2012, ISBN: 9783791352046

Taschen 2011. Hardcover, 200 pages, ENG, 320 x 260 x 25 mm, in good condition, dustjacket, illustrated in colour / b/w. ISBN 9783836532532. Max Beckmann (1884-1950) found his central the… Plus…

Taschen 2011. Hardcover, 200 pages, ENG, 320 x 260 x 25 mm, in good condition, dustjacket, illustrated in colour / b/w. ISBN 9783836532532. Max Beckmann (1884-1950) found his central theme in the angst of 20th-century interwar experience. With a style between Expressionism and New Objectivity, later softened into more radiant naturalism, the painter and printmaker probed the strife of the human condition in portraits, self-portraits, and allegorical tableau. Beckmann's early pictures showed the influence of Impressionism, with a leaning towards biblical, historical, and allegorical themes. Serving in the medical corps in Belgium during World War I, he was discharged after a nervous breakdown, and would return to art with anguished new strategies of distortion, angularity, and exaggerated color. In chaotic scenes of the circus, cabarets, carnivals, and candelit chambers, he emphasized the theatricality of life and seemed to foretell the doom of the interwar Weimar Republic with his cast of lurid characters, often peppered with ominous fragments of myth, biblical reference, and opaque allegory. Beckmann's Departure is the first in a series of triptych paintings recalling the juxtaposed scenes of heaven and hell, sin and salvation typical to medieval or Renaissance altarpieces. Though the artist denied that Departure had specific meaning, it is often regarded as an emblematic response to the rise of National Soclalism, painted at the time that the Nazis fired Beckmann from his professorship at the Frankfurt Art Academy. This monograph features more than 180 of Beckmann's from 1907 to 1950, including many of his most famous self-portraits and triptychs. Biographical essays cover his war years, the 1920s in Frankfurt, his Nazi exile years in Amsterdam, and his emigration to the United States. Bonus additional material includes photographs on which many of his paintings are based, several exhibition shots, and images from other artists as Pablo Picasso, Eugene Delacroix, Max Ernst, and Edvard Munch that visualize Beckmann's inspirations and context., Taschen 2011, 0, London Prestel Publishing 2012. Bound, red cloth with orig. dustjacket, 164pp., 31x23.5cm., ills. in col., as new. ISBN 9783791352046. From crowded dance halls to smoky cabarets, this vibrant collection of posters from the Belle Epoque explores the birth, development, and continued popularity of a graphic genre. Thanks to innovations in color lithography, the streets of fin-de-siecle Paris were punctuated with brightly hued posters featuring bold typography and playful imagery. Many of these posters were torn down almost as soon as they were pasted up, finding their way into private homes and, eventually, museums and collections all over the world. Although many artists contributed to the affichomanie, or "poster craze," one of the most famous among them was henri de Toulouse-Lautrec. This gorgeous book offers exquisite reproductions of more than one hundred posters, including those by Lautrec and his contemporaries Bonnard, Picasso, Cheret and Mucha. Advertising everything from tony theater productions to the licentious cancan, bicycles to biscuits, these posters range from cheerfully exuberant to slyly decadent. In her essay, Mary Weaver Chapin captures the voices of the artists, collectors, and critics who fueled the poster craze of the 1890s. The result is a visual spectacle, a lively discourse on the value and purpose of art, and a celebration of a historically and creatively dynamic era., London Prestel Publishing 2012, 0<

2012, ISBN: 9783791352046

[SC: 12.5], [PU: London Prestel Publishing 2012], GRAFIEK POSTERS AFFICHES 9783791352046 TOULOUSE-LAUTREC FIN-DE-SIECLE GRAPHIQUE JUGENDSTILL, Jacket, Bound, red cloth with orig. dustjack… Plus…

[SC: 12.5], [PU: London Prestel Publishing 2012], GRAFIEK POSTERS AFFICHES 9783791352046 TOULOUSE-LAUTREC FIN-DE-SIECLE GRAPHIQUE JUGENDSTILL, Jacket, Bound, red cloth with orig. dustjacket, 164pp., 31x23.5cm., ills. in col., as new. ISBN 9783791352046. From crowded dance halls to smoky cabarets, this vibrant collection of posters from the Belle Epoque explores the birth, development, and continued popularity of a graphic genre. Thanks to innovations in color lithography, the streets of fin-de-siecle Paris were punctuated with brightly hued posters featuring bold typography and playful imagery. Many of these posters were torn down almost as soon as they were pasted up, finding their way into private homes and, eventually, museums and collections all over the world. Although many artists contributed to the affichomanie, or "poster craze," one of the most famous among them was henri de Toulouse-Lautrec. This gorgeous book offers exquisite reproductions of more than one hundred posters, including those by Lautrec and his contemporaries Bonnard, Picasso, Cheret and Mucha. Advertising everything from tony theater productions to the licentious cancan, bicycles to biscuits, these posters range from cheerfully exuberant to slyly decadent. In her essay, Mary Weaver Chapin captures the voices of the artists, collectors, and critics who fueled the poster craze of the 1890s. The result is a visual spectacle, a lively discourse on the value and purpose of art, and a celebration of a historically and creatively dynamic era. 0 g.<

2012, ISBN: 9783791352046

London Prestel Publishing 2012. Bound, red cloth with orig. dustjacket, 164pp., 31x23.5cm., ills. in col., as new. ISBN 9783791352046. From crowded dance halls to smoky cabarets, this vi… Plus…

London Prestel Publishing 2012. Bound, red cloth with orig. dustjacket, 164pp., 31x23.5cm., ills. in col., as new. ISBN 9783791352046. From crowded dance halls to smoky cabarets, this vibrant collection of posters from the Belle Epoque explores the birth, development, and continued popularity of a graphic genre. Thanks to innovations in color lithography, the streets of fin-de-siecle Paris were punctuated with brightly hued posters featuring bold typography and playful imagery. Many of these posters were torn down almost as soon as they were pasted up, finding their way into private homes and, eventually, museums and collections all over the world. Although many artists contributed to the affichomanie, or "poster craze," one of the most famous among them was henri de Toulouse-Lautrec. This gorgeous book offers exquisite reproductions of more than one hundred posters, including those by Lautrec and his contemporaries Bonnard, Picasso, Cheret and Mucha. Advertising everything from tony theater productions to the licentious cancan, bicycles to biscuits, these posters range from cheerfully exuberant to slyly decadent. In her essay, Mary Weaver Chapin captures the voices of the artists, collectors, and critics who fueled the poster craze of the 1890s. The result is a visual spectacle, a lively discourse on the value and purpose of art, and a celebration of a historically and creatively dynamic era., London Prestel Publishing 2012, 0<