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Excerpt from Rauch's Pennsylvania Dutch Hand-Book: A Book for InstructionWhilst many of the writers, doubtless, will contend that the spelling of this or that word is defective, and whilst there will probably be errors and some inconsistencies, I am confident that, as a whole, this work will be pronounced a very good beginning - a healthy plant of a prae tical Pennsylvania Dutch literature.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This is the Amp Juice Drive & Boost pedal from Rauch.Description from the manufacturer's website:The Ruach Amp Juice is a fully analog Drive ...

Rauch is a sonic interpretation of the work of photographer Friederike von Rauch, composed collaboratively by Berlin-based producers Felix K, Marcel Dettmann, Sa Pa, and Simon Hoffmann. Arranged and mixed by Marcel Dettmann, the recording stands in dialogue with von Rauch's architectural images of post-World War II European monasteries, including La Tourette by Le Corbusier and Iannis Xenakis near Lyon, Roosenberg Abbey near Ghent and Maria Regina Martyrum in Berlin. The images were first exhibi

This book presents works from the first joint exhibition of the artists Neo Rauch and Rosa Loy. Neo Rauch and Rosa Loy live and work as a successful artist couple on the international stage. They have been married since 1985 and each of them produces independent works which profit from the differences as well as the similarities between the two artists. Neo Rauch’s works make reference to advertising graphics, the aesthetics of comedy, and the theatre. By contrast Rosa Loy focuses her attention in her paintings on the mystery of woman, a new femininity, and a new romanticism. For the very first time the couple’s works are being presented in a joint exhibition. The exhibition and catalogue featuring work not previously shown will be designed by the artists themselves.

In a lakeside scene, a man leans on a graphic of an arrow as if it were a rake handle in the garden; tentacles rise from the shoreline and rectangular speech bubbles hang empty in the yellow sky. In a Dali-esque interior, the corner of a comforter drips off a bed. This major new overview of the work of the Leipzig painter Neo Rauch makes, once again, the case that he is one of the most important artists of his generation. He remains committed to putting brush on canvas in an age when digital media are gaining ground, and among a crowd of similarly dedicated colleagues, he stands out at the forefront. While his work of the 1980s was influenced by Expressionism, his more recent portfolio revels in a new take on Socialist Realism, clearly shaped by the experience of growing up in the former East Germany. Rauch riffs on the once-mandated styles of his youth and on western abstraction from the second half of the twentieth century, all in coloration and figuration that directly allude to the Socialist past. Between cartoon styling and historic technique, he has found a distinctive style, palette and concept. These dreamlike sequences feel both timeless and deeply rooted: Rauch gathers figures from the past in surreal landscapes and interiors to tell enigmatic stories about the present.

At the Well, produced to coincide with an exhibition of Neo Rauch's (born 1960) new works at David Zwirner in New York, brings together both small- and large-format paintings that expand the artist's unique iconography of eccentric figures, animals and hybrids within vaguely familiar but imaginary settings. This oversized catalogue―designed in close collaboration with the artist―is anchored by 16 stunning plates and numerous 1:1 details that give viewers intimate access to these compelling compositions. Themes of rebirth and new beginnings abound: Rauch consistently creates characters who appear to be in the process of transformation. At the Well features an essay by art historian and curator Sir Norman Rosenthal, who presents a careful reading of Rauch's new work. The book also includes a reprint of the classic Brothers Grimm fairy tale "The Young Giant," specifically chosen by Rosenthal to further expand his analysis.

In a lakeside scene, a man leans on a graphic of an arrow as if it were a rake handle in the garden; tentacles rise from the shoreline and rectangular speech bubbles hang empty in the yellow sky. In a Dali-esque interior, the corner of a comforter drips off a bed. This major new overview of the work of the Leipzig painter Neo Rauch makes, once again, the case that he is one of the most important artists of his generation. He remains committed to putting brush on canvas in an age when digital media are gaining ground, and among a crowd of similarly dedicated colleagues, he stands out at the forefront. While his work of the 1980s was influenced by Expressionism, his more recent portfolio revels in a new take on Socialist Realism, clearly shaped by the experience of growing up in the former East Germany. Rauch riffs on the once-mandated styles of his youth and on western abstraction from the second half of the twentieth century, all in coloration and figuration that directly allude to the Socialist past. Between cartoon styling and historic technique, he has found a distinctive style, palette and concept. These dreamlike sequences feel both timeless and deeply rooted: Rauch gathers figures from the past in surreal landscapes and interiors to tell enigmatic stories about the present.

