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A conception of the museum that starts from the work of art to arrive at the architectural project. A journey that takes the reader through time and space during its realization.

A conception of the museum that starts from the work of art to arrive at the architectural project. A journey that takes the reader through time and space during its realization.

On the occasion of the Beyeler Fondation’s 20th anniversary, this richly illustrated publication gathers quotes, letters, interviews and writings from Arp, Bourgeois, Cézanne, Degas, Dubuffet, Kandinsky, Klee, Malevich, Matisse, Mondrian, Monet, Picasso, Rousseau, Tillmans, Van Gogh, Wolfson and others.

This lavish volume describes each piece in the Beyeler Collection of 20th-century master-pieces and the museum's new building by Renzo Piano.

"Painting is the passage from the chaos of the emotions to the order of the possible." –BalthusOne of the last great 20th-century masters, Balthus pursued a path that ran exactly contrary to that of the modernist avant-gardes with which he was contemporary. At once quiet and intriguing, his paintings unite colliding contrasts, combining reality and dream, eroticism and innocence, practicality and mystery, the familiar and the uncanny in unique ways.This volume, published for a retrospective at the Fondation Beyeler, gathers around 50 key paintings from all phases of this legendary artist's career. It commences with the monumental masterpiece Passage du Commerce-Saint-André (1952–54), in which Balthus' intensive study of the dimensions of space and time and their relationship to figure and object is especially apparent.Balthasar Klossowski de Rola, known as Balthus (1908–2001), was born in Paris to Polish expatriate parents. He was raised in an exceptionally artistic milieu, with visitors to his household including Rilke (who became his mother's lover), André Gide, Jean Cocteau, Maurice Denis and Pierre Bonnard. Balthus was one of the few living artists to be represented in the Louvre, when his painting The Children (1937) was acquired from the private collection of Pablo Picasso.

Hazan. ISBN 9782754104906. Neuf.

Between 2010 and 2011, curator Elena Filipovic along with artists Danh Vo, Carol Bove and Tino Sehgal, organized a visionary Felix Gonzalez-Torres exhibition across three institutions: WIELS Contemporary Art Centre, Brussels; Fondation Beyeler, Riehen/Basel; and MMK Museum für Moderne Kunst, Frankfurt.With the profound visual and conceptual potential of Gonzalez-Torres’ work in mind, Filipovic devised an exhibition structure that entailed two autonomous-yet-adjacent exhibitions of his work at each of the three venues: one iteration by her, and one by Vo, Bove and Sehgal respectively. This volume follows the show’s structure. Each venue has a dedicated section which includes a preface by Filipovic, photographic documentation of each exhibition and a contribution by Vo, Bove and Sehgal reflecting upon their positions as curators of Gonzalez-Torres’ work.Danh Vo includes photographs of diagrammatic brass wall plaques as presented within his installation at WIELS; Carol Bove offers an essay describing her personal experiences with the work of Gonzalez-Torres and the curatorial scope of her installation; and Tino Sehgal recorded a conversation with Andrea Rosen―Gonzalez-Torres’ lifelong art dealer―which captures part of their rich dialogue around the artist’s work.A comparative illustrated checklist documents each of the 85 works by Gonzalez-Torres featured in all their iterations. This invaluable resource showcases the radical and expansive nature of Gonzalez-Torres’ work as envisioned through the remarkable and unique voices of this important generation of artists, alongside the curatorial insight of Elena Filipovic.

