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Von Wallfahrten und Glaubensbildern - Ausdrucksformen der Frommigkeit in Ostbayern Die kulturelle Identitat Ostbayerns ist wesentlich gepragt durch den katholischen Glauben, der seit Jahrhunderten eine zentrale Rolle im Leben der Mehrheit der Bevolkerung einnimmt. Wahrend in den landlichen Gebieten vielerorts noch heute eine tiefe Verbundenheit dazu spurbar ist, hat sich die Bedeutung der traditionellen Religion insgesamt jedoch verringert. Indes bilden die tradierten Wertvorstellungen nach wie vor die Basis unseres sozialen Miteinanders. Unverandert bleibt das innere Bedurfnis der Menschen nach Halt und Hilfe, Sinn und Antworten. Wurde dieses fruher allein durch die Hinwendung zu Gott und die private Glaubenspraxis gestillt, so steht in der taglichen Hektik einer globalisierten Welt eine Vielheit von Moglichkeiten zur Wahl, in der man sich leicht verlieren kann. Das Buch ladt ein zum (Wieder-)Entdecken eines facettenreichen Teilbereichs des Katholizismus, der gemeinhin als "Volksfrommigkeit" bezeichnet wird. Im Mittelpunkt der Betrachtungen steht die gelebte Glaubenspraxis des Einzelnen, die gepragt ist von Symbolhaftigkeit, Ritualen und Brauchen, vom Glauben an Wunder und die Wirkkraft gesegneter Gegenstande. Der Begleitband zur Ausstellung "Brucke zum Wunderbaren - Von Wallfahrten und Glaubens-bildern. Ausdrucksformen der Frommigkeit in Ostbayern" im Historischen Museum bietet anhand ausgewahlter Aspekte Einblicke in diesen komplexen Kosmos privater Religiositat und mochte die Neugierde wecken auf das so Nahe und Vertraute, doch zugleich so Ferne und Fremde. Mit Blick auf eine Vielzahl zum Teil erstmalig publizierter Objekte begibt sich der Leser auf eine faszinierende Reise durch die Glaubenswelt unserer Vorfahren.

"Anyone who directly and genuinely renders what drives him to create is one of us," proclaimed the manifesto of Die Brücke (The Bridge), a close-knit group of artists who first met in Dresden in 1905. Its founding members were four Jugendstil architecture students: Fritz Bleyl, Erich Heckel, Karl Schmidt-Rottluff and Ernst Ludwig Kirchner. Eschewing the contemporary academic styles and subjects, these four artists instead looked to their German art heritage to make "a bridge" with the past, favoring such artists as Albrecht Dürer, Matthias Grünewald and Lucas Cranach the Elder. They also drew on Fauvist and Primitivist art in their quest for unhindered expression and, with this combination of resources, propelled German art into the twentieth century. In works by Die Brücke, color diverged from nature and became a record of emotion; forms were radically simplified, or exaggerated and distorted; bohemian subject matter argued for a Socialist politics. Their nudes, landscapes and urban scenes--featuring depictions of dances, cabarets, cafés and the sorts of street encounters that were typical of Berlin in the years after 1911--are among the greatest works produced by early-twentieth-century artists. Containing important paintings, sculptures and prints by Heckel, Kirchner, Otto Mueller, Emil Nolde, Max Pechstein and Karl Schmidt-Rottluff, this invaluable volume is a definitive record of the birth of Expressionism.

The Bruecke-Museum in Berlin holds about 400 paintings and many sculptures of the Bruecke group of expressionist artists. Its collection is the most comprehensive worldwide, and contains paintings and sculptures by Karl Schmidt-Rottluff, Erich Heckel, Fritz Bleyl, Ernst-Ludwig Kirchner, Max Pechstein, Emil Nolde, Otto Mueller and Cuno Amiet. On occasion of the museums 100th anniversary, this volume documents the history of the Bruecke from its beginnings to its end. German text.

In the German city of Dresden on June 7, 1905, the foundation of the Die Brücke artists’ group (1905–1913) is widely regarded as the birth of Expressionism. Led by Ernst Ludwig Kirchner, Fritz Bleyl, Erich Heckel, and Karl Schmidt-Rottluff, the group sought to reject the limits of academia and, as their name suggested, to bridge the path to an artistic future. Their manifesto, printed with woodblock, insisted on absolute freedom from convention in their work as well as their lives.This new, liberated art incorporated portraits, landscapes, and city scenes, but substituted an objective rendering of reality with an expression of interior geography. In paintings, as well as their favored wood and linocut prints, the artists of Die Brücke would fill pictorial space with jagged lines, crude forms, and clashing colors, all to express their subjective experience of the world. Like the Fauves, the artists took stylistic lead from non-Western traditions of Oceanic and African arts, while also reviving the print and painting techniques of Albrecht Dürer and Lucas Cranach the Elder.This richly illustrated book introduces this essential expressionist movement. We examine Die Brücke’s key works and protagonists; its varied, international inspirations; and its crucial influence on later 20th century art. Along the way, we find candid nudes, crowded street views, and blissful bathing idylls, each of them vivid with energy and intent on a new kind of art.

