Agnes Husslein-Arco

Alfred Weidinger

Donne

Dieser Band widmet sich den künstlerischen Umbrüchen in Wien und Berlin zu Beginn des 20. Jahrhunderts bis in die Zwischenkriegszeit. Er dokumentiert den Austausch und die gegenseitige Wahrnehmung der Künstler in den so unterschiedlichen Metropolen. Auf der Suche nach neuen Ausdrucksformen werden zu Beginn des 20. Jahrhunderts zwei der berühmtesten Secessionen gegründet - in Wien von Künstlern wie Gustav Klimt und Josef Hoffmann, in Berlin u. a. von Max Liebermann und Max Slevogt. Während sich die Berliner Künstler der Alltagswirklichkeit und Themen der Großstadt widmeten, dominierte in Wien die ornamentale Form. Zum Ende des ersten Jahrzehnts entfaltete sich der Expressionismus: In Berlin formierten sich Max Pechstein, Ernst Ludwig Kirchner u. a. als "Neue Secession", in Wien hingegen wurden junge Expressionisten wie Egon Schiele und Oskar Kokoschka von den alten Secessionisten unterstützt.

Kunst zweier Metropolen

Wien - Berlin

Bettina Steinbrügge

This publication documents a group show that explores the relationship between productivity and creativity. Various artists--including Claire Fontaine, Thomas Baumann, Siggi Hofer, Santiago Sierra, Josephine Pryde, Christoph Meier and Adrian Williams--comment on the conflation of time and money.

exhausted self

Busy

Meisterwerke des Belvedere

Aspects of Austrian Symbolism : [Belvedere, Vienna, June 20 to October 13, 2013]

Decadence

Matthias Boeckl

Kärnten war neben Wien der wichtigste Schauplatz moderner Malerei in Österreich, der sowohl bedeutende moderne Maler in die europäischen Metropolen "exportierte" als auch viele Künstler wegen der ursprünglichen Lebensbedingungen anzog. Herbert Boeckl, aber auch die bekannten Künstler des Nötscher Kreises, wie Anton Kolig, Franz Wiegele, Sebastian Isepp, Gerhart Frankl, Anton Mahringer u. a. zählen neben Schiele und Kokoschka zu den bedeutendsten Vertretern des Expressionismus. Sie erarbeiteten einen eigenständigen Weg in die moderne Malerei, der zunehmend internationale Beachtung findet. Das Buch bietet den ersten profunden Überblick über die in und um Kärnten entstandene moderne Malerei sowie Abbildungen aller Hauptwerke und Biografien der involvierten Künstler und Förderer.

Moderne Malerei in Kärnten 1900-1955 / Modern Painting in Carinthia 1900-1955

Eremiten - Kosmopoliten

Emilie Flöge was only a teenager when she met the painter Gustav Klimt, but their friendship soon evolved into a complex and loving relationship that lasted the rest of their lives. Alfred Weidinger, an acclaimed expert on Klimt and his contemporaries, has compiled an exhaustive collection of photographs relating to the artist and his designer muse. While Klimt took many of these shots, other photographers include Carl Schuster, Victor von Spitzer, Hugo Henneberg, Pauline Kruger Hamilton, Anton Josef Trcka (Antios), and unknown individuals who had access to the couple's private lives. Presented chronologically, they offer insight into the creatively charged world that Klimt and Flöge inhabited--a world they influenced with their enormous talent and passions.

Photographs

Gustav Klimt & Emilie Flöge

Jean Dubuffet

Monografie over de Franse beeldend kunstenaar (1901-1985); catalogus bij een tentoonstelling.

