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359 Seiten, zahlr. Illustr.; Zustand: sehr gut. Geringfügige Gebrauchs- oder Lagerspuren. 41 ISBN 9783775738828 Sprache: Deutsch Gewicht in Gramm: 2202 30 cm, gebundene Ausgabe, illustrierter Einband ohne Schutzumschlag, Halbleinen.

German Text.Herausgegeben von Magdalena Moeller.München, 2002; hardback, pp. 272, 120 col. ill., cm 24,5x30.

This generously illustrated volume focuses on the poignant friendship of Franz Marc and August Macke, two innovative members of the Blue Rider group.During the five years Franz Marc and August Macke knew each other, the two men carried on an artistic and personal friendship that had an immense impact of each of their careers. This book traces their relationship and features meticulously reproduced images that bring their paintings--and the bond they shared--to life. In addition to paintings, watercolors, and drawings from both artists, this book includes objects and documents that show their connection to one another. A series of essays explore the artists' conversations about color theory and non-representational painting, their work with the Blue Rider group, their joint mural, Paradise, and the influence of French painters on their art. This book also reveals how 20th-century Expressionism evolved during Marc and Macke's collaboration. While celebrating the two men's obvious differences, this volume reveals how their differences served to deepen their friendship and how their distinct artistic styles influences one another.

August Macke (1887–1914) is regarded as one of the most outstanding protagonists of the Blaue Reiter movement. At the heart of this publication is the young Expressionist’s time at Rosengarten House on Lake Thun in Switzerland from October 1913 to June 1914. Macke developed a manner of painting entirely his own, as evidenced by the numerous studies and oil paintings reproduced in this volume. Here, as with Cézanne’s Mont Sainte-Victoire, we learn to view the landscape surrounding Lake Thun as a modernist topos. The first publication to shed light on Macke’s affinity for the country, August Macke and Switzerland offers a revealing overview of how place and landscape can inform not only an artist’s subject matter but also his style. Readers are also offered glimpses into the trip to Tunisia that Macke, Paul Klee and Louis Moilliet planned in April 1914 during their Swiss sojourn.

August Macke (1887-1914) was a master of German Expressionism, a movement which sprang up in the early 1900s with the intent to forego physical reality in  search of its emotional counterpart, with a particular emphasis on expressing dark moods of tragedy and angst. Macke was a master of color and form, producing eye-catching canvases that evoke a strong sympathetic reaction in the viewer. He was equally at home portraying the sun drenched streets of Tunisia, the cloudy sky around the Bonn cathedral, and the faceless multitude of a crowded railway station. In this compelling text, Walter Cohen examines the brief life of an artist whose seemingly limitless potential was tragically cut short by his untimely death.

This generously illustrated volume focuses on the poignant friendship of Franz Marc and August Macke, two innovative members of the Blue Rider group.During the five years Franz Marc and August Macke knew each other, the two men carried on an artistic and personal friendship that had an immense impact of each of their careers. This book traces their relationship and features meticulously reproduced images that bring their paintings--and the bond they shared--to life. In addition to paintings, watercolors, and drawings from both artists, this book includes objects and documents that show their connection to one another. A series of essays explore the artists' conversations about color theory and non-representational painting, their work with the Blue Rider group, their joint mural, Paradise, and the influence of French painters on their art. This book also reveals how 20th-century Expressionism evolved during Marc and Macke's collaboration. While celebrating the two men's obvious differences, this volume reveals how their differences served to deepen their friendship and how their distinct artistic styles influences one another.

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August Macke (1887–1914) is regarded as one of the most outstanding protagonists of the Blaue Reiter movement. At the heart of this publication is the young Expressionist’s time at Rosengarten House on Lake Thun in Switzerland from October 1913 to June 1914. Macke developed a manner of painting entirely his own, as evidenced by the numerous studies and oil paintings reproduced in this volume. Here, as with Cézanne’s Mont Sainte-Victoire, we learn to view the landscape surrounding Lake Thun as a modernist topos. The first publication to shed light on Macke’s affinity for the country, August Macke and Switzerland offers a revealing overview of how place and landscape can inform not only an artist’s subject matter but also his style. Readers are also offered glimpses into the trip to Tunisia that Macke, Paul Klee and Louis Moilliet planned in April 1914 during their Swiss sojourn.

This is a collection of work housed in the Lenbachhaus in Munich of the artist's group, The Blue Rider, which became a symbol of revolution in modern art in the early 20th century. Their preoccupation was with abstraction, the forces and laws of nature, primitive art, and the role of colour. The work of Vassily Kadinsky, Franz Marc and Paul Klee have since become avant-garde icons known throughout the world. The Lenbachhaus possesses the world's finest collection of works by these artists and this volume brings together some 120 highlights.

Artwork by August Macke. Contributions by Ursula Heiderich.

Artwork by August Macke. Contributions by Ursula Heiderich.

Watercolors, sketchbooks, journal entries, photographs and other documents of the famous journey taken by Paul Klee, August Macke and Louis Moillet in 1914 are presented here in celebration of the 100th anniversary of the voyage, a comprehensive tribute honoring the significance to art history of the artists’ journey. When Klee and his fellow painters Macke and Moilliet left for Tunisia in April 1914, a cornucopia of impressions awaited them in Tunis, St. Germain, Hammamet and Kairouan. They departed from the anecdotal Orientalism of the nineteenth century, abstracting their motifs and transforming them into ornamental shapes and crystalline structures. Their surprising, innovative images are today a highlight of early modernism. Klee went the furthest. For him, color became the most important creative tool; he dissolved the object in planes of color, the visual construct became a pattern that he covered in arabesques and symbols.

