, die sie 1919 nach dem Ersten Weltkrieg
The prevalence of meme culture and the ease of access to digital tools means that most of us can create, write, and share memes with thousands of people from practically anywhere in the world. A side effect of this is the constant compulsion to start seeing everything as the template for a meme.
German-American Discourse on Politics and Culture
14 Gemälde, Aquarelle und Collagen Hannah Höchs bleiben in Nürnberg
The painter’s portraits may not be as ambiguous as an exhibition at the Berlinische Galerie makes out, writes Phoebe Blatton
Walther Klemm enrolled at the Kunstgewerbeschule in Vienna in 1902. This was the year a number of Austrian artists associated with the Secession began making colour woodcuts. In the spring a colour woodcut workshop had been set up at the Secession exhibition halls where artists worked together making prints and sharing techniques. The most important of them so far as knowledge of technique went was Emil Orlik. He had not only been to London where he had met both Frank Morley Fletcher and William Nicholson, he had also been to Japan and studied colour woodcuts methods there. This had created enough interest for Orlik to have a touring exhibition of the work he had produced during his stay. It also included work by the ukiyo-e artists he had collected (a collection that remained intact until it was sold by Sotheby's in London when the Museum of Fine Art in Prague bought a small selection). This had begun in Berlin and moved on to Dresden, Prague and Brno. Orlik was very interested in going to source wherever it happened to be and after his visit to London, made The English woman (1899) one of his first larger woodcuts and a seminal print but using only two colours. (I will illustrate this in another post). But there was always something uneventful about Orlik's colour woodcuts. They could be documentary and unexciting while and the peacocks and turkeys made by Klemm and Hans Frank had verve and vigour. According to Gustav Mahler, Orlik was talkative, a strength when it came to dealing with students and other artists but he was also academic, a side to his character that came out when he included work from his collection in the 1902 exhibition. The other main participant at the 1902 exhibition was Carl Moll. He was editor of the Secession magazine Ver Sacrum and apparently showed woodcuts that year. His prints were bigger than Orlik's but had a similar understated, documentary feel to them and never made dramatic use of colour. 1902 was also the year that Hans Frank enrolled at the Kunstgewerbeschule and, as I said in the recent post about him, he had begun to make his peacock prints in 1904. A year later Klemm was back in Prague where he met Carl Thiemann in the street one day. Both were natives of the spa town of Karlsbad (which David Hockney visited in the 1970s) and took a studio together in Liboc on the western side of the city and where Klemm introduced Thiemann to colour woodcut. Klemm was twenty-two and Thiemann twenty-three and over the three years they spent at Liboc the two artists worked together on the first great collaboration of modern colour woodcut. Their common starting point should be fairly obvious. Nicholson's The square book of animals (above) published by William Heinemann in London in time for Christmas 1899 was by and large pastiche. The blocks he used were box and he only once printed the colours by hand (for A fisherman in The Dome magazine). Hans Frank's peacocks also appear to be forerunners by a year while it is generally considered that Orlik showed Klemm the technique (though I have yet to come across any documentation in English). Orlik had previously made a series of woodcuts that included views of old Prague. I also believe Klemm and Thieman then worked together on a portfolio of colour woodcuts of the old city which were very different from the work of Orlik. Enhanced by powerful and vigorous cutting and subdued colour, Thiemann's in particular were the work of a sensitive painter while Klemm used the architecture to organise the picture plane (below). . The best collection of these early prints by Klemm is held by the Museum of Fine Art in Budapest where an astute curator acquired prints it seemed almost as soon as Klemm had made them. Notable amongst them is 'Fishing boats on the Spree' (second from the