This comprehensive monograph offers a detailed examination of the paintings of the acclaimed German painter Neo Rauch (b. 1960). Rauch’s paintings deftly blend the iconography of Socialist Realism from his upbringing and art-school training in GDR-era Leipzig with the stylistic mannerisms of the Baroque and Romantic past, conjuring heavily populated sites of great commotion and complexity, remarkably without recourse to preliminary drawing. His compositions and their enigmatic figures are rich with reference and allusion, but the stories they tell are indistinct and somehow out of time. They have an ancient modernity—or the freshness of renewed antiquity. Michael Glover discloses Rauch’s working methods, revealing how the artist approaches the making of his work, how his images come into being, and the importance of words and their etymology to the creation or disruption of an artwork. These are works that interrogate the very meaning of the artistic impulse; ruminations in the guise of history painting that in fact question what a painter could and should be creating at this particular historical moment.

When the Berlin Wall fell in 1989, the artist Neo Rauch was 30 years old, living in his East German hometown of Leipzig and just beginning to exhibit his paintings. It was the perfect moment for a painter who had been reared on Social Realism to gain access to art outside East Germany, to receive its influences into his art and to emerge onto the stage of world art as a star. At first closely identified with the generation of painters known as the Leipzig School, in recent years Rauch's wonderfully bizarre blend of Social Realism (not exactly a widely-mined style in contemporary art) with de Chirico or Stanley Spencer has come to be seen as a painterly barometer of post-Communist Europe. "Post-Communist Surrealism" could therefore be one way to describe the look of his canvases, which convey narrative intent--men and women from various historical eras performing obscure tasks in uniform, or midway through some ominous occasion--shifting styles several times within the same picture, but always displaying a lush brushwork. Rauch has established a particularly strong audience in the U.S., having been championed by The New York Times' Roberta Smith as the painter of the zeitgeist. Marking Rauch's fiftieth birthday and a simultaneous retrospective in Leipzig and Munich featuring works dating from 1982 to early 2010, this monograph is the most substantial appraisal of his work published to date. In it, his friends and colleagues supply testimonies, among them Luc Tuymans, Jonathan Meese and Michaël Borremans. Alongside essays by critics and historians, Timm Rautert provides a photographic portrait of Rauch's studio.Neo Rauch (born 1960) was born, reared and trained as an artist in Leipzig, where he continues to live. In August 2005, Rauch was awarded the chair of painting at Leipzig University.

This intimate volume contains three hundred extraordinary drawings, many never before seen, from one of the most exciting artists to emerge from Europe in the past decade.Neo Rauch traverses many boundaries in his work: surrealist and realist; comic and serious; dreamlike and journalistic. Rather than condensing his work into one genre or framework, Rauch combines iconographic and visual elements from diverse worlds: comic strips, advertising, film, architecture, design, German culture, art history and history, in general. This specially designed volume presents Rauch's drawings, which reflect the archetypal and mythical nature of his work. An interview with the artist and an introductory essay by Wolfgang Buscher provide depth and background to these selected works that hail from every period of Rauch's career.

Neo Rauch combines real, narrated and dreamt elements in his paintings, populating them with figures that are connected to each other spatially, but which remain remote in their relationships, and weaving the whole into an uneasy portrait of contemporary society. Para presents works created expressly for Rauch's 2007 exhibition at the Metropolitan Museum of Art in New York, alongside various writings exploring the reception of Rauch's paintings, plus an overview of his works from the last ten years.

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.

