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The Tunisian journey is surely one of the most popular chapters in art history. When Paul Klee and his fellow painters August Macke and Louis Moilliet left for Tunisia in April 1914, a cornucopia of impressions awaited them: Tunis, St. Germain, Hammamet, Kairouan, and the people, architecture and scenery of the country inspired the three artists to produce a multitude of watercolors and drawings. They depart 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 a highlight of early Modernism. Klee went the farthest. For him, color became the most important creative tool; he dissolved the object in planes of color, and the visual construct became a pattern that he covered in arabesques and symbols.This profound publication follows in the footsteps of our extremely successful book on the Tunisian journey (1982), a milestone in the history of our publishing company. (English edition ISBN 978-3-7757-3763-0, French edition ISBN 978-3-7757-3761-6) Exhibition schedule: Zentrum Paul Klee, Bern, March 15–June 22, 2014

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.

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

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.

Artwork by August Macke. Contributions by Ursula Heiderich.

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.

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 one of the leading members of the German Expressionist group Der Blaue Reiter (The Blue Rider). He lived during a particularly innovative time for German art: he saw the development of the main German Expressionist movements as well as the arrival of the successive avant-garde movements which were forming in the rest of Europe. Like a true artist of his time, Macke knew how to integrate into his painting the elements of the avant-garde which most interested him. In Paris, where he traveled for the first time in 1907, Macke saw the work of the Impressionists, and shortly after he went to Berlin and spent a few months in Lovis Corinth's studio. His style was formed within the mode of French Impressionism and Post-impressionism and later went through a Fauve period. In 1909 he married Elisabeth Gerhardt. In 1910, through his friendship with Franz Marc, Macke met Kandinsky and for a while shared the non-objective aesthetic and the mystical and symbolic interests of Der Blaue Reiter. Macke's meeting with Robert Delaunay in Paris in 1912 was to be a sort of revelation for him. Delaunay's chromatic Cubism, which Apollinaire had called Orphism, influenced Macke's art from that point onwards. His Shops Windows can be considered a personal interpretation of Delaunay's Windows, combined with the simultaneity of images found in Italian Futurism. The exotic atmosphere of Tunisia, where Macke traveled in April 1914 with Paul Klee and Louis Moilliet was fundamental for the creation of the luminist approach of his final period, during which he produced a series of works now considered masterpieces. August Macke's oeuvre can be considered as Expressionism (in its original German flourishing between 1905 and 1925), and also as part of Fauvism. The paintings concentrate primarily on expressing feelings and moods rather than reproducing objective reality, usually distorting color and form.

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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.

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.

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.

Neu -Rund 250 Bismarcktürme' wurden in Deutschland, Polen, Russland, Österreich, Kamerun, Tansania errichtet, und noch weit mehr Denkmäler zu Ehren Bismarcks. Der eiserne Kanzler war schon zu Lebzeiten eine mythische Figur. Wer aber war der Mensch hinter dem Mythos »Im August 1846 sah ich zum ersten Mal Herrn von Bismarck-Schönhausen .« So beginnen die Aufzeichnungen des Diplomaten und engen Bismarck-Vertrauten Robert von Keudell, die bis zur Reichsgründung reichen. Als dessen Sekretär begleitet er Bismarck im Deutsch-Französischen Krieg. Die Erinnerungen von Robert Lucius Freiherr von Ballhausen schließen unmittelbar an von Keudells Aufzeichnungen an und reichen bis zu Bismarcks Sturz 1890. Robert Lucius war Abgeordneter, Minister, einer der engsten Freunde Bismarcks und galt als dessen Sprachrohr. Zusammen sind die beiden Erinnerungsbücher, die bisher nur in Frakturschrift vorlagen, die intimsten Zeugnisse, die wir über den Reichsgründer haben. 856 pp. Deutsch

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 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.

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 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 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.