Fondation Beyeler

Christoph Vitali

Kunsthistorisches Museum Wien

Wilfried Seipel

Barbara Steffen

This exhibition catalogue is not a retrospective but rather an examination for the first time of the artist's work within a network of relationships and influences from the Old Masters to the artists of the twentieth century. The eminent English painter Francis Bacon (19091992) is known for his brutal, haunting and grotesque portraits of man and beast. In this eyeopening study Bacon stands besides artists like Velazquez, Rembrandt, Titian, Ingres, Degas, Schiele, and Van Gogh - his real sources. To support this thesis, the text draws connections between Bacon and his predecessors according to themes: Bacon's papal portraits, the Motif of the Scream, Bacon and Surrealism, Mirrors and Reflections, the Cage Motif. This sumptuously illustrated book offers a firsttime study of a modernist's work in relation to the masterpieces of art history. Exhibition schedule: Kunsthistorisches Museum Vienna October 15, 2003 - January 18, 2004 Fondation Beyeler, Basel, February 8, 2004 - June 20, 2004

Francis Bacon and the Tradition of Art

Delia Ciuha

Mark Rothko, the great American artist of Russian descent, is one of the chief exponents of Abstract Expressionism. His paintings, predominantly in a large format and featuring horizontal layers of pigment on a monochrome foundation, will forever be in our pictorial memory as the epitome of classical modernism. By means of Rothko's central work groups from all creative periods - among them the Rothko Room in the Phillips collection and the Harvard Murals of Harvard University -, this book looks at the artist's affinity between picture and viewer. Rothko's adamant insistence on controlling the presentation of his works set him apart from the art scene of his time as early as the beginning of the fifties. His pictures were to be hung closely together in small rooms with soft lighting and large formats were to provide an immediate experience - as a concept which has been most famously and definitively realized in the Rothko Chapel in Houston.

Mark Rothko

Some of the oldest and most enduring myths involve the tree. Why this is, should be obvious, for without trees there would be no oxygen, fire, heat, wood, paper, nor dwellings -- in short, no life as we know it. Like water, trees are not just metaphors for life, they are life. This book celebrates the tree as it inspires artistic imagination, and gathers together the arboreal images of such artists as Friedrich, Monet, Cezanne, Giacometti, Ernst, Beuys, Baselitz, Penone, and many others, as well as artists and artisans From Africa and the Pacific. Here, those who have identified with trees for their symbolic, aesthetic, and natural principles of life preservation, are represented and discussed, and the role of the tree in folklore, magic, religion, and aesthetics, is considered.

The Magic of Trees

Erika Doss

David M. Lubin

Ulf Küster

Katharina Rüppell

Hatje Cantz Verlag

A Fresh Look at Landscape

Edward Hopper

Fernand Léger

Alfred Harker (1859–1939) was a prominent petrologist who spent his career at St John's College, Cambridge, lecturing on and researching rock formations and related geological activity. He was elected a fellow of the Royal Society in 1902, and was president of the Geological Society from 1916 to 1918. He used his Cambridge lectures as the foundation for this book (first published in 1909), offering an introduction to the development of rocks and related volcanic activity. With more than one hundred diagrams of various aspects of geological formations, this work also provides a visual guide to the location and formation of igneous rocks. Over the course of the work, he covers the themes of vulcanicity, rock structure, crystallization, the role of magma and the principles of rock classification, giving a broad picture of the field of petrology around the beginning of the twentieth century.

Paris-New York

Raphaël Bouvier

Odilon Redon's oeuvre marks the threshold between the nineteenth and the twentieth centuries, and thus also represents the interplay between tradition and innovation. Fractures and contrasts characterize his artistic development, from the black-and-white of his early, dark lithographs and works in charcoal to the veritable explosions of color in his bright pastels and oils. Bizarre monsters appear alongside heavenly creatures in a blend of dream and nightmare, nature and vision. Tending toward internalization, the mythic, sacred and biological motifs in Redon's works underwent a turn toward the mystical, not only on account of his subject matter, but also through the aesthetic aspects of color and form. Greatly admired by contemporaries such as Paul Cezanne and Edgar Degas, Redon influenced artists such as Pierre Bonnard, Henri Matisse and Marcel Duchamp, as well as the Surrealists. The artist's brilliant ideas and his contextually, technically and materially multifaceted body of work are presented in this catalogue. Born in France to a prosperous family, Odilon Redon (1840-1916) began drawing at an early age and moved to Paris after unsuccessful forays into architecture and sculpture. Redon began his career working primarily in charcoal and lithography, before transitioning to oils and pastels in the 1890s. With his keen interest in literature, Redon found champions and collaborators in Joris-Karl Huysmans, Emile Hennequin and, most significantly, the Symbolist poet Stephane Mallarme. Redon's work achieved international renown after being exhibited at the American Armory Show in 1913.

Odilon Redon

Markus Brüderlin

Pablo Picasso

Anne Baldassari

Musée Picasso (Paris, France)

An integrated analysis of Picasso's artistic creation during the Surrealist period is presented in a retrospective volume that reveals the extraordinary wealth of Picasso's work during this time as revealed in some one hundred illustrations of the artist's painting, sculpture, and other artworks.

The Surrealist Picasso

Ernst Beyeler

Focusing on the close relationship between Monet's late works and the paintings of the post-war modernists. This publication analyses the re-discovery of monet's work and looks beyond the standard cliche's of the 'Monet revival' on both sides of the Atlantic. Texts focus on Monet's late work and provide the necessary basis for these observations. Jacket Inside Cover.

Up to Digital Impressionism ; Exhibition: 28 March - 4 August, 2002, Fondation Beyeler

Claude Monet

Matthew Drutt

This exhibition celebrates the historic moment in the history of modern art when Kazimir Malevich debuted his new non-objective paintings under the banner of Suprematism and Vladimir Tatlin introduced his revolutionary counter-relief sculptures. They were bitter rivals and diametrically opposed in their creative thinking, so when an exhibition in which their new works appeared in 1915, the other 12 artists in the show chose sides.

The Last Futuristic Exhibition of Painting

In Search of 0,10

With the Fondation Beyeler on the outskirts of Basel Renzo Piano, 1998 Pritzker Prize laureate, has laid a milestone in modern museum architecture. Set in park-like grounds, this much acclaimed building was expanded in 2000. The second revised edition of BirkhAuser's monograph pays tribute to these developments, presenting the museum from various perspectives: design and realisation, technology and construction, history and typology, landscaping and presentation of the art collection.

Fondation Beyeler

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