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Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

This second volume of the catalogue of the oil paintings of Alexej von Jawlensky covers the artist's superbly exciting middle period, from his enforced departure from Munich in 1914 up to 1933, when the Nazis banned his work from exhibition. All 833 works discussed are illustrated - 340 of them in color.During World War I Jawlensky's painting underwent a radical change. In the series ""Variations on an Abstract Theme"" he stylized the view from his windows - a small garden, path, lake, mountains beyond - to a culmination of total intensity. He increasingly regarded the human face as the sign of an inner vision. The latter series ""mystical heads,"" ""Faces of the Saviour,"" and ""Abstract Heads"" pulsate with color and seem to express the combined forces of architecture, music, sculpture and dance.Introductory matter includes an essay by Angelica Jawlensky on the artist's serial painting, and unpublished correspondance with Kandinsky, Schmidt-Rottluff and Emmy Scheyer.

New Book. Shipped from UK. Established seller since 2000.

Used. Very Good conditions. May have soft reading marks and name of the previous owner.

Madrid. 29 cm. 151 p. il. col. Encuadernación en tapa blanda de editorial ilustrada. Exposiciones. Fundación Juan March .. Este libro es de segunda mano y tiene o puede tener marcas y señales de su anterior propietario. ISBN: 84-7075-436-X

Like New condition. Great condition, but not exactly fully crisp. The book may have been opened and read, but there are no defects to the book, jacket or pages. 4.3

Neuware - Der russische Dichter Alexej Parschtschikow, geboren 1954, lebte nach Stationen unter anderem in Moskau und Stanford seit Anfang der 1990er Jahre in Deutschland, seit 1995 in Köln, wo er 2009 viel zu früh starb. Obwohl in Russland bereits ein moderner Klassiker, ist er hierzulande noch immer nahezu unbekannt. Die noch von ihm selbst mit verantwortete Auswahl 'Erdöl' in der Übertragung von Hendrik Jackson gibt nun erstmals auch deutschsprachigen Lesern die Möglichkeit, den 2005 mit dem russischen Ehrenpreis 'Literaturlegende' Ausgezeichneten für sich zu entdecken.Alexej Parschtschikow wird, zusammen mit Alexander Eremenko, Iwan Shdanow und Ilja Kutik, den sogenannten Metarealisten zugerechnet, der in den achtziger Jahren aufregendsten Gruppierung russischer Lyrik. Durch seine Zeit in Stanford stand er zugleich in lebhaftem Austausch mit amerikanischen Dichtern, vor allem mit Michael Palmer und der ' Language School'. In der Sowjetunion konnte er erst im Zuge der Perestroika 1989 sein erstes Buch 'Formen der Intuition' veröffentlichen.In seinen Gedichten spürt Alexej Parschtschikow inneren und visuellen Ähnlichkeiten nach, um immer wieder neue und wesenhafte Verbindungen zwischen Wörtern und Dingen zu entdecken bzw. sie herzustellen. Dabei gleicht er, in den Worten seines vielleicht großartigsten Poems 'Erdöl', einer Wahrsagerin, die 'mit dem Finger über den Globus fährt und dabei die Tiefseekabelverbindungen für Fluglinien hält'. Wie kein anderer verbindet er expressivphilosophische Traditionen und russisch überbordende Panoramen mit dem stark abgekühlten, reflektiert-konzeptuellen Ansatz der amerikanischen ' Language School'. Eine Dichtung der Zwischenräume, die 'dort, wo die Flüsse umgepolt werden' (aus: Erdöl) mit fantastischerBegeisterungsfähigkeit aus kleinsten Beobachtungen Bild um Bild entfaltet.

Adolf Erbslöh is one of the most important representatives of Classic Modernism. As a cofounder of the “Neue Künstlervereinigung München” he was in close correspondence with the artists of the “Blauer Reiter” including Alexej Jawlensky, Wassily Kandinsky, Gabriele Münter and Franz Marc. This lavishly illustrated volume includes for the first time all the paintings by this outstanding artist.

Adolf Erbslöh is one of the most important representatives of Classic Modernism. As a cofounder of the “Neue Künstlervereinigung München” he was in close correspondence with the artists of the “Blauer Reiter” including Alexej Jawlensky, Wassily Kandinsky, Gabriele Münter and Franz Marc. This lavishly illustrated volume includes for the first time all the paintings by this outstanding artist.

