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The young Leipzig painter Matthias Weischer, born in 1973, depicts suburban interiors that can appear at once pleasantly furnished and ominously vacated. Abstract patterns in wallpaper or carpet suggest households that have been lovingly attended to, but Weischer invests this decor with an oddly noisy insistence, so that its sheer "effect" invades any space a human presence might occupy. Often an entire ceiling or a part of a wall is omitted, so that Weischer's homes quickly come to seem absurdly staged, like sets that are wholly indifferent to habitation. Subtle perspectival collisions and a frequently clinical treatment of light compound these atmospheres of banal anxiety, and Weischer's impasto paint application further intensifies the claustrophobic pressure--even while imparting his evident enjoyment in detailing ornamental effect. The artist's conceptual preoccupations are consistent, but the emotional nuances of his paintings vary greatly. With over 200 color plates, this is an impressive catalogue raisonne for one of the Leipzig School's most promising stars.

This solid 14-karat yellow gold cross necklace makes a great gift or daily accessory. A matching box chain and secure lobster clasp offer worry-free wear.

Looking to give your home character? Our 26-inch Matthias Ceiling Fan Chandelier can do just that. Our fixture features six (6) lights that creates the right environment heading into the evening. Included is a remote control that allows you to access these features and helps you choose between the six (6) airing options for your cooling comfort, with ease. Both decorative during the day and decoratively functional at night, get the best of both worlds with our 26-inch Matthias Ceiling Fan Chandelier.

Add regal charm to any room inside or outside the home with Matthias the Nutcracker Prince Christmas decoration. The toy soldier prince features a painted red coat with white ruffled shirt, green pants and black boots as well as a golden crown. The durable polyresin construction with detailed painted finish makes this nutcracker statue perfect for placement near the entryway, in the dining room, by the tree or the office. It can also be placed outdoors near the front door, porch or as a part of a holiday display.

Thein Orchestral `Matthias H fs Professional Bb rotary trumpet GOLDPLATED Technically & visually in very great shape! K35 bellZirnbauer val...

Experience the ultimate in relaxation and modern design with the Matthias lounger. Impeccably styled to reflect minimalist modern aesthetics, this lounger invites you to kick back and unwind. The luxurious polyester upholstery ensures a comfortable experience, while the rubber wood base adds a touch of nature-inspired beauty. What's more, it's filled with a balanced blend of polyurethane foam and polyester/poly fill for that soft yet supportive comfort every time you take a seat. This lounger promises durability and longevity. Plus, it’s easy to maintain with spot cleaning using water only. Elevate your home decor with this chic and cozy Matthias lounger. Color: Upholstery: Light Beige/ White; Base: Brown.

MjG MastercasterCase candy 2 Postcard signed by Matthias Jabs

Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

244 S. Ehem. Bibliotheksexemplar mit Signatur und Stempel. Guter Zustand, ein paar Gebrauchsspuren. Ex-library with stamp and catalognumber on spine. Good condition, some traces of use. div2332/50 3486479512 Sprache: Deutsch Gewicht in Gramm: 450

Omnibus edition of CL Werner's three classic witch hunter novels: Witch Hunter, Witch Finder and Witch Killer.

The young Leipzig painter Matthias Weischer, born in 1973, depicts suburban interiors that can appear at once pleasantly furnished and ominously vacated. Abstract patterns in wallpaper or carpet suggest households that have been lovingly attended to, but Weischer invests this decor with an oddly noisy insistence, so that its sheer "effect" invades any space a human presence might occupy. Often an entire ceiling or a part of a wall is omitted, so that Weischer's homes quickly come to seem absurdly staged, like sets that are wholly indifferent to habitation. Subtle perspectival collisions and a frequently clinical treatment of light compound these atmospheres of banal anxiety, and Weischer's impasto paint application further intensifies the claustrophobic pressure--even while imparting his evident enjoyment in detailing ornamental effect. The artist's conceptual preoccupations are consistent, but the emotional nuances of his paintings vary greatly. With over 200 color plates, this is an impressive catalogue raisonne for one of the Leipzig School's most promising stars.

Famous, above all, for his awe-inspiring Isenheim Altarpiece, Matthias Grunewald was one of the great Renaissance visionaries and has exerted a lasting influence on European painting. This book presents Grunewald's oeuvre from early paintings and drawings through his major masterpieces, the altarpieces in Frankfurt, Isenheim, Aschaffenburg and Mainz up to his last works, and also includes an up-to-date catalogue of paintings and drawings definitively attributed to the artist.Generally regarded as the greatest painter of the German Renaissance and certainly its greatest colourist, Grunewald produced paintings of extraordinary beauty and expressive force. A man of profound religious beliefs, his vision transcended the visible world and led him to paint some of the most moving and memorable images of Christ's Passion in Western art. The Isenheim Altarpiece, which is now housed in the Musee d'Unterlinden in Colmar, France, is widely held to be the single most important work of German Renaissance painting.

Weischers first exhibition in Spain allowed the artist to present a set of gardens and landscapes that have not previously been exhibited. These works, the direct result of the evolution of the artists most recent work, are presented in this catalogue in a dialogue with his typical interiors that have brought him so much critical acclaim.  Alongside images of these works the catalogue includes several short essays, an interview with the artist and bibliographic information.

