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Erich Heckel was one of the principal figures of German Expressionism. As a member of the Brücke group, he wrote art history. The fascination of the 1920s and 1930s lies in the clear forms and suggestive use of colour. His nature-centred lyrical late work establishes a connection with German Romanticism.

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Used Heckel 5000 series Bassoon. Used and maintained by a professional musician for the last 20 years. Comes with Heckel bocal.OBO

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

Neuware -Erich Heckel (1883-1970) war Gründungsmitglied der Künstlergruppe Brücke, einer der Pioniere des Expressionismus und bedeutender Vertreter der Klassischen Moderne im Nachkriegsdeutschland. Sein druckgrafisches Werk wird hier auf der Grundlage neuester Forschungen mit großzügigen Abbildungen von den besten Kennern der Materie dokumentiert und kommentiert.Das druckgrafische Werk Heckels besteht aus insgesamt knapp 1100 Holzschnitten, Lithografien und Radierungen aus den Jahren 1903 bis 1968. Der dreibändige OEuvrekatalog bietet eine umfassende, kritisch kommentierte Neubearbeitung des ersten Werkverzeichnisses von Dube von 1964/74 und liefert mit zahlreichen inhaltlichen Erläuterungen, der Nennung und Beschreibung von Einzelabzügen sowie Querverweisen zum übrigen Werk faszinierende Einblicke in das vielschichtige grafische Schaffen des bedeutenden Expressionisten. 980 pp. Deutsch

This publication presents a selection of important paintings from the Nationalgalerie Berlin, one of Germany's major collections of twentieth-century art. Major Expressionist and Neue Sachlichkeit artists represented here include Max Beckmann, Otto Dix, George Grosz, Erich Heckel, Ernst Ludwig Kirchner, Emil Nolde, Max Pechstein, and Karl Schmidt-Rottluff. Arranged thematically, and with in-depth explanatory texts, the paintings trace the evolution of German art as it moved from the mountains to the city, from optimism to bitter disillusionment. Essays by key scholars and curators examine these artists' varied responses to their country's abrupt encounter with industrialization and urbanization.

Book by Diana Goldin, Inge Heckel

[publisher: Jupiter Books, London,  1983]. COLLECTORS LIKE NEW w/ like new dustjacket protected in mylar cover. Interior pages like new. 205 pages, 126 b&w illustrations, 31 color plates. Includes Kandinsky, Heckel, Kirchner and more.

"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 this book, Waldemar Heckel provides a revisionist overview of the conquests of Alexander the Great. Emphasizing the aims and impact of his military expeditions, the political consequences of military action, and the use of propaganda, both for motivation and justification, his underlying premise is that the basic goals of conquest and the keys to military superiority have not changed dramatically over the millennia. Indeed, as Heckel makes clear, many aristocratic and conquest societies are remarkably similar to that of Alexander in their basic aims and organization.

Gathers etchings, engravings, woodcuts, and lithographs by Max Beckmann, Otto Dix, Lyonel Feininger, Erick Heckel and five other German expressionist artists

This publication presents a selection of important paintings from the Nationalgalerie Berlin, one of Germany's major collections of twentieth-century art. Major Expressionist and Neue Sachlichkeit artists represented here include Max Beckmann, Otto Dix, George Grosz, Erich Heckel, Ernst Ludwig Kirchner, Emil Nolde, Max Pechstein, and Karl Schmidt-Rottluff. Arranged thematically, and with in-depth explanatory texts, the paintings trace the evolution of German art as it moved from the mountains to the city, from optimism to bitter disillusionment. Essays by key scholars and curators examine these artists' varied responses to their country's abrupt encounter with industrialization and urbanization.

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.

This substantial work by one of Europe's most respected twentieth-century legal minds unpacks Luther's doctrine of law, showing how it derived from his central theological concern, justification by faith. "When Johannes Heckel's Lex Charitatis appeared more than half a century ago, it brought new clarity to the much-disputed issue of Luther's understanding of the law and of God's governance of his created order. The Wittenberg reformer's use of the language of 'two kingdoms' and 'two governances' is still fiercely debated; having Heckel's work in English will assist scholars and students alike in putting Luther's insights to use in the context of twenty-first-century problems." -- Robert Kolb, Concordia Seminary

"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.