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Neuware - Das Meisterhaus Kandinsky / Klee ist eine Ikone der Architekturgeschichte. Es ist Teil des Ensembles der Meisterhäuser, die Gropius 1925/26 unweit des Bauhaus-Gebäudes für die an der Schule lehrenden Meister errichten ließ. Die reiche farbige Innengestaltung ist Ausdruck des Gestaltungswillens der Bewohner, zwei der bedeutendsten Künstlerpersönlichkeiten des 20. Jahrhunderts: Wassily Kandinsky und Paul Klee. Das Meisterhaus hat eine bewegte Nutzungsgeschichte hinter sich. Letzte Station war Ende der 1990er Jahre eine Restaurierung, die dem Haus ihr ursprüngliches Erscheinungsbild zurückgab. Nach knapp zwanzig Jahren intensiver Nutzung als Ort für Ausstellungen stand eine Generalüberholung an. Die Wüstenrot Stiftung rollte den Fall Meisterhaus Kandinsky / Klee noch einmal neu auf und analysierte das Haus grundlegend. Die farbige Gestaltung der Innenräume wurde nach neuesten Erkenntnissen rekonstruiert und beeindruckt den Besucher nun wieder mit ihren ursprünglichen Farbqualitäten. Dieses Buch erzählt detailliert die Geschichte der Instandsetzung, diskutiert die Ursachen des kurzen Instandsetzungsturnus bei Bauten der Moderne und entführt den Leser mit dem Blick der Kamera in die Farbwelt des Meisterhauses.Mit Texten von Jan Blieske, Winfried Brenne, Berthold Burkhardt, Thomas Danzl, Thomas Knappheide, Henry Krampitz, Philip Kurz, Hans-Rudolf Meier, Peter Schöne, Florian Strob und Claudia Perren.

New York. 21 cm. 122 pages : illustrations (part color). Encuadernación en tapa dura de editorial ilustrada. Idioma Inglés. Kandinsky / [text and design by the staff of Tokyo International Publishers]. Harcourt Brace Jovanovich masters of art series .. Este libro es de segunda mano y tiene o puede tener marcas y señales de su anterior propietario. ISBN: 0151472807

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.

Paul Klee experienced his 1914 trip to Tunisia as a major breakthrough for his art: “Color and I are one,” he famously wrote. “I am a painter.” Kandinsky and Klee in Tunisia sets the scene for Klee’s breakthrough with a close study of the parallel voyage undertaken in 1904–5 by Wassily Kandinsky and Gabriele Münter, who would later become Klee's friends. This artist couple, then at an early stage in their celebrated careers, produced a rich body of painting and photography known only to specialists. Paul Klee’s 1914 trip with August Macke and Louis Moilliet, in contrast, is a vaunted convergence of cubism and the exotic. Roger Benjamin refigures these two seminal voyages in terms of colonial culture and politics, the fabric of ancient Tunisian cities, visual ethnography, and the tourist photograph. The book looks closely at the cities of Tunis, Sousse, Hammamet, and Kairouan to flesh out a profound confrontation between European high modernism and the wealth of Islamic lifeways and architecture. Kandinsky and Klee in Tunisia offers a new understanding of how the European avant-garde was formed in dialogue with cultural difference.

In 1924 Galka Scheyer brought the work of four fellow avant-garde artists-The Blue Four- from Germany to America. This beautiful book discusses Scheyer`s promotion of modern art in the United States, documents her friendships with the four artists, and reproduces hundreds of their works.

Paul Klee experienced his 1914 trip to Tunisia as a major breakthrough for his art: “Color and I are one,” he famously wrote. “I am a painter.” Kandinsky and Klee in Tunisia sets the scene for Klee’s breakthrough with a close study of the parallel voyage undertaken in 1904–5 by Wassily Kandinsky and Gabriele Münter, who would later become Klee's friends. This artist couple, then at an early stage in their celebrated careers, produced a rich body of painting and photography known only to specialists. Paul Klee’s 1914 trip with August Macke and Louis Moilliet, in contrast, is a vaunted convergence of cubism and the exotic. Roger Benjamin refigures these two seminal voyages in terms of colonial culture and politics, the fabric of ancient Tunisian cities, visual ethnography, and the tourist photograph. The book looks closely at the cities of Tunis, Sousse, Hammamet, and Kairouan to flesh out a profound confrontation between European high modernism and the wealth of Islamic lifeways and architecture. Kandinsky and Klee in Tunisia offers a new understanding of how the European avant-garde was formed in dialogue with cultural difference.

