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The Blaue Reiter (Blue Rider) art movement was founded in 1911, by the young painters Wassily Kandinsky and Franz Marc, and remained active in Europe until 1914. Originally published in "Munich", in 1912, and edited by Kandinsky and Marc, "The Blaue Reiter Almanac" presented the movement's synthesis of international culture to the European avant-garde at large. In both the selection of the essays and its innovative interplay of word and image, the Almanac remains one of the most critically important works on artistic theory and culture of the twentieth century. This edition, long unavailable in English and indispensable to any student of modernism, includes the original documents and musical notations, as well as essays by Kandinsky, Schonberg, Marc, and others, and an extensive critical introduction, placing the "Blaue Reiter" in context for contemporary readers. Nearly 150 illustrations, from ancient, primitive, and contemporary sources, capture the wide-ranging passions that inspired Kandinsky's attempt to make modernism accessible across national and chronological boundaries.

The Blaue Reiter (Blue Rider) art movement was founded in 1911, by the young painters Wassily Kandinsky and Franz Marc, and remained active in Europe until 1914. Originally published in "Munich", in 1912, and edited by Kandinsky and Marc, "The Blaue Reiter Almanac" presented the movement's synthesis of international culture to the European avant-garde at large. In both the selection of the essays and its innovative interplay of word and image, the Almanac remains one of the most critically important works on artistic theory and culture of the twentieth century. This edition, long unavailable in English and indispensable to any student of modernism, includes the original documents and musical notations, as well as essays by Kandinsky, Schonberg, Marc, and others, and an extensive critical introduction, placing the "Blaue Reiter" in context for contemporary readers. Nearly 150 illustrations, from ancient, primitive, and contemporary sources, capture the wide-ranging passions that inspired Kandinsky's attempt to make modernism accessible across national and chronological boundaries.

Documentary edition and introduction by Klaus Lankheit. Simulates original format, with nearly 150 illustrations and its documentary apparatus, including letters between the editors, the first drafts of prefaces, and musical examples. Nearly 150 reproductions. Extensive critical and bibliographic introduction. 296p. Index.

Although it only lasted three turbulent years, the afterburn of the Blaue Reiter (1911–1914) movement exerted a tremendous influence on the development of modern European art. Named after a Kandinsky painting, The Blue Rider, this loose band of artists, grouped around Russian émigré Wassily Kandinsky and German painter Franz Marc, sought to reject establishment standards and charge into a new artistic unknown.Articulating spiritual values and concerns in an era of rapid industrialization, the artists of the Blaue Reiter were connected by a shared interest in painting, woodcuts, and prints, as well as the symbolic values of color and spontaneous approaches to artwork. Key pieces such as Franz Marc’s Blue Horse I (1911), Kandinsky’s Picture with a Black Arch (1912), and August Macke’s Woman in a Green Jacket (1913) reveal varying subjects, but all channel distorted perspectives, crude lines, and an emphatic, expressionist use of color.The Blaue Reiter was abruptly truncated by the onset of the First World War, which killed two of its leading artists, along with growing dissent between the group’s protagonists. This book reveals the movement’s remarkable influence despite its brevity, presenting key works, artists, and their reverberating effects.

The Blaue Reiter (Blue Rider)--art movement was founded in 1911 by the young painters Wassily Kandinsky and Franz Marc, and was active in Europe until 1914. Originally published in Munich in 1912 and edited by Kandinsky and Marc-- the movements's almanac presented their synthesis of international culture to the European avant-garde at large. In both the selection of essays and its innovative interplay of word and image, The Blaue Reiter Almanac remains one of our most critically important works of literature on the art theory and culture of the 20th century. This edition, long unavailable in English and indispensable to any student of modernism, simulates the original German format, and includes documents, and musical notations, as well as seminal essays by Kandinsky, Schoenberg, Marc, and others. Nearly 150 illustrations, from ancient and contemporary sources, capture the wide-ranging interests and passions that inspired Kandinsky's and Marc's programmatic attempt to make modernism accessible across national and chronological boundaries. Also included is Klaus Lankheit's extensive critical introduction, which places the Blaue Reiter in context for contemporary readers."The almanac remains unique among European writings on art; no other country produced a comparable work capturing the excitement and tension of the years before World War I." (Will Grohmann)

Unread book in perfect condition.

Documentary edition and introduction by Klaus Lankheit. Simulates original format, with nearly 150 illustrations and its documentary apparatus, including letters between the editors, the first drafts of prefaces, and musical examples. Nearly 150 reproductions. Extensive critical and bibliographic introduction. 296p. Index.