At the Well, produced to coincide with an exhibition of Neo Rauch's (born 1960) new works at David Zwirner in New York, brings together both small- and large-format paintings that expand the artist's unique iconography of eccentric figures, animals and hybrids within vaguely familiar but imaginary settings. This oversized catalogue―designed in close collaboration with the artist―is anchored by 16 stunning plates and numerous 1:1 details that give viewers intimate access to these compelling compositions. Themes of rebirth and new beginnings abound: Rauch consistently creates characters who appear to be in the process of transformation. At the Well features an essay by art historian and curator Sir Norman Rosenthal, who presents a careful reading of Rauch's new work. The book also includes a reprint of the classic Brothers Grimm fairy tale "The Young Giant," specifically chosen by Rosenthal to further expand his analysis.

Neo Rauch combines real, narrated and dreamt elements in his paintings, populating them with figures that are connected to each other spatially, but which remain remote in their relationships, and weaving the whole into an uneasy portrait of contemporary society. Para presents works created expressly for Rauch's 2007 exhibition at the Metropolitan Museum of Art in New York, alongside various writings exploring the reception of Rauch's paintings, plus an overview of his works from the last ten years.

Dromos, Paintings 1993–2017 is a survey of the painting of Neo Rauch (born 1960). It begins with his first solo show in 1993 at the renowned Galerie Eigen + Art in Leipzig and traces in detail the developments in his oeuvre up to the present day, using paintings from prominent international collections as examples. Accompanying essays by well-known curators and art historians provide fundamental insights into Rauch’s complex body of work.When Rauch was a student of Arno Rink at the Hochschule für Grafik und Buchkunst in Leipzig, Germany was still a divided country. After the fall of the Berlin Wall, when his large, cryptic paintings first debuted in the art world, Rauch became the trailblazer for the New Leipzig School, and its most famous representative, with paintings combining elements of Pop art, comics and advertising graphics.

When the Berlin Wall fell in 1989, the artist Neo Rauch was 30 years old, living in his East German hometown of Leipzig and just beginning to exhibit his paintings. It was the perfect moment for a painter who had been reared on Social Realism to gain access to art outside East Germany, to receive its influences into his art and to emerge onto the stage of world art as a star. At first closely identified with the generation of painters known as the Leipzig School, in recent years Rauch's wonderfully bizarre blend of Social Realism (not exactly a widely-mined style in contemporary art) with de Chirico or Stanley Spencer has come to be seen as a painterly barometer of post-Communist Europe. "Post-Communist Surrealism" could therefore be one way to describe the look of his canvases, which convey narrative intent--men and women from various historical eras performing obscure tasks in uniform, or midway through some ominous occasion--shifting styles several times within the same picture, but always displaying a lush brushwork. Rauch has established a particularly strong audience in the U.S., having been championed by The New York Times' Roberta Smith as the painter of the zeitgeist. Marking Rauch's fiftieth birthday and a simultaneous retrospective in Leipzig and Munich featuring works dating from 1982 to early 2010, this monograph is the most substantial appraisal of his work published to date. In it, his friends and colleagues supply testimonies, among them Luc Tuymans, Jonathan Meese and Michaël Borremans. Alongside essays by critics and historians, Timm Rautert provides a photographic portrait of Rauch's studio.Neo Rauch (born 1960) was born, reared and trained as an artist in Leipzig, where he continues to live. In August 2005, Rauch was awarded the chair of painting at Leipzig University.

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. 2.82

One of the most original artists of his generation, Neo Rauch's paintings appear disturbingly detached and yet familiar, their figures, objects, and mood seemingly borrowed from old advertising posters, dusty book jackets, and forgotten comics. Rauch's formulistic visual symbols suggest a more profound meaning, yet it is difficult to decipher their message. The tension lurking under their almost frozen surfaces, washed with dusky, sinister colors, is fueled by paradox: as vivid as the structure of the work comes across, the impression is rigid; as powerful as the strokes of broken colors are, they appear faded, from bygone times.

Shows and describes fire stations, college buildings, museums, offices, stores, houses, dormitories, apartments, furniture, and tea service designed by the famous American architectural firm

Hardcover with dust jacket. Book is in excellent condition, text is unmarked and pages are tight.