Here we have Beat Baumli on guitar, Lorenz Beyeler on bass and Alexia Gardner on vocals. The album consits of excerpts of 3 nights at the Birds Eye Jazz Club in Basel, Switzerland. Read on for the Linear notes on this sophisticated Live Trio recording..... Liner Notes provided by Phil Morrison from Brunswick, Georgia in the US. (Bassist/Composer/Songwriter) All too often we use the phrase 'jazz singer' when referring to vocalists who sing standard tunes from the jazz repertoire. Many are very go

Published for an exhibition at the Fondation Beyeler, this volume concentrates on Gustav Courbet's position as the first avant-garde painter. With his provocative canvases and his emphasis on the artist as individual, Courbet was a crucial precursor of modernism who broke with the conventions of traditional academic training. Featuring self-portraits, representations of women and pictures of grottos and seascapes, this volume highlights Courbet's innovative implementation of color and his strategic use of ambiguity. Other themes include his break with French academic tradition, the development of Realism in art, his revolutionary impasto painting technique and his playful treatment of traditional motifs and symbols. Courbet's famous painting "L'origine du monde" is at the heart of the book and exhibition. Made in 1866, the painting was for decades the unknown masterpiece of the nineteenth century-a work that few saw at the time but which everyone discussed, and which retains its provocativeness even today. Courbet's landscapes-depicting the springs, caves, steep limestone cliffs and the forests of Jura around Ornans, where he was born-are often combined with representations of the female nude, uniting sexuality and nature in a fascinating equilibrium. Other canvases center on the impenetrable darkness of mountain caves (showing Courbet to have been a master of suggestion), and snowscapes.

Published to accompany the exhibition Selfs, 1991-2006, at the Foundation Beyeler, Basel, Switzerland, 8 June - 19 July, 2009. Includes an essay by Will Self and an interview with the artist by Tim Marlow.

Charting Picasso’s journey from the bohemians of the Blue Period to the Rose Period’s acrobats and ingenues, this book celebrates some of the 20th century’s most beloved masterpiecesPublished for the most ambitious exhibition ever staged by the Fondation Beyeler, this book is devoted to the paintings and sculptures of the young Pablo Picasso (1881–1973) from the so-called Blue and Rose periods, between 1901 and 1906. The masterpieces of these crucial years, every one of them a milestone on Picasso's path to preeminence as the 20th century's most famous artist, are presented together, in an unparalleled concentration and quality. Picasso's pictures from this phase are some of the finest and most emotionally compelling examples of modern painting, and are counted among the most valuable works in the entire history of art. Throughout the Blue period, Picasso depicted the material deprivation and psychological suffering of people on the margins of society, before turning, in 1905 (when he had settled in Paris), to the themes of the Rose period: jugglers, acrobats and harlequins. In the summer of 1906, Picasso spent several weeks in the Spanish Pyrenees, where he produced a profusion of paintings and sculptures uniting classical and archaic ideals of the body. His increasing deformation and fragmentation of the figure throughout this period―apparent in the "primitivist" pictures, especially the female nudes―heralded the emergence of the new pictorial language of cubism. The works of the Blue and Rose periods have a universal appeal and poignancy. Existential themes―life, love, sexuality, fate and death―find embodiment in the delicate beauty of young female and male figures, and in depictions of children and of old people scarred by life, whose rendering by Picasso shows happiness and joy, but also loneliness and melancholy.

OVP Titel Jenny Holzer : [Museum of Contemporary Art, Chicago, 25. Oktober 2008 bis 1. Februar 2009 ; Whitney Museum of American Art, New York, 12. März bis 31. Mai 2009 ; Fondation Beyeler, Riehen/Basel, 1. November 2009 bis 24. Januar 2010 ; eine Veröffentlichung der Beyeler Museum AG und des Museum of Contemporary Art, Chicago] / [Ausstellung Jenny Holzer. Gemeinsam organisiert von der Fondation Beyeler, Riehen/Basel, und dem Museum of Contemporary Art, Chicago Hrsg.: David Breslin. Übers.: Wolfgang Himmelberg] ISBN/Einband/Preis978-3-7757-2300-8 (Hatje Cantz) Pp. : EUR 39.80 (DE), EUR 40.90 (AT), sfr 69.00 (freier Pr.) 978-3-905632-73-6 (Fondation Beyeler) Pp. : sfr 69.00 (freier Pr.) EAN9783775723008 Sprache(n)Deutsch (ger) SchlagwörterHolzer, Jenny ; Lichtinstallation ; Concept-art ; Geschichte 1975-2009 ; Ausstellung ; Chicago In deutscher Sprache. 136 pages. 316x283 mm

Romero Britto: Colors Around the World Beyeler-For the Love of Art Hardcover copyright 2010 signed by the artist Romero Britto.