Building facades, parking decks, stadium roofs, sauna chairs--the banality of Matthias Hoch's urban subject matter is belied by the intense artistry of his image-making. In Hoch's photographs, "a purism of color and form pursues things to abstraction, penetrating to the essence, the idea," writes critic Michael Stoeber, and the "essence" of these familiar surfaces of our everyday environment turns out far more sensual than one might expect. Lucidly composed, Hoch's photos position the objects and topographies of city existence with a keen, almost obsessive attention to surface quality and compositional format. The artist's unexpected choices of scale and perspective evoke puzzlement and ambiguity, making for a more but often less recognizable material source. But the city itself is never quite the subject: Be they in Paris or Brussels, Hoch's metropolises would be unknowable, if not for the fact that city name and caption are one and the same. Since his early experiments in the rapidly changing urban landscapes of eastern Germany, where he was a student in Leipzig, Hoch has been exploring the ubiquitous formal language of modern European urban development. In this collection of approximately 80 individual works, the views Hoch presents demonstrate a consistently analytical approach to the space that surrounds us and a simultaneous attention to its sculptural quality.

On the occasion of its centennial anniversary, the German Verein für Kunstwissenschaft has compiled all of Renaissance master Matthias Grünewald's known drawings in this opulent volume, which is filled with exquisitely reproduced color plates, complete with critical commentary. Grünewald's 40 surviving studies are some of the most important discoveries of German Renaissance art. Uncovered by art historian Max J. Friedländer, who posits Grünewald's technique as an antipode to Albrecht Dürer's, this publication is the latest example of nearly a century of groundbreaking drawings editions produced by the Verein für Kunstwissenschaft--the first volume of which, a complete edition of Grünewald's known drawings at the time (1927), has long been out of print. Later editions featured the work of artists such as Martin Schongauer, Albrecht Dürer, Hans Baldung Grien, Hans von Kulmbach, Hans Schäufelein and Lucas Cranach the Elder. The work of Matthias Grünewald (c. 1475-1528) was nearly forgotten until the twentieth century; only a dozen paintings and these drawings have been found. His masterpiece, the Isenheim Altarpiece (c. 1513-1515), was long believed to have been painted by Dürer.

Famous, above all, for his awe-inspiring Isenheim Altarpiece, Matthias Grunewald was one of the great Renaissance visionaries and has exerted a lasting influence on European painting. This book presents Grunewald's oeuvre from early paintings and drawings through his major masterpieces, the altarpieces in Frankfurt, Isenheim, Aschaffenburg and Mainz up to his last works, and also includes an up-to-date catalogue of paintings and drawings definitively attributed to the artist.Generally regarded as the greatest painter of the German Renaissance and certainly its greatest colourist, Grunewald produced paintings of extraordinary beauty and expressive force. A man of profound religious beliefs, his vision transcended the visible world and led him to paint some of the most moving and memorable images of Christ's Passion in Western art. The Isenheim Altarpiece, which is now housed in the Musee d'Unterlinden in Colmar, France, is widely held to be the single most important work of German Renaissance painting.

Omnibus edition of CL Werner's three classic witch hunter novels: Witch Hunter, Witch Finder and Witch Killer.

On the occasion of its centennial anniversary, the German Verein für Kunstwissenschaft has compiled all of Renaissance master Matthias Grünewald's known drawings in this opulent volume, which is filled with exquisitely reproduced color plates, complete with critical commentary. Grünewald's 40 surviving studies are some of the most important discoveries of German Renaissance art. Uncovered by art historian Max J. Friedländer, who posits Grünewald's technique as an antipode to Albrecht Dürer's, this publication is the latest example of nearly a century of groundbreaking drawings editions produced by the Verein für Kunstwissenschaft--the first volume of which, a complete edition of Grünewald's known drawings at the time (1927), has long been out of print. Later editions featured the work of artists such as Martin Schongauer, Albrecht Dürer, Hans Baldung Grien, Hans von Kulmbach, Hans Schäufelein and Lucas Cranach the Elder. The work of Matthias Grünewald (c. 1475-1528) was nearly forgotten until the twentieth century; only a dozen paintings and these drawings have been found. His masterpiece, the Isenheim Altarpiece (c. 1513-1515), was long believed to have been painted by Dürer.

Unread book in perfect condition.

Paul Johnson and Sean Wilentz brilliantly recapture the forgotten story of Matthias the Prophet, imbuing their richly researched account with the dramatic force of a novel. In the hands of Johnson and Wilentz, the strange tale of Matthias opens a fascinating window into the turbulent movements of the religious revival known as the Second Great Awakening--movements that swept up great numbers of evangelical Americans and gave rise to new sects like the Mormons. Into this teeming environment walked a down-and-out carpenter named Robert Matthews, who announced himself as Matthias, prophet of the God of the Jews. His hypnotic personality drew in a cast of unforgettable characters--the meekly devout businessman Elijah Pierson, who once tried to raise his late wife from the dead; the young attractive Christian couple, Benjamin Folger and his wife Ann (who seduced the woman-hating Prophet); and the shrewd ex-slave Isabella Van Wagenen, regarded by some as "the most wicked of the wicked." None was more colorful than the Prophet himself, a bearded, thundering tyrant who gathered his followers into an absolutist household, using their money to buy an elaborate, eccentric wardrobe, and reordering their marital relations. By the time the tensions within the kingdom exploded into a clash with the law, Matthias had become a national scandal.