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Photobooks - Comics >> Taschen Books
 
Schiele Egon 1890-1918 The Midnight Soul of the Artist
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ΣΥΓΓΡΑΦΕΑΣ: Steiner, Reinhard
Αριθμός σελίδων: 96

Egon Schiele (1890-1918) - along with Oskar Kokoschka - is the painter who had the most long-lasting influence on the Vienna art scene after the great era of Klimt came to a close. After a short flirtation with Klimt's style, Schiele soon questioned the aesthetic orientation to the beautiful surface of the Viennese Art Nouveau with his rough and not easily accessible paintings. Many contemporaries found his expressive nudes and self-portraits, with their strange movements and morbid colours, to be ugly and even morally objectionable--criticism which culminated in criminalizing the painter as "obscene" and resulted in 1912 in an indictment and short jail sentence. However, not even his harshest critics could dispute however the artist's extraordinary drawing talent.
   
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Caravaggio
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ΣΥΓΓΡΑΦΕΑΣ: Lambert, Gilles
Αριθμός σελίδων: 96

Notorious bad boy of Italian Baroque painting, Caravaggio (1571-1610) is finally getting the recognition he deserves. Though his name may be familiar to all of us, his work has been habitually detested and forced into obscurity. Not only was his theatrical realism unfashionable in his time, but his sacrilegious subject matter and use of lower class models were violently scorned.
   
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Michelangelo 1475-1564
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ΣΥΓΓΡΑΦΕΑΣ: Neret, Gilles
Αριθμός σελίδων: 96

During the Renaissance, the great homosexuals, from Leonardo da Vinci and Botticelli to Michelangelo and Raphael, transformed the history of art, attaining to ever closer imitation of nature whilst altering it to their taste. From their art, ambiguous beings were born, half man, half woman; female breasts were planted on male busts and a young man's gaze peeped out beneath the eyelids of a Madonna. From his earliest youth, Michelangelo never ceased to suffer, and thereby to create.
   
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Expressionism
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ΣΥΓΓΡΑΦΕΑΣ: Wolf, Norbert
Αριθμός σελίδων: 96


Featured artists include: Ernst Ludwig Kirchner, Erich Heckel, Karl Schmidt-Rottluff, Max Pechstein, Otto Mueller, Emil Nolde, Wassily Kandinsky, Franz Marc, August Macke, Paul Klee, Alexej Jawlensky, Gabriele Munter, Marianne von Werefkin, Heinrich Campendonk, Lyonel Feininger, Arnold Schonberg, Oskar Kokoschka, Egon Schiele, Paula Modersohn-Becker, Christian Rohlfs, Ludwig Meidner, Lovis Corinth, Ernst Barlach, Wilhelm Lehmbruck, Max Beckmann, Otto Dix, George Grosz
   
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Modigliani Amedeo 1884-1920 The Poetry of Seeing
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ΣΥΓΓΡΑΦΕΑΣ: Krystof, Doris
Αριθμός σελίδων: 95

To contemporaries, Amedeo Modigliani was the very definition of Parisian Bohemia, the controversial darling and target of the popular press and the model on which many a novel, play and film was based. As an artist, the scandalous Modigliani made his name chiefly with his celebrated pictures of women, with almond eyes and long necks and bodies. His style had ancient roots that lay deep in classical antiquity or Africa. But his portraits of intellectual giants of the age, friends such as Pablo Picasso, Jean Cocteau or Diego Rivera, were inimitable also. In Doris Krystof's study, the scene Modigliani was the hero of comes alive, and his sensitive paintings and sculptures speak in tongues.
   
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Marc Franz 1880-1916
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ΣΥΓΓΡΑΦΕΑΣ: Partsch, Susanna
Αριθμός σελίδων: 96
:
Franz Marc (1880-1916) became known principally for his images of animals: blue horses, yellow tigers, red fawns. What was it that led him to concentrate on painting animals? Marc himself explained his choice of subject matter in these words: "From an early date I felt humankind to be 'ugly'; animals seemed to me possessed of a greater beauty and purity..." Seeing Marc merely as a painter of animals proves, however, premature. Marc, co-founder of the 'Blauer Reiter' group of Expressionist artists, was deeply dissatisfied with the impurity of the world, and was questing for a universal art which would resolve the contrarieties of life in the harmony of creation. Using pure colours highly charged with symbolic values, adopting crystalline shapes, and absorbing the influence of Cubism, he moved steadily towards an abstract order of image, coming closer to his own understanding of a better world. In 1916, Franz Marc died in the Battle of Verdun.
   
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Monet Claude 1840-1926
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ΣΥΓΓΡΑΦΕΑΣ: Heinrich, Christoph
Αριθμός σελίδων: 96

Claude Monet (1840-1926) was the most typical and the most individual Impressionist painter. His long life he dedicated to a pictorial exploration of the sensations which reality, and in particular landscape, offer the human eye. But while Monet the painter was faithful and persevering in the pursuit of his motifs, his personal life followed a more restless course. Parisian by birth, he discovered plein-air painting as a youth in the provinces, where one of his homes, Argenteuil, has come to represent the artistic flowering and official establishment of Impressionism as a movement, with Monet as its creative leader. In his endeavor to capture the ever-changing face of reality, Monet went beyond Impressionism and thereby beyond the confines of self-contained panel painting: in Giverny he painted the Poplars, Grain Stacks and Rouen Cathedral series in which he addressed one motif in constantly new variations. Here, too, Monet laid out the famous garden with its water-lily pond which he was to paint on huge canvases well into the 1920s. He thereby sought to render not reality as objectively experienced, but rather that which takes place "between the motif and the artist". In their open, merely tenuously representational structure and impressive scale, his water lily paintings - created long before the currents of the contemporary avant-garde - point the way to the developments of the future.
   
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Renoir Pierre-Auguste 1841-1919 A Dream of Harmony
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ΣΥΓΓΡΑΦΕΑΣ: Feist, Peter
Αριθμός σελίδων: 96

Pierre Auguste Renoir (1841-1919) is now universally acclaimed: museums pride themselves on his paintings, crowds flock to his retrospectives. His work shows art at its most light-hearted, sensual and luminous. Renoir never wanted anything ugly in his paintings, nor any dramatic action. "I like pictures which make me want to wander through them when it's a landscape," he said, "or pass my hand over breast or back if it's a woman." Renoir's entire oeuvre is dominated by the depiction of women. Again and again he painted "these faunesses with their pouting lips" (Mallarme) and invented a new image of feminity.
   
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