Alberto Giacometti (1901–66) and Francis Bacon (1909–92) were friends and rivals whose creative visions shaped art from the latter half of the 20th century to the present. This volume, published for a show at the Fondation Beyeler, marks the first time that a museum exhibition has been devoted to these two artists, revealing commonalities and amazing parallels between them.Bacon and Giacometti shared a belief in the importance of the human figure and the old masters they both studied, copied and paraphrased. Both integrated cage-like entities into their works as a means of isolating figures in their surroundings. Both occupied themselves with the fragmented, deformed body and also shared an obsession with portraiture; both characterized themselves as "realists." And although the human figure always served as a touchstone in their work, they each raised its level of abstraction to an extreme. The painter Isabel Rawsthorne played a key role in the relationship between Giacometti and Bacon: she was a close friend of both artists, posed for them, and was also briefly Giacometti's lover.For this show, loans of works by Bacon have been made from major private collections and renowned international museums, including the Art Institute in Chicago, the Museum of Modern Art, New York, and the Centre Pompidou, Paris. The Giacometti loans come almost entirely from the Fondation Giacometti in Paris. They include numerous original plaster sculptures from the artist's estate that have never before been shown in public.

Between 2010 and 2011, curator Elena Filipovic along with artists Danh Vo, Carol Bove and Tino Sehgal, organized a visionary Felix Gonzalez-Torres exhibition across three institutions: WIELS Contemporary Art Centre, Brussels; Fondation Beyeler, Riehen/Basel; and MMK Museum für Moderne Kunst, Frankfurt.With the profound visual and conceptual potential of Gonzalez-Torres’ work in mind, Filipovic devised an exhibition structure that entailed two autonomous-yet-adjacent exhibitions of his work at each of the three venues: one iteration by her, and one by Vo, Bove and Sehgal respectively. This volume follows the show’s structure. Each venue has a dedicated section which includes a preface by Filipovic, photographic documentation of each exhibition and a contribution by Vo, Bove and Sehgal reflecting upon their positions as curators of Gonzalez-Torres’ work.Danh Vo includes photographs of diagrammatic brass wall plaques as presented within his installation at WIELS; Carol Bove offers an essay describing her personal experiences with the work of Gonzalez-Torres and the curatorial scope of her installation; and Tino Sehgal recorded a conversation with Andrea Rosen―Gonzalez-Torres’ lifelong art dealer―which captures part of their rich dialogue around the artist’s work.A comparative illustrated checklist documents each of the 85 works by Gonzalez-Torres featured in all their iterations. This invaluable resource showcases the radical and expansive nature of Gonzalez-Torres’ work as envisioned through the remarkable and unique voices of this important generation of artists, alongside the curatorial insight of Elena Filipovic.

Alberto Giacometti (1901–66) and Francis Bacon (1909–92) were friends and rivals whose creative visions shaped art from the latter half of the 20th century to the present. This volume, published for a show at the Fondation Beyeler, marks the first time that a museum exhibition has been devoted to these two artists, revealing commonalities and amazing parallels between them.Bacon and Giacometti shared a belief in the importance of the human figure and the old masters they both studied, copied and paraphrased. Both integrated cage-like entities into their works as a means of isolating figures in their surroundings. Both occupied themselves with the fragmented, deformed body and also shared an obsession with portraiture; both characterized themselves as "realists." And although the human figure always served as a touchstone in their work, they each raised its level of abstraction to an extreme. The painter Isabel Rawsthorne played a key role in the relationship between Giacometti and Bacon: she was a close friend of both artists, posed for them, and was also briefly Giacometti's lover.For this show, loans of works by Bacon have been made from major private collections and renowned international museums, including the Art Institute in Chicago, the Museum of Modern Art, New York, and the Centre Pompidou, Paris. The Giacometti loans come almost entirely from the Fondation Giacometti in Paris. They include numerous original plaster sculptures from the artist's estate that have never before been shown in public.

