George Grosz: His life and work

First edition in English Translated from the German by Susanne Flatauer. With contributions by Georg Bussmann and Marina Schneede-Sczesny. Frontispiece, table of contents, foreword by the author, endnotes, list of illustrations, photocredits and acknowledgments, bibliography, index. Black and white illustrations throughout. 182 pages. stiff paper wrappers. 8vo..

Schneede, Uwe

G. Fraser

The depictions and roles of women in the paintings of Pablo Picasso (1881–1973), Max Beckmann (1884–1950) and Willem de Kooning (1904–1997) typically give rise to conversations and presumptions about machismo and misogyny. Of course, these artists’ portrayals of women cannot be dismissed so easily, and in fact all offer highly nuanced explorations of the theme. This publication explores their depictions of women as more than painterly projections of male longing and desire, treating them as reflections of social and political conflicts and upheavals. Contributions from art historians, sociologists and artists approach the figures of women in these bodies of work from a variety of perspectives: for Picasso, as a catalyst for a confrontation with the artist’s own life and history; for Beckmann, as completely independent themes; and for de Kooning, as the force that makes artistic expression itself possible.

Women: Pablo Picasso, Max Beckmann, Willem de Kooning

Hustvedt, Siri

Shiff, Richard

Schulz-Hoffmann, Carla

Bronfen, Elisabeth

Köhlmeier, Michael

Zaimoglu, Feridun

Reference

Hatje Cantz

The friendship between Franz Marc (1880–1916) and August Macke (1887–1914) was of vital importance to both painters. Their close bond lasted four years and came to an abrupt end with the death of Macke shortly after the outbreak of World War I. This catalogue brings together paintings, watercolors, drawings, handcrafts, objects and documents from these two artists, demonstrating the extent to which they influenced one another in their work. While Macke, seven years younger than Marc, took a sensual and spontaneous approach to the visual world, his friend possessed an elevated, theoretical vision, seeking the spiritual unity of existence through the image. Despite conceptual, cultural and political differences, a deep mutual affection characterized their joint undertakings, such as the exhibitions of the Blaue Reiter or their conversations on Fauvism, Cubism, Futurism and the work of their contemporaries.

August Macke & Franz Marc: An Artist Friendship

Arts & Photography

Koch, Uwe

Heiderich, Ursula

Drenker-Nagels, Klara

Pirsig-Marshall, Tanja

Wedekind, Gregor

History & Criticism

This visually stunning volume offers perceptive examinations of several renowned German and Austrian Expressionist artists who redefined modern self-portraiture. The self-portrait has been a vital aspect of artistic expression throughout history. Neo-Classical painters such as El Greco and Rembrandt formalized the practice, and the first half of the 20th century saw a dramatic transformation in the self-portrait's style and context, especially in the hands of the German and Austrian Expressionists. Vibrant reproductions of works by Egon Schiele, Max Beckmann, Ernst Ludwig Kirchner, Oskar Kokoschka, and others are accompanied by essays that explore how these artists--many of whom were classified as "degenerate" by the Nazi party--imbued their images with eloquent expressions of resistance, isolation, entrapment, and provocation. From Schiele's erotically charged and overtly physical paintings to Beckmann's emotionally fraught depictions of psychic trauma, this important examination of a powerful aspect of modern European painting brilliantly illustrates how the Expressionist self-portrait became a powerful weapon against artistic oppression.

The Self-Portrait, from Schiele to Beckmann

Natter, Tobias G.

Weppelmann, Stefan

Peters, Olaf

Faber, Monika

Prestel

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