Alexander Klee

Hans Makart

"Hans Makart left his mark on his age like no other artist of the nineteenth century. He became the symbol of his time, which has gone down in history as the Makart Era. summoned to Vienna by the emperor as a talented young artist, his painting were popular among the rising bourgeoisie and were ultimately regarded as the measure of social recognition and reputation. Makart's free painterly use of color and light derives from French art, especially that of Eugene Delacroix. At the same time as EdouardManet, Auguste Renoir, and Gustave Moreau he cultivated color as one of the core elements in his art. Through the accentuation of sensuality--of taste, eroticism, and a robust joie-de-vivre--he also struck the chord of decline and is thus a typical representative of the Age of Decadence. Makart was skilled in using the possibilities offered by new reproduction techniques to popularize his works and his own specific aesthetic. His images and theme became trademarks and reflections of his age and aroused national and international attention. Makart's artistic approach was open to experiment; it was evidenced in his intensive study of Richard Wagner's 'Ring de Nibelungen' and the architecture of Gottfried Semper, and it expressed itself in large-format painterly interpretations of the operas and in visionary architectural fantasies. Makart was highly respected internationally when he died in 1884 at the age of 44." --Jacket.

Painter of the Senses

Sabine Grabner

"During the 19th century, Austrian painters were drawn to faraway countries for their inspiration. Initially, they documented scenes and motifs. Later, the visual allure of foreign places, the transformation of landscapes and buildings by sunlight, the depiction of heat and the exotic surroundings also began to find expression in their paintings and drawings. One of the most important Austrian painters to visit the Orient was Leopold Carl Müller, who produced many market scenes and figures over the course of nine winters in Egypt. Other Austrian painters, such as Alois Schonn, Alphons Mielich and Bernhard Fiedler, also travelled to the Orient, and Rudolf Swoboda and Hermann von Königsbrunn even reached India and Ceylon. August von Pettenkofen, Otto von Thoren and Johann Gualbert Raffalt looked for inspiration closer to home, in neighboring Hungary. This publication brings together the impressions of these artists of Hungary, the Balkan, Greece and Constantinople, Egypt and the Holy Land, as well as India, Ceylon and the Indian Ocean."--Publisher's website.

Travelling 19th Century Austrian Painters

Orient & Occident

Ursula Mayer

Ursula Blickle

The title But We Loved Her was taken from a picture in the April 17, 2013 issue of the British newspaper The Independent, the day Margaret Thatcher was interred. The London-based artist collected all the newspaper articles in the days that followed Thatcher's death, programmatically positioning these four words at the forefront of her exhibition in Vienna, and in a phase of her work that foregrounds questions about the opportunities offers by neoliberal identity, about consumer culture in a post-capitalistic society, and about their precursors.Ursula Mayer studied at the Academy of Fine Arts in Vienna and Goldsmiths College in London. She won the Otto Mauer Prize in 2007, and was a scholar in the International Studio & Curatorial Program (ISCP) in New York in 2011. Her films have been presented at international film festivals such as Locarno, Oberhausen and Rotterdam.But We Loved Her is the first monograph on Ursula Mayer and accompanies her exhibition at the 21er Haus, Vienna, 13 October, 2013 - 12 January, 2014.

But We Loved Her

Jane Kallir

Egon Schiele (1890-1918) is one of the most important Austrian artists of the twentieth century. This publication, produced to accompany an exhibition in the Belvedere, Vienna, is the first to focus on his portraits and self-portraits. Schiele was influenced by Gustav Klimt during his early career but soon discovered his own mode of expression. By the time of his premature death he had created an impressive oeuvre that concentrates on the depiction of the human figure. In his portraits, Schiele tried to portray his models' state of mind in visual terms, thereby following contemporary developments in psychoanalysis. His numerous self-portraits attest to the fact that the artist embarked on his exploration of human emotions by observing his own personality. Some 100 portraits and self-portraits document Schiele's artistic development and his extraordinary accomplishments as a portraitist. Confrontational and often explicitly erotic, they repeatedly provoked protest by testing the boundaries of traditional portraiture. Largely devoid of props or scenery, they reflect the artist's intensive study of the portrayal of emotional states. Schiele's examination of the self began with his own person: his self-portraits are fascinating glimpses inside the mind of an extraordinarily gifted artist as well as seminal works of originality and deep empathy with the human condition.

Agnes Husslein-Arco

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