"Anyone who directly and genuinely renders what drives him to create is one of us," proclaimed the manifesto of Die Brücke (The Bridge), a close-knit group of artists who first met in Dresden in 1905. Its founding members were four Jugendstil architecture students: Fritz Bleyl, Erich Heckel, Karl Schmidt-Rottluff and Ernst Ludwig Kirchner. Eschewing the contemporary academic styles and subjects, these four artists instead looked to their German art heritage to make "a bridge" with the past, favoring such artists as Albrecht Dürer, Matthias Grünewald and Lucas Cranach the Elder. They also drew on Fauvist and Primitivist art in their quest for unhindered expression and, with this combination of resources, propelled German art into the twentieth century. In works by Die Brücke, color diverged from nature and became a record of emotion; forms were radically simplified, or exaggerated and distorted; bohemian subject matter argued for a Socialist politics. Their nudes, landscapes and urban scenes--featuring depictions of dances, cabarets, cafés and the sorts of street encounters that were typical of Berlin in the years after 1911--are among the greatest works produced by early-twentieth-century artists. Containing important paintings, sculptures and prints by Heckel, Kirchner, Otto Mueller, Emil Nolde, Max Pechstein and Karl Schmidt-Rottluff, this invaluable volume is a definitive record of the birth of Expressionism.

Das Buch analysiert die Faszination der 'Brucke' fur die Sudsee als fragile kunstlerische und kulturhistorische Konstruktion. Die Autorinnen und Autoren beleuchten kunst- und kulturhistorische Aspekte der Sudseefaszination der Brucke-Maler. Sie diskutieren auf der Basis neuer Quellen, unter welchen weltanschaulichen Vorzeichen sich die Maler der Sudsee zugewandt haben. Kritisch analysiert werden die Konstruktionen, die in den kunstlerischen Utopien des Exotischen zu beobachten sind, und deren rezeptionsgeschichtliche Brechungen.

Das Buch analysiert die Faszination der 'Brucke' fur die Sudsee als fragile kunstlerische und kulturhistorische Konstruktion. Die Autorinnen und Autoren beleuchten kunst- und kulturhistorische Aspekte der Sudseefaszination der Brucke-Maler. Sie diskutieren auf der Basis neuer Quellen, unter welchen weltanschaulichen Vorzeichen sich die Maler der Sudsee zugewandt haben. Kritisch analysiert werden die Konstruktionen, die in den kunstlerischen Utopien des Exotischen zu beobachten sind, und deren rezeptionsgeschichtliche Brechungen.

Shrink-wrapped. Catalog of German Expressionist Max Pechstein published by the Brücke-Museum in Berlin.

First Edition Thus, First Printing. Not price-clipped (8,80 price intact). Published by Rowohlt, 1990. 12mo. Pictorial wraps. Book is like new. Sharp corners and spine straight. Binding tight and pages crisp. Small previous owner name and date on flyleaf. Light toning to page ends. Text is in German. 250 pages. ISBN: 9783499122811. 100% positive feedback. 30 day money back guarantee. NEXT DAY SHIPPING! Excellent customer service. Please email with any questions or if you would like a photo. All books packed carefully and ship with free delivery confirmation/tracking. All books come with free bookmarks. Ships from Southampton, New York. We Buy Books! Individual titles, libraries, collections. Message us if you have books to sell!

Unread book in perfect condition.

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.