Many call Paul Klee a magician. He was no such thing; he did not conjure up anything. He was a creator who found beauty in the world around him, wrote one of Klee's students from the legendary Bauhaus. The Swiss-born painter, like many of his contemporaries--Kandinsky among them--was interested in Transcendentalism and found nature an inexhaustible source of inspiration. Much of his oeuvre depicts gardens and parks--from real locations such as the Garden Kingdom of Dessau-Wörlitz in Germany or the Tunisian Hammamet to fantastic, fragmentary vegetal abstractions. An amateur naturalist, Klee would often collect flowers and leaves on walks, to later identify and store in an herbarium. With more than 200 color illustrations, this publication explores the spiritual, scientific and aesthetic manifestations of Klee's engagement with nature, revealing a complex approach, by turns coolly analytical and completely subjective. Born in 1879, Paul Klee belonged to the Munich-based proto-Expressionist group Der Blaue Reiter (The Blue Rider), which was active from 1911-1914. Members sought to express spiritual truths in their work, which--radically for the time--moved progressively towards complete abstraction.

Extensively illustrated. Paul Klee (1879-1940) taught at the Bauhaus with Wassily Kandinsky in the early 20th century. Klee's highly individual style was influenced by movements in art that included expressionism, cubism, and surrealism. Chronology. 96p.

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.

From the only museum in North America devoted solely to the art of German-speaking Europe, descriptions and examples by such as Kandinsky, Klee and Klimt.

Max Bill (1904-1994) - a product of the Bauhaus at Dessau, pupil of Walter Gropius, Vasily Kandinsky and Paul Klee - was a virtuoso designer whose work overleaped disciplinary boundaries, encompassing architecture, painting, sculpture, industrial and graphic design, as well as education. What unites all the work is a clarity and precision of expression. Through both his designs and his writings Max Bill has long been a major figure of reference in the German-speaking world.

The Bauhaus and its influences are to be found throughout Twentieth-Century art and design; the architecture of Walter Gropius and Mies van der Rohe, and the art of Paul Klee and Wassily Kandinsky being among the most widely recognized instances. Perhaps the most poignant example of this influence, however, may be understood through the life of a little-known student of the Bauhaus who entered its first class in 1919-Friedl Dicker, whom Gropius described as "a distinguished, rare talent...The multidimensional nature of her talent and her indomitable energy received the highest esteem..." Friedl Dicker was a prolific and multi-talented artist, producing work in theatre, architecture, textiles, graphic design, drawing, painting and sculpture; in 1926, in Vienna, she founded Atelier Singer-Dicker with a classmate Franz Singer. In 1934 she was arrested by the Gestapo for anti-Fascist activities and fled to Prague, where she taught art classes for Jewish refugees. In 1942, she was sent to the Theresienstadt Ghetto in 1942, where she secretly taught art to the children there, gifting them with the tools for the expression of their fears of the hunger, disease and death in their midst. Dicker-Brandeis (she had married in 1936) and thirty of her students perished in the gas chambers of Auschwitz in 1944. Art, Music and Education as Strategies for Survival collects for the first time in one volume the children's art of Theresienstadt, unpublished work of Friedl Dicker-Brandeis, and historical photographs, as well as numerous essays of interest to historians, art educators/ therapists, and Holocaust scholars-providing an important new interdisciplinary approach to exploring the power of art to teach, express, commemorate, and-perhaps, most importantly-heal. Art, Music and Education as Strategies for Survival is published in cooperation with the Payne Gallery of Moravian College, Bethlehem, Pennsylvania.

A famous art collector, dealer, and indomitable champion of modern art, Emmy (Galka) Scheyer (1889–1945) is best known as the founder of the Blue Four artists’ group, whose members were Lyonel Feininger, Paul Klee, Alexei Jawlensky, and Vasily Kandinsky. Through her contacts with the art world in Europe and America, Scheyer acquired a remarkable collection of paintings, works on paper, and sculpture. This book presents almost five hundred items from the collection, reproducing most in full color. It features numerous works by the Blue Four, as well as those by eminent European artists and artists Scheyer knew in California.