top) made in 1906 presumably after a trip to Berlin. Here like nowhere else you see how original Klemm could be. Thiemann was a greater stylist than Klemm but the huts and wharves and their rough reflections on the Spree are the source for every one of Thiemann's later Venice woodcuts. If Thiemann had feeling, Klemm had ideas. Both needed each other for a time because both were very different but not yet different enough to go their own ways and during 1906 both artists worked on a second collaboration. (I' m assuming Old Prague came first.) This was a calendar for 1907 with twelve colour woodcuts and a black and white image on the front. To be truthful I had forgottten all about this but to make amends I finally found four colour images including January and October (both above) by Klemm. A facsimile was produced by Thiemann's wife, Ottolie, in 1981 and these are both from that edition and once agaib make it plain what Klemm's strengths were. Thiemann's work was small scale and decorative. For all the small size, Klemm thought big and objective. The girl on the sledge is wonderfully depicted, with a strong sense of light, three dimensions and expression. I am in no doubt that Thiemann's print of a cockeral was the best of all the Liboc period by either artist but I suspect the idea came from Klemm. Thiemann never did a bird before and never did one again. The two artists left Liboc in 1908 and moved to Dachau near Munich but the collaboration was at an end and some time afterwards Klemm took up a position as head of graphic art at the Weimar School of Art. There had been collaborations before in recent times - for instance between Nicholson and James Pryde as the Beggarstaff brothers and John Dickson Batten and Frank Morley Fletcher in London in the 1890s, but Klemm's introduction of Thiemann to new ideas marked the beginning of one of the best loved of all the series of prints made in central Europe early in the C20th. But it was Kleem who constantly invoked group effort with his wandering turkeys and it is Walther Klemm and myself who wish you a happy and prosperous 1907.
Tate Modern, LondonThe artists condemned as ‘degenerate’ by the Nazis really did revel in the perverse and depraved, and their sex and violence-drenched paintings still shock
They called him "the Einstein of Sex". The German doctor who went (quite literally) where no other had gone before in his research, founding the massive Institut für Sexualwissenschaft, or Sexology, just before the Nazis eclipsed bohemian Berlin and its costumed, sexually liberated splendour. His na
A new exhibition that showcases the art and culture of Berlin in the early part of the 20th Century is set to open on October 1 in New York. "Berlin Metropolis:1918-1933" at the Neue Galerie New York, a museum devoted to early twentieth-century German and Austrian art and design in New York, will explore the “complex and tumultuous” time in Berlin during the Weimar period, to reflect the dramatic changes that occurred, through painting, drawing, sculpture, collage, photography, architecture, film, and fashion.
Exhibition dates: 4th October 2015 – 18th January 2016 Otto Dix (German, 1891-1969) Card Players (Kartenspieler) 1920 Drypoint 19 7/8 × 13 1/16 in. (50.5 × 32.5cm) Los Angeles C…
Marianne Breslauer (Berlin, 1909 –Zurich, 2001) belonged to a generation of women photographers who managed to take advantage of the freedom afforded them by the Weimar Republic. Her work is a notable example of the ‘new photography’ and can be found today in important collections. For the first time, we have the chance to see her work in our country, including most of the photographs she took in the spring of 1933, on a trip to Spain (Girona, Barcelona, Sant Cugat, Montserrat, the Pyrenees, Pamplona and San Sebastián) and Andorra with the Swiss writer Annemarie Schwarzenbach (1908-1942).
German Sexologist Magnus Hirschfeld was the first person to systematically describe and work with what he described as Transvestite and Transsexual people
Kunst+Film ist eine Online-Kulturplattform für bildende Kunst und Autorenfilme im deutschen Sprachraum. Wir besprechen aktuelle Ausstellungen und interessante Arthouse-Filme, die neu ins Kino kommen.
The legend of a man selling his soul to the devil ‘seems to have particular resonance at times of moral crisis’, writes Benjamin Ramm.
Albert Birkle (1900-1986).