4°, Original-Pappband mit 327 Seiten, reich farbig bebildert. Sauberes, gutes Exemplar. -- Bitte Portokosten außerhalb EU erfragen! / Please ask for postage costs outside EU! / S ' il vous plait demander des frais de port en dehors de l ' UE! -- Schöne Weihnachten und ein gesundes neues Jahr 2025! KuPs

Der Lanz/Wachsmuth ist ein Begriff – als opulent ausgestattete Darstellung der menschlichen Anatomie, als Brücke zwischen anatomischem Wissen und klinischem Handeln, als unerschöpfliche Informationsquelle zu den subtilsten Details. Bereits 2004 brachte der Springer-Verlag eine unveränderte Sonderausgabe von 7 Bänden des zwischen 1934 und 1993 erschienenen Werkes heraus. Über die broschierte Ausgabe von 2019 wird das Werk erneut einem breiten Leserkreis zugänglich. Sie umfasst folgende Bände:  -         Kopf – übergeordnete Systeme -         Kopf – Gehirn- und Augenschädel -         Hals -         Arm -         Bein und Statik -         Bauch -         Rücken. Durch die Qualität der Abbildungen, den Detailreichtum der Beschreibungen, den konsequenten klinischen Bezug, das ausführliche Eingehen auf Verlaufsvarianten von Gefäßen und Nerven und auf Normvarianten bleibt der Lanz/Wachsmuth ein zeitlos aktuelles Werk.

288 S. Vom Bombay der 30er und 40er Jahre zu einem der berühmtesten Dirigenten der westlichen Welt. Welche Persönlichkeit verbirgt sich hinter dem Maestro? Was hinter seinen musikalischen Überzeugungen, die eine Brücke schlagen zwischen E und U? Was hinter seinem Engagement für Israel? Die faszinierende Autobiographie eines Dirigenten von Weltrang und eines Mittlers zwischen den Welten.Als 18-jähriger Jüngling kam Zubin Mehta aus dem behüteten Elternhaus in Bombay nach Wien - in die ganz eigene Kultur der dortigen Musikakademie. Nur sieben Jahre später dirigiert er die Berliner und die Wiener Philharmoniker und wird, 25-jährig, zum Chef des Montreal Symphony Orchestra berufen. Weitere Stationen sind Los Angeles, New York, Florenz, Tel Aviv und schließlich München, wo er seit 1998 als Generalmusikdirektor des Nationaltheaters tätig ist.Zubin Mehta ist einer der berühmtesten Dirigenten der Welt, er hat mit allen internationalen Spitzenorchestern zusammengearbeitet. Doch trotz seines großen Erfolgs ist der populäre Inder mit der Freude am Leben ein unruhiger Geist geblieben, ein Wanderer zwischen den Welten, der für sein Israel-Engagement ebenso bekannt ist wie für seine musikalische Offenheit zwischen Open-Air und Oper. Ein pralles Leben, eine spannende Autobiographie. Sprache: Deutsch Gewicht in Gramm: 550

Ernst Ludwig Kirchner was a German expressionist painter and printmaker and one of the founders of the artists group Die Brücke or "The Bridge", a key group leading to the foundation of Expressionism in 20th-century art.

Ernst Ludwig Kirchner painted city life as a joyous, bustling pageant, a sophisticated swirl of desiring bodies and colorful urbanity, giving Germany an energetic iconography for the glory days of modernity. One of the four founders of Die Brücke (The Bridge), Kirchner drew on German Renaissance art to conjure expressive exaggerations of face and posture, and brought to landscape painting a city-dweller's zest, imbuing tranquil scenery with riotous energy. Coinciding with a Kirchner retrospective at the Städel Museum--the first to be seen in Germany in 30 years--this massive volume surveys the artist's several creative phases and genres. It features the famous nudes made during the Die Brücke era, his classic scenes of frenetic Berlin city life and Swiss mountainscapes from Davos, along with lesser-known canvases, works on paper and sculpture. With essays by renowned art historians, this definitive monograph offers fresh perspective on the continued relevance of Kirchner.Born in Bavaria, Ernst Ludwig Kirchner (1880-1938) studied architecture in Dresden, where he met the young painter Fritz Beyl. With Beyl, Karl Schmidt-Rottluff and Erich Heckel, Kirchner founded the group known as Die Brücke. Casting aside the then-prevalent academic style of painting, Kirchner and his friends allied themselves with early Renaissance artists such as Albrecht Dürer, Matthias Grünewald and Cranach the Elder, and revived older media such as woodcut printing. Kirchner briefly saw army service in the First World War, but suffered a nervous breakdown and was discharged. In the interbellum years Kirchner's reputation grew enormously, until the Nazi regime branded his art degenerate: in 1937 over 600 of his works were sold or destroyed. In 1938, despairing of this destruction and the general political climate, Kirchner committed suicide.