While other writers contemplated the events of the 1968 Chicago riots from the safety of their hotel rooms, John Schultz was in the city streets, being threatened by police, choking on tear gas, and listening to all the rage, fear, and confusion around him. The result, No One Was Killed, is his account of the contradictions and chaos of convention week, the adrenalin, the sense of drama and history, and how the mainstream press was getting it all wrong. "A more valuable factual record of events than the city’s white paper, the Walker Report, and Theodore B. White’s Making of a President combined."—Book Week "As a reporter making distinctions between Yippie, hippie, New Leftist, McCarthyite, police, and National Guard, Schultz is perceptive; he excels in describing such diverse personalities as Julian Bond and Eugene McCarthy."—Library Journal "High on my short list of true, lasting, inspired evocations of those whacked-out days when the country was fighting a phantasmagorical war (with real corpses), and police under orders were beating up demonstrators who looked at them funny."—Todd Gitlin, from the foreword

While other writers contemplated the events of the 1968 Chicago riots from the safety of their hotel rooms, John Schultz was in the city streets, being threatened by police, choking on tear gas, and listening to all the rage, fear, and confusion around him. The result, No One Was Killed, is his account of the contradictions and chaos of convention week, the adrenalin, the sense of drama and history, and how the mainstream press was getting it all wrong. "A more valuable factual record of events than the city’s white paper, the Walker Report, and Theodore B. White’s Making of a President combined."—Book Week "As a reporter making distinctions between Yippie, hippie, New Leftist, McCarthyite, police, and National Guard, Schultz is perceptive; he excels in describing such diverse personalities as Julian Bond and Eugene McCarthy."—Library Journal "High on my short list of true, lasting, inspired evocations of those whacked-out days when the country was fighting a phantasmagorical war (with real corpses), and police under orders were beating up demonstrators who looked at them funny."—Todd Gitlin, from the foreword

86 S. Buch ist neu, aus priv. Vorbesitz, ungelesen. -----Inhalt:. Obwohl Moilliet unbestreitbar zu den wichtigen Vertretern der Moderne gehört, blieb er vergleichsweise unbekannt. Eingeprägt hat sich sein Name im Zusammenhang mit der legendären Tunesien-Reise, die Paul Klee, August Macke und Moilliet unternahmen. Moilliet fand in der Ferne jene Inspiration, die schliesslich seine Meisterschaft als Aquarellmaler beförderte. Das Buch zeigt eine Auswahl dieser Arbeiten und gibt Einblicke in die gesamte Schaffenszeit. ISBN: 9783716515860 Wir senden umgehend mit beiliegender MwSt.Rechnung. Sprache: Deutsch Gewicht in Gramm: 558 Klappenbroschur, Maße: 22 cm x 1.1 cm x 27.5 cm

Franz Marc (1880-1916) was one of the most important members of the Blue Rider group of painters, together with other outstanding artists such as Wassily Kandinsky, Gabriele Münter, August Macke, Paul Klee and Alfred Kubin. The group marked the high point of German Expressionism and had a profound influence on international art during the brief period from its formation to the beginning of the First World War. This volume, the second of a three-part catalogue raisonné of Franz Marc's work, is devoted to the watercolors, works on paper, sculpture and decorative arts. All the pieces included have been newly researched and documented by the Städtische Galerie at the Lenbachhaus in Munich. Each entry provides details of technique, provenance, exhibitions and literature.

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.

Franz Marc (1880-1916) was one of the most important members of the Blue Rider group of painters, together with artists such as Wassily Kandinsky, Gabriele Münter, August Macke, Paul Klee, and Alfred Kubin. The group marked the high point of German Expressionism and had a profound influence on international art during the brief period from its formation to the start of the First World War. The third and final volume of the catalogue raisonné contains the thirty-two sketchbooks by the artist and illustrates the hundreds of drawings he made from life as studies for works in other media. Over one thousand sketchbook pages are catalogued and reproduced for the first time, many of which had been separated from the sketchbooks and are here re-united with details of provenance and present location to provide a complete picture of the artist’s preparatory work. The volume also contains detailed entries and illustrations of the artist’s forty-five prints, including information on media, provenance, and location. It begins with introductory texts that explain the authors’ methodology in cataloging the work and concludes with concordances, a glossary of terms, bibliography, and index.

Franz Marc (1880-1916) was one of the most important members of the Blue Rider group of painters, together with other outstanding artists such as Wassily Kandinsky, Gabriele Münter, August Macke, Paul Klee and Alfred Kubin. The group marked the high point of German Expressionism and had a profound influence on international art during the brief period from its formation to the beginning of the First World War. This volume, the second of a three-part catalogue raisonné of Franz Marc's work, is devoted to the watercolors, works on paper, sculpture and decorative arts. All the pieces included have been newly researched and documented by the Städtische Galerie at the Lenbachhaus in Munich. Each entry provides details of technique, provenance, exhibitions and literature.

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.