The Bauhaus, the school of art and design founded in Germany in 1919 and shut down by the Nazis in 1933, brought together artists, architects and designers--among them Anni and Josef Albers, Herbert Bayer, Marcel Breuer, Lyonel Feininger, Walter Gropius, Johannes Itten, Vasily Kandinsky, Paul Klee, László Moholy-Nagy, Lilly Reich, Oskar Schlemmer, Gunta Stölzl--in an extraordinary conversation on the nature of art in the industrial age. Aiming to rethink the form of modern life, the Bauhaus became the site of a dazzling array of experiments in the visual arts that have profoundly shaped the world today. Bauhaus 1919-1933: Workshops for Modernity, published to accompany a major multimedia exhibition, is The Museum of Modern Art's first comprehensive treatment of the subject since its famous Bauhaus exhibition of 1938, and offers a new generational perspective on the twentieth century's most influential experiment in artistic education. Organized in collaboration with the three major Bauhaus collections in Germany (the Bauhaus-Archiv Berlin, the Stiftung Bauhaus Dessau and the Klassic Stiftung Weimar), Bauhaus 1919-1933 examines the extraordinarily broad spectrum of the school's products, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theater and costume design, painting and sculpture. Many of the objects discussed and illustrated here have rarely if ever been seen or published outside Germany. Featuring approximately 400 color plates, richly complemented by documentary images, Bauhaus 1919-1933 includes two overarching essays by the exhibition's curators, Barry Bergdoll and Leah Dickerman, that present new perspectives on the Bauhaus. Shorter essays by more than 20 leading scholars apply contemporary viewpoints to 30 key Bauhaus objects, and an illustrated narrative chronology provides a dynamic glimpse of the Bauhaus' lived history.

A painter, architect, designer, and cofounder of the Munich Secession, Franz von Stuck (1863-1928) was an influential teacher of artists studying at the Munich Academy including Josef Albers, Vassily Kandinsky, and Paul Klee. In his American debut at the 1893 World's Columbian Exposition in Chicago, Stuck was praised by contemporary critics as "one of the most versatile and ingenious of contemporary German artists." In 1898, Stuck exhibited his most famous painting,Sin, an iconic work of the fin de sicle, at the Third Annual Exhibition at the Carnegie Institute in Pittsburgh. Two years later, at the Exposition Universelle in Paris, Stuck was awarded a gold medal for furniture he designed for his magnificent Villa in Munich, itself a Gesamtkunstwerk, or total work of art.On the occasion of the 150th anniversary of Stuck's birth and the 120th anniversary of his American debut, Franz von Stuck is celebrated in the first monographic exhibition of his work in the United States, a joint project of the Frye Art Museum and the Museum Villa Stuck, Munich.Jo-Anne Birnie Danzker is director of the Frye Art Museum.

The story of the Bauhaus has usually been kept narrow, localized to its original time and place and associated with only a few famous men such as Walter Gropius, Marcel Breuer, Paul Klee, Wassily Kandinsky, and László Moholy-Nagy. Bauhaus Women: A Global Perspective bursts the bounds of this slim history by revealing fresh Bauhaus faces: Forty-five Bauhaus women unjustifiably forgotten by most history books. This book also widens the lens to reveal how the Bauhaus drew women from many parts of Europe and beyond, and how, through these cosmopolitan female designers, artists, and architects, it sent the Bauhaus message out into the world and to a global audience. Essential reading on the Bauhaus or for anyone interested in the too-often missed centrality of women artists to modern art and design, Bauhaus Women: A Global Perspective reclaims the other half of Bauhaus history, yielding a new understanding of the radical experiments in art and life undertaken at the Bauhaus and the innovations that continue to resonate with viewers around the world today. 

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.

The Bauhaus Arts and Crafts Institute was founded in Weimar by Walter Gropius in 1919. Avant-garde artists from every part of Europe joined, including Paul Klee and Wassily Kandinsky. On the occasion of its ninetieth anniversary, fifty extraordinary works produced by the Bauhaus come back to life in the ninety-six pages of this unmissable "little" monograph.

The student projects from the preliminary course at the Bauhaus Dessau School of Design are unique documents of a unique learning process. As students set to work independently translating the experimental assignments set by Bauhaus Masters like Josef Albers, Johannes Itten, Wassily Kandinsky, Paul Klee and Gunta Stölzl, they produced a huge variety of interpretations. In their variety and open-endedness, these exploratory works testify to the dual process of acquiring knowledge and making new discoveries that characterizes learning. Design Rehearsals invites international educators and designers to look at a selection of student works originating from different courses at the Bauhaus. Serving as public guest critics, the commentators critically examine the historical student works, considering their artistic and pedagogic relevance today.