One of the three Hessian state museums, the Museum Wiesbaden holds first-rate collections in the fields of art and natural history and houses the most important collection of works by Russian painter Alexej von Jawlensky in the world. Celebrating the centenary of the completion of the building housing the museum, this lavishly illustrated volume provides the first-ever introduction to the museum’s wide-ranging collections, which span from the Middle Ages to contemporary art, with an emphasis on the art of the nineteenth and twentieth centuries.             Arranged chronologically, essays from curators Jorg Daur, Peter Forster, Alexander Klar, and Roman Zieglgänsberger offer a detailed glimpse into the museum’s natural history collections and three art departments: Old Master Art, Classic Modernism, and Modern and Contemporary Art. Containing over two hundred color illustrations, The Art Collections not only gives readers a taste of the extraordinary works on display at the Museum Wiesbaden, but also delivers a spectacular overview of more than eight hundred years of art history.

This volume features major works by Kandinsky and other members of the Blue Rider group, including August Macke, Gabriele Munter, Alexej von Jawlensky, David Burliuk and Albert Bloch.

On 31 August 1935, Alexej Stakhanov, a jackhammer operator at Central-Irmino coal mine, mined a record 102 tons of coal in five hours and forty-five minutes (fourteen times his daily quota). The launch of an unprecedented state-run campaign for popularizing extraordinary labor achievements made Stakhanov a Soviet preeminent hero. Soon after, his portrait appeared on the cover of Time. For the first time a laborer had been elevated to worldwide fame for his performance at work. Since then the term "Stakhanovism" has defined ecstatic labor and professional over-accomplishment as a form of heroism. On the 74th anniversary of Stakhanov's achievement, Gleb Kosorukov undertook a photographic research project on the identity of modern miners as an archetype of the working class, affected by the changing value of material labor and the decline of social justice. Kosorukov took 100 portraits of miners during shift changes at the largest mine in Europe, located in the eastern Ukraine, which bears the name of Stakhanov. Due to the neoliberal pressure of global capitalism and the radical changes in the nature of the labor market, Ukrainian mines are closing apace; more than 100,000 miners stand to lose their jobs within the next five years. Kosorukov's work examines what remains of the minermyth in the image of the worker-heroes of today.

The Austrian Salonists with violinist Peter Gillmayr are widely popular with both audiences and critics alike for their extraordinary, cross-genre programs. This new recording by the title "Russian Dances" features works by composers like Alexej Kozlov and Anatoli Novikov, traditional Russian melodies like "Dark Eyes" or "Moscow Nights" and evergreens like the "Waltz No. 2" from the Suite for Variet-Orchestra by Dmitri Shostakovitch. Further dances are taken from popular ballets like "The Nutcr

One of the three Hessian state museums, the Museum Wiesbaden holds first-rate collections in the fields of art and natural history and houses the most important collection of works by Russian painter Alexej von Jawlensky in the world. Celebrating the centenary of the completion of the building housing the museum, this lavishly illustrated volume provides the first-ever introduction to the museum’s wide-ranging collections, which span from the Middle Ages to contemporary art, with an emphasis on the art of the nineteenth and twentieth centuries.             Arranged chronologically, essays from curators Jorg Daur, Peter Forster, Alexander Klar, and Roman Zieglgänsberger offer a detailed glimpse into the museum’s natural history collections and three art departments: Old Master Art, Classic Modernism, and Modern and Contemporary Art. Containing over two hundred color illustrations, The Art Collections not only gives readers a taste of the extraordinary works on display at the Museum Wiesbaden, but also delivers a spectacular overview of more than eight hundred years of art history.

On 31 August 1935, Alexej Stakhanov, a jackhammer operator at Central-Irmino coal mine, mined a record 102 tons of coal in five hours and forty-five minutes (fourteen times his daily quota). The launch of an unprecedented state-run campaign for popularizing extraordinary labor achievements made Stakhanov a Soviet preeminent hero. Soon after, his portrait appeared on the cover of Time. For the first time a laborer had been elevated to worldwide fame for his performance at work. Since then the term "Stakhanovism" has defined ecstatic labor and professional over-accomplishment as a form of heroism. On the 74th anniversary of Stakhanov's achievement, Gleb Kosorukov undertook a photographic research project on the identity of modern miners as an archetype of the working class, affected by the changing value of material labor and the decline of social justice. Kosorukov took 100 portraits of miners during shift changes at the largest mine in Europe, located in the eastern Ukraine, which bears the name of Stakhanov. Due to the neoliberal pressure of global capitalism and the radical changes in the nature of the labor market, Ukrainian mines are closing apace; more than 100,000 miners stand to lose their jobs within the next five years. Kosorukov's work examines what remains of the minermyth in the image of the worker-heroes of today.