We go under the many skins of gender-defying Surrealist Claude Cahun
Felice Casorati was an Italian painter, sculptor, and printmaker. The paintings for which he is most noted include figure compositions, portraits and still lifes, which are often distinguished by unusual perspective effects. Born in Novara he showed an early interest in music and art. To please his parents he studied law at the University of Padua until 1906, but his ambition to be a painter was confirmed in 1907 when a painting of his was shown in the Venice Biennale. The works he produced in the early years of his career are naturalistic in style, but after 1910 the influence of the symbolists and particularly of Gustav Klimt turned him toward a more visionary approach. In 1915 he had a solo exhibition at the Rome Secession III, where he showed several paintings and the first of his sculptures. His military service in World War I began that year and lasted until his discharge in 1917. In 1918, "intrigued by the decadent atmosphere of Turin with its sinister views", he settled there with his mother and two sisters. His works of the next decade typify, in their emphasis on geometry and formal clarity, the "return to order" then prevalent in the arts as a reaction to the war. Although many critics found his work cold, cerebral, and academic, Casorati achieved international recognition as a leading figure in this movement. Often working in tempera, Casorati drew inspiration from his study of Renaissance masters, especially Piero della Francesca, as in his 1922 portrait entitled Silvana Cenni. This symmetrical composition of a seated woman in a white dress is perhaps the best-known of the artist's works. In it, the careful rendering of volumes results paradoxically in a sense of unreality which is characteristic of Casorati's art. In 1925, Rafaello Giolli summarized the disconcerting aspects of Casorati's art—"The volumes have no weight in them, and the colors no body. Everything is fictitious: even the living lack all nervous vitality. The sun seems to be the moon ... nothing is fixed or definite"—and argued that these very qualities give his work its originality, and connect him to the metaphysical painters. Casorati himself wrote, in 1931: "In taking up, against me, the old polemic of classicism and romanticism, people rail against intellectualized and scholastic order, accuse my art of being insincere, and willfully academic—in a word, of being neoclassical. ... since my art is born, so to speak, from within, and never has its source in changing "impressions", it is quite natural that ... static forms, and not the fluid images of passion, should be reflected in my works". Briefly arrested in 1923 for his involvement with an anti-Fascist group, Casorati subsequently avoided antagonizing the regime. Beginning in 1923, he opened his studio to the young art students of Turin. One of his famous students was the Italian painter Enrico Accatino. After 1930 the severity of Casorati's earlier style softened somewhat and his palette brightened. He continued to exhibit widely, winning many awards, including the First Prize at the Venice Biennale of 1938. He was also involved in stage design. He died in Turin in 1963.
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The Denver Collage Club est un rassemblement d’artistes de collage locaux et internationaux partageant et explorant des idées sur le sujet du collage contemporain : Mario Zoots, Matthew Rose, Laura Shill, Adam Milner, Samuel Mata, Libby Barbee, Colin Ward, Melissa Lynn, Kyle Huninghake, David H Tippits, Paula Gillen, Janice McDonald, Gary Emrich, Jeromie Dorrance Travis Hetman, Mark Sink, Herbert Bayer, Freddie Max Levenson,Taylor Balkissoon, Mado Reznik, Jerry Uelsmann, Steve Wilson, Alexander Rodchenko, Susan Goldstein.The Denver Collage Club is a gathering of local and international collage artists who have been gathering, sharing and exploring ideas on the topic of collage today. Mario Zoots, Matthew Rose, Laura Shill, Adam Milner, Samuel Mata, Libby Barbee, Colin Ward, Melissa Lynn, Kyle Huninghake, David H Tippits, Paula Gillen, Janice McDonald, Gary Emrich, Jeromie Dorrance Travis Hetman, Mark Sink, Herbert Bayer, Freddie Max Levenson,Taylor Balkissoon, Mado Reznik, Jerry Uelsmann, Steve Wilson, Alexander Rodchenko, Susan Goldstein.
Gunta Stölzl war Weberin und Textildesignerin. Sie gilt als Erneuerin der Handwebkunst und war die erste Meisterin am Bauhaus. Ihre Werke werden in Einzelausstellungen gezeigt und sind Bestandteil internationaler Kunstsammlungen.