One of the earliest German expressionists and a member of the prolific yet short-lived secessionist movement Die Brücke, Emil Nolde produced many colorful paintings across his career, including portraits, religious tableaus, and landscapes depicting seasides and bustling Berlin street scenes. His work has been exhibited at major museums worldwide, including New York’s Metropolitan Museum and Museum of Modern Art.             With more than one hundred full-color reproductions and informative essays by Katharina Lovecky, Manfred Reuther, Andreas Fluck, Christian Ring, Stefan Koja, and Agnes Husslein-Arco, this book traces the development of Nolde’s distinctive style and technique. From his beginnings as a woodcarver, draftsman, and furniture maker, Nolde was influenced by the dark, atmospheric palettes of painters like Wilhelm Leibl, Arnold Böcklin, and Hans von Marées. Later, upon encountering the works of the post-impressionists Paul Gauguin, Edward Munch, and Vincent van Gogh, Nolde developed a pictorial language that provided a new and fertile direction for his work. Perhaps most intriguing and least well-documented are the late-career works of Nolde what he termed his unpainted pictures,” created during the period he was prohibited to paint by the Third Reich. Comprising more than one thousand small-scale watercolors created entirely in secret and intended to be developed into paintings, these works from the early 1940s are infused with fantastical elements and constitute an important focal point for the book.               Nolde’s work served as a major influence on the later movements of expressionism, and this book, accompanying an exhibition at the Belvedere Gallery in Vienna, offers a comprehensive look back at his oeuvre.

Color and clash: The height of German expressionism   The "Brücke" (established in Dresden in 1905) is, together with the Blauer Reiter in Munich, the most important movement in German expressionism. Meaning “bridge” in German, “Brücke” refers to Nietzsche’s belief that humanity has the potential to make a bridge to a perfect future; more concretely, the movement formed a bridge between neo-romantic and expressionist painting. This book covers the work of founding members Ernst Ludwig Kirchner, Erich Heckel, Karl Schmidt-Rottluff, and Fritz Bleyl, as well as works by their friends, such as Emil Nolde and Otto Mueller. Divided into four main categories (self-portraits and portraits of friends, nudes in the studio and in nature, men in the cities, and war and apocalyptic themes) this volume provides a stimulating overview of the movement.   About the Series: Each book in TASCHEN's Basic Genre Series features: a detailed illustrated introduction plus a timeline of the most important political, cultural and social events that took place during that period a selection of the most important works of the epoch, each of which is presented on a 2-page spread with a full-page image and with an interpretation of the respective work, plus a portrait and brief biography of the artist approximately 100 colour illustrations with explanatory captions

Eine Monographie aller Frauenschuh-Orchideen der asiatischen Tropen und Subtropen. A monograph of all tropical and subtropical Asiatic slipper-Orchids. 250 Seiten. gr8. mit zahlreichen farbigen Abbildungen. ISBN: 3871050210. Brücke-Verlag Kurt Schmersow. Hildesheim. 1988. Guter Zustand/Good condition. Pappeinband illustriert/Hardcover. Sprache: mehrsprachig/multilingual.

Ernst Ludwig Kirchner painted city life as a joyous, bustling pageant, a sophisticated swirl of desiring bodies and colorful urbanity, giving Germany an energetic iconography for the glory days of modernity. One of the four founders of Die Brücke (The Bridge), Kirchner drew on German Renaissance art to conjure expressive exaggerations of face and posture, and brought to landscape painting a city-dweller's zest, imbuing tranquil scenery with riotous energy. Coinciding with a Kirchner retrospective at the Städel Museum--the first to be seen in Germany in 30 years--this massive volume surveys the artist's several creative phases and genres. It features the famous nudes made during the Die Brücke era, his classic scenes of frenetic Berlin city life and Swiss mountainscapes from Davos, along with lesser-known canvases, works on paper and sculpture. With essays by renowned art historians, this definitive monograph offers fresh perspective on the continued relevance of Kirchner.Born in Bavaria, Ernst Ludwig Kirchner (1880-1938) studied architecture in Dresden, where he met the young painter Fritz Beyl. With Beyl, Karl Schmidt-Rottluff and Erich Heckel, Kirchner founded the group known as Die Brücke. Casting aside the then-prevalent academic style of painting, Kirchner and his friends allied themselves with early Renaissance artists such as Albrecht Dürer, Matthias Grünewald and Cranach the Elder, and revived older media such as woodcut printing. Kirchner briefly saw army service in the First World War, but suffered a nervous breakdown and was discharged. In the interbellum years Kirchner's reputation grew enormously, until the Nazi regime branded his art degenerate: in 1937 over 600 of his works were sold or destroyed. In 1938, despairing of this destruction and the general political climate, Kirchner committed suicide.