"Cathrin Klingsohr-Leroy gives an appraisal of the key aspects of this period of art history, drawing on the wealth of examples the Pinakothek der Moderne has to offer. The introduction to each section discusses the successive stylistic developments and trends, followed by an explanation of the technique, history and significance of each selected work of art."--BOOK JACKET.
Poussin resides in the palace of Schleissheim, Hans Holbein in St Catherine's Church in Augsburg and Peter Paul Rubens in Neuburg an der Donau. But even the locations of the galleries'; ancient castles and magnificent palaces; make attractive destinations for excursions. From medieval altarpieces to media installations, from Albrecht Dürer to Andy Warhol, from Ansbach 0to Würzburg: lavishly illustrated and in the words of the people who look after them, this volume tells of famous masterpieces, reveals hidden treasures and invites you to embark upon a journey through the past history and present day of the Pinakotheken in Bavaria.
One of the most provocative and exciting architects today, Greg Lynn has defined how designers and architects use computers as a medium, operating in an expanded field that fuses cutting-edge technology, contemporary art, and science fiction aesthetics with architectural form. At the epicenter of a debate about the role of digital design and new fabrication methods in architecture and general design culture, his projects skillfully blend high technology and detailed craftsmanship, driven by modeling software from the film and aerospace industries. They range from the Ravioli lounge chair for Vitra to the Embryological House, a pre-fab housing type that takes advantage of new manufacturing technologies to produce customized houses adaptable to local conditions. Included are contributions from theorists, architects, and artists, and futurists such as Sylvia Lavin, Ben van Berkel, and Caroline Bos of UN Studio, J.G. Ballard, and Tom Friedman, among others. Greg Lynn FORM offers a window into Lynn's methods and techniques, theoretical positions, and career trajectory. Rather than a retrospective of Lynn's career, it is thought-provoking and forward-looking.
The arts in fifteenth-century Florence made numerous pioneering advances. Artists like Fra Angelico, Filippo Lippi, Sandro Botticelli, and Leonardo da Vinci brought innovation to the themes, forms, and techniques of painting, opening up a new world of artistic expression. These painters searched for the laws of harmony and beauty with new self-confidence, devoting themselves to the study of antiquity and the practice of sketching from nature. Driven by drawing and in competition with sculpture, they discovered utterly novel modes of representation through portraits, profane visual narratives, and poignant portrayals of church devotion. Drawing on prominent examples of painting, sculpture, and drawing, this lavishly illustrated volume presents the Alte Pinakothek's sparkling collection of Florentine art together with more than seventy-five works loaned from museums all over the world, offering multifaceted insights into the intellectual world and working methods of Florentine artists during the Italian Renaissance.
An investigation into the art of a mysterious Dutch painter who left no written records behind. His paintings are curious, his figures introverted, and his street scenes strangely stage-like. Jacobus Vrel recorded everyday life in Holland during the seventeenth century and conjured his own idiosyncratic world at the same time. This volume presents the fascinating complete oeuvre of a painter whose works were thought in the nineteenth century to have been painted by Vermeer. Jacobus Vrel is like a phantom. No written sources describing the artist or his work have ever been discovered. His existence is documented only by some fifty surviving works which can hardly be compared with those of his contemporaries. His works, in their austerity and sometimes oppressive silence, seem unexpectedly modern, and have been compared to the paintings of Vilhelm Hammershøi. With detective-like investigative flair, and drawing on extensive technical examinations of the paintings, this book explores the mysterious pictures of this recently rediscovered painter.
The Neue Pinakothek (New Picture Gallery), the first public museum in Europe devoted exclusively to contemporary art, was founded by King Ludwig I of Bavaria. Ludwig took an active interest in contemporary art, especially German art throughout his reign
In the early sixteenth century, Albrecht Altdorfer promoted landscape from its traditional role as background to its new place as the focal point of a picture. His paintings, drawings, and etchings appeared almost without warning and mysteriously disappeared from view just as suddenly. In Albrecht Altdorfer and the Origins of Landscape, Christopher S. Wood shows how Altdorfer transformed what had been the mere setting for sacred and historical figures into a principal venue for stylish draftsmanship and idiosyncratic painterly effects. At the same time, his landscapes offered a densely textured interpretation of that quintessentially German locus—the forest interior. This revised and expanded second edition contains a new introduction, revised bibliography, and fifteen additional illustrations.
A wide-ranging look at surrealist and postsurrealist engagements with the culture and imagery of childhood We all have memories of the object-world of childhood. For many of us, playthings and images from those days continue to resonate. Rereading a swathe of modern and contemporary artistic production through the lens of its engagement with childhood, this book blends in-depth art historical analysis with sustained theoretical exploration of topics such as surrealist temporality, toys, play, nostalgia, memory, and 20th-century constructions of the child. The result is an entirely new approach to the surrealist tradition via its engagement with "childish things." Providing what the author describes as a "long history of surrealism," this book plots a trajectory from surrealism itself to the art of the 1980s and 1990s, through to the present day. It addresses a range of figures from Marcel Duchamp, Giorgio de Chirico, Max Ernst, Hans Bellmer, Joseph Cornell, and Helen Levitt, at one end of the spectrum, to Louise Bourgeois, Eduardo Paolozzi, Claes Oldenburg, Susan Hiller, Martin Sharp, Helen Chadwick, Mike Kelley, and Jeff Koons, at the other.