206 S. : zahlr. Ill. ; 31 cm Sehr guter Zustand - Inhalt: Vorwort, Ernst Beyeler, Christoph Vitali -- "Blumensehnsucht", Robert Kopp -- Obsession Blume, Philippe Büttner -- Katalog -- Bildkommentare, Ulf Küster -- Werkliste -- A "Strange Passion" for Flowers, Robert Kopp. ISBN 9783905632361 Sprache: Deutsch Gewicht in Gramm: 450

Published for an exhibition at the Fondation Beyeler, this volume concentrates on Gustav Courbet's position as the first avant-garde painter. With his provocative canvases and his emphasis on the artist as individual, Courbet was a crucial precursor of modernism who broke with the conventions of traditional academic training. Featuring self-portraits, representations of women and pictures of grottos and seascapes, this volume highlights Courbet's innovative implementation of color and his strategic use of ambiguity. Other themes include his break with French academic tradition, the development of Realism in art, his revolutionary impasto painting technique and his playful treatment of traditional motifs and symbols. Courbet's famous painting "L'origine du monde" is at the heart of the book and exhibition. Made in 1866, the painting was for decades the unknown masterpiece of the nineteenth century-a work that few saw at the time but which everyone discussed, and which retains its provocativeness even today. Courbet's landscapes-depicting the springs, caves, steep limestone cliffs and the forests of Jura around Ornans, where he was born-are often combined with representations of the female nude, uniting sexuality and nature in a fascinating equilibrium. Other canvases center on the impenetrable darkness of mountain caves (showing Courbet to have been a master of suggestion), and snowscapes.

After celebrating its twentieth anniversary with three blockbuster exhibitions in 2017, the Fondation Beyeler is starting the year 2018 with Georg Baselitz―without a doubt one of the most influential painters and sculptors of our time―is celebrating his eightieth birthday, and the Foundation is devoting an extensive retrospective to this provocateur. Many of Baselitz’s most important paintings and sculptures from the past six decades will be seen together for the first time. By displaying key works together, on an equal footing, it becomes easier to perceive the unique wealth of his formal and contextual innovations. Leafing through more than two hundred richly illustrated pages, the reader encounters the beautiful, the ugly, the ambiguous, and the disturbing.

Charting Picasso’s journey from the bohemians of the Blue Period to the Rose Period’s acrobats and ingenues, this book celebrates some of the 20th century’s most beloved masterpiecesPublished for the most ambitious exhibition ever staged by the Fondation Beyeler, this book is devoted to the paintings and sculptures of the young Pablo Picasso (1881–1973) from the so-called Blue and Rose periods, between 1901 and 1906. The masterpieces of these crucial years, every one of them a milestone on Picasso's path to preeminence as the 20th century's most famous artist, are presented together, in an unparalleled concentration and quality. Picasso's pictures from this phase are some of the finest and most emotionally compelling examples of modern painting, and are counted among the most valuable works in the entire history of art. Throughout the Blue period, Picasso depicted the material deprivation and psychological suffering of people on the margins of society, before turning, in 1905 (when he had settled in Paris), to the themes of the Rose period: jugglers, acrobats and harlequins. In the summer of 1906, Picasso spent several weeks in the Spanish Pyrenees, where he produced a profusion of paintings and sculptures uniting classical and archaic ideals of the body. His increasing deformation and fragmentation of the figure throughout this period―apparent in the "primitivist" pictures, especially the female nudes―heralded the emergence of the new pictorial language of cubism. The works of the Blue and Rose periods have a universal appeal and poignancy. Existential themes―life, love, sexuality, fate and death―find embodiment in the delicate beauty of young female and male figures, and in depictions of children and of old people scarred by life, whose rendering by Picasso shows happiness and joy, but also loneliness and melancholy.