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95 S. Umschlag an den Rändern minimal berieben/bestossen. Innenteil tadellos - u n g e l e s e n - keine Risse, Knicke, Anmerkungen. ! Altersbedingt minimal nachgedunkelt! KEIN Mängelexemplar! Versand aus München FF0349 Sprache: Italienisch Gewicht in Gramm: 420

Arnulf Rainer--the best-known and most important Austrian artist of the past fifty years--forged a completely new path in European art with his "overpaintings": paintings and drawings done "over" already existing works. Between 1995 and 1998 Rainer produced a remarkable series of Bible illustrations, in which he engaged with originals ranging from 10th-Century illuminated manuscripts to 19th century works. These included pieces by such artists as Giotto and Sandro Botticelli, Giovanni Bellini, and William Blake, as well as Romanesque ceiling decorations, Gothic stained-glass windows, miniatures from the illuminated Wenceslas Bible, woodcuts from 15th century incunabula, and the 1868 Bible illustrated by Gustave Dora. In his responses to these works Rainer displays the full spectrum of his palette of "overpainting" techniques--from the most delicate of over-drawings to dense paintwork that virtually obliterates the original. In this volume all 160 of Arnulf Rainer's cycle of Bible illustrations are reproduced in large-format plates, accompanied by texts from the authorized version of the Bible from the year 1611--as well as informative art-historical data and detailed commentaries on the artist's reworkings.

Neuware -»Arnulf Schmitz-Zceisczyk mein Name, sehr erfreut. Ich bin schon lange hier. Ich wohn ja hier am Tegernsee. Wir sind hierhergekommen und da hat uns ein Bekannter aus München, ein Steuerberater, der hat mir gesagt, da gäbs ein Schnäppchen direkt am See. Und da waren so Bauersleutchen drin, aber ich muss Ihnen sagen, ich konnte dann das Ding, weil also finanziell waren die ja verzweifelt. Dann habe ich gesagt, na gut, ich bin so nett, ich geb ihnen das Geld. Sukzessive haben wir das Haus auf Vordermann gebracht. Ich war damals noch in Celle, dann in Göttingen, dann musste ich rüber nach West-Berlin - meine Frau hat gesagt, du bist ja immer unterwegs. Ich war immer ambulant. Sie müssen sich vorstellen, beruflich bin ich ja im Finanzwesen. Dann musste ich nach New York, wieder rüber, Südafrika, von Südafrika nach München und dann schnell zum Tegernsee wieder gucken, wie entwickeln sich die Sachen da.« 142 pp. Deutsch

33 x 26 cm 165 pp with illustrations throughout. Wrapppers with flaps, gallery stamp to title page o.w. a fine copy.

Qto., 165 pages, colour illustrated. A New copy in dust jacket.

Absolute Relative Music / Incredible Familiar Arnulf Meifert - LP 769791750715

Rainer and the WomenWhen the Albertina in Vienna dedicates a retrospective to Arnulf Rainer to mark his 85th birthday in a year’s time, it will no doubt be a brilliant review of a multi-faceted body of work. Galerie Elisabeth & Klaus Thoman in Innsbruck have already organized an exhibition, however, and are publishing a catalogue to accompany it, with an anthology of Rainer’s work, which has so rarely been assembled and available to view thus far. It features overpainting of photographs dating from the 1960s to today with erotic, sometimes even pornographic subjects. In these works, Arnulf Rainer appears to react very emotionally to the women’s bodies; he blots out, enhances, caricatures, accentuates and sometimes damages the surfaces on which he downright engraves his contributions. Sometimes it appears as if he wants to work his way through to the female partners on the other side of the photographic divide. »The process of this confrontation—and this is demonstrated very well by this anthology—takes very different forms of approach. It varies between elegant lineament, a tactile drawing encompassing and surrounding the body, and overpainting, whereby the flowing and spraying of the paint has clear associations with sexual acts, and sometimes the photographic work is entirely drowned in paint,« writes Peter Weiermair in his introductory text. In contrast, Andrea Madesta, the second author of the book, sometimes takes a critical view of the image of the woman as it emerges to us from the work and from the historically conditioned radical confrontation with values and conventions in the work of Arnulf Rainer.

Painting which has emerged from Austria over the past fifty years is now an integral part of the international art world and has made an important contribution to artistic developments since the end of World War II. The earlier years are represented by such significant artists as Arnulf Rainer, Maria Lassnig, Friedensreich Hundertwasser, and Joseph Mikl. The next generation includes Hermann Nitsch, Gunter Brus, Martha Jungwirth, and Christian Ludwig Attersee. The collection is completed by recent artists, including Siegfried Anzinger, Erwin Bohatsch, Herbert Brandl, Gunter Damisch, and Hubert Scheibel.In a remarkable collaboration between independent specialist and collector, Wieland Schmied, the renowned contemporary art historian and acknowledged expert on Austrian painting joined Karlheinz and Agnes Essl to form the most important collection of late 20th-century Austrian painting in the world. By continuously buying the finest works available, they succeeded in acquiring complete groups of paintings from significant artists. The collection now comprises more than 3,000 works.Some 250 works by 42 artists have been selected from this vast collection by Wieland Schmied and the collectors.

Rainer and the WomenWhen the Albertina in Vienna dedicates a retrospective to Arnulf Rainer to mark his 85th birthday in a year’s time, it will no doubt be a brilliant review of a multi-faceted body of work. Galerie Elisabeth & Klaus Thoman in Innsbruck have already organized an exhibition, however, and are publishing a catalogue to accompany it, with an anthology of Rainer’s work, which has so rarely been assembled and available to view thus far. It features overpainting of photographs dating from the 1960s to today with erotic, sometimes even pornographic subjects. In these works, Arnulf Rainer appears to react very emotionally to the women’s bodies; he blots out, enhances, caricatures, accentuates and sometimes damages the surfaces on which he downright engraves his contributions. Sometimes it appears as if he wants to work his way through to the female partners on the other side of the photographic divide. »The process of this confrontation—and this is demonstrated very well by this anthology—takes very different forms of approach. It varies between elegant lineament, a tactile drawing encompassing and surrounding the body, and overpainting, whereby the flowing and spraying of the paint has clear associations with sexual acts, and sometimes the photographic work is entirely drowned in paint,« writes Peter Weiermair in his introductory text. In contrast, Andrea Madesta, the second author of the book, sometimes takes a critical view of the image of the woman as it emerges to us from the work and from the historically conditioned radical confrontation with values and conventions in the work of Arnulf Rainer.