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Capturer la brillance : 1000 portraits de génies illuminent le monde
Par son nombre impressionnant de chefs-d’oeuvre, de biographies, de commentaires d’oeuvres, cet ouvrage confronte les différents portraits, exposant dès lors au lecteur, et à tout amateur d’art, le reflet de l’évolution de notre société, mais surtout les bouleversements d’un genre qui, pendant près de trente siècles de peintures, façonna l’histoire de l’art.
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Brillanz einfangen: 1000 Porträts von Genies erhellen die Welt
Mit einer beeindruckenden Anzahl von Meisterwerken, Biografien und Kommentaren zu den Werken präsentiert und analysiert dieses Buch verschiedene Porträts und stellt so dem Leser und jedem Kunstliebhaber ein Spiegelbild der Evolution der Gesellschaft und vor allem die Umwälzungen eines Genres dar, das über 30 Jahrhunderte der Malerei die Kunstgeschichte geprägt hat.
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Capturing Brilliance: 1000 Portraits of Genius Illuminate the World
With its impressive number of masterpieces, biographies, and commentaries on works, this book presents and analyses different portraits, consequently exposing to the reader, and to any art lover, a reflection of the evolution of society, and above all the upheavals of a genre that, over 300 centuries of painting, has shaped the history of art.
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Max Beckmann: The More Often We Die, The More Alive We Are
Max Beckmann was born in Leipzig. As a student in the cradle of Germany’s Enlightenment, Weimar, he read avidly the works of Schopenhauer and became interested in Kant, Hegel and Nietzsche. Having graduated in 1903, he painted his early canvases in Paris. Cézanne particularly impressed him. Beckmann’s own early work was in a broadly Impressionist mode and could sometimes be quite traditional in its composition and treatment of historical or monumental subjects. Beckmann retained through his life an instinctive feel for the art of the past, gravitating towards images and epochs in which he saw powerful and simple expression. As his own distinctive style developed, this took the form especially…
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Expressionism: Final Part
[amazon_link asins=’B00KHLOXIM’ template=’ProductLink’ store=’parkstone-20′ marketplace=’US’ link_id=’e0bc337b-9cea-11e7-ad63-832aa7533b34′] In a watercolour titled like a holiday souvenir snapshot, Me in Brussels, Dix depicted himself as a soldier; cigarette clamped in the mouth and with hot red gaze fixed intently on the ample buttocks of a prostitute. He pursues her into the inviting light of a brothel. In his written notes and in interviews, Dix often underlined what he saw as the essential link between the drives to sex and to war. Later, in post-war Germany, he also came to see the fate of the male war cripple and the female prostitute as a shared one. Grosz emerged from mental hospital in 1917, convinced…
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