A reappraisal of the Blue Rider group in the context of their legendary almanacFor just a few years at the beginning of the 20th century, Munich was the hot spot of Germany‘s artistic avant-garde. Russian painter Wassily Kandinsky and Franz Marc’s initiative as founding editors of the almanac Der Blaue Reiter (The Blue Rider) was a catalyst for the arts. The journal and the 1911 exhibition of the same name created international waves and heralded the start of the modern era in Germany before the First World War. Today, the names of the movement’s key players Franz Marc, Gabriele Münter, Alexej von Jawlensky and Paul Klee stand for a pivotal chapter in the international history of art, marked by the transition of painting into a vibrant, colorful and transcendental form of abstraction. This volume surveys their accomplishments.The Blaue Reiter was an art movement that lasted from 1911 to 1914 and was fundamental to Expressionism. Founded by Russian emigrants in Munich including Wassily Kandinsky, Alexej von Jawlensky, Marianne von Werefkin, along with native German artists Franz Marc, August Macke and Gabriele Münter, the group's unified goal was to express spiritual truths through art--largely through a spontaneous, intuitive approach to painting, which, for many group members, took the form of abstraction. The group organized touring exhibitions before disbanding around the outbreak of the First World War in 1914.

Book is in NEW condition. 1.28

“We invented the Blaue Reiter while sitting at the coffee table ... both of us loved blue. Franz Marc, the horses; I liked the riders. So the name arose spontaneously,” recalled Wassily Kandinsky. They both wanted to break with the old, academic painting traditions, create a platform for a new stylistic vocabulary that would offer room for multifaceted forms of expression, based on their shared belief in a “spiritual” dimension of art. In 1912 they assembled a programmatic volume: Der Blaue Reiter Almanach (The Blue Rider Almanac). It gathered texts and images from a variety of cultures, by various artists. Woodcuts from Borneo were included, as was Russian folk art, along with naïve and abstract contemporary art. Starting with the written work, which served as the foundation for Kandinsky’s and Marc’s oeuvres, this exquisite volume presents key works by both founding fathers, together with historical photographs.Exhibition: Fondation Beyeler, Riehen/basel 4.9.2016–22.1.2017

"Seit dem Erscheinen dieses Buches sind zwei Jahre vergangen. Eines unserer Ziele - in meinen Augen das Hauptziel - ist fast unerreicht geblieben. Es war, durch Beispiele, durch praktische Zusammenstellungen, durch theoretische Beweise zu zeigen, dass die Formfrage in der Kunst eine sekundäre ist, dass die Kunstfrage vorzüglich eine Inhaltsfrage ist. In der Praxis hat der ,, Blaue Reiter" recht behalten: das formell Entstandene ist gestorben. Kaum zwei Jahre hat es gelebt - angeblich gelebt. Das aus der Notwendigkeit Entstandene hat sich weiter „entwickelt". Dank der Hastigkeit unserer Zeit hat das leichter Verständliche „Schulen" geformt. So ist die hier abgespiegelte Bewegung im allgemeinen in die Breite gegangen und gleichzeitig ist sie kompakter geworden. Die im Anfang zum Durchbruch notwendigen Explosionen nehmen also ab - zugunsten eines ruhigeren und an Kraft gewinnenden breiteren, kompakteren Stromes. Diese Ausbreitung der geistigen Bewegung, und andererseits ihre starke konzentrische Wirbelkraft, die immer neue Elemente gewaltig in sich hineinzieht, ist das Zeichen ihrer natürlichen Bestimmung und ihres sichtbaren Zieles." [...] Vorliegendes Werk "Der Blaue Reiter" von Wassily Kandinsky und Franz Marc ist ein umfangreiches Nachschlagewerk für ihre Ausstellungs- und Publikationstätigkeit. Die Künstler, deren Werke sich hierin finden, waren alle wichtige Wegbereiter der modernen Kunst des 20. Jahrhunderts. Dieses Buch ist ein unveränderter Nachdruck der längst vergriffenen Originalausgabe von 1914. Es ist mit über 130 historischen Abbildungen und Zeichnungen versehen.

This catalogue accompanies a major exhibition devoted to Vasily Kandinsky. It explores the evolution of his work from the Blaue Reiter to the Bauhaus years. During this period, Kandinsky developed his revolutionary abstract style and began to move beyond conventional easel painting. As master of the mural workshop at the Bauhaus, Kandinsky was able to put his ambition to create large-scale art environments into practice, particularly in his mural designs for the 1922 Juryfreie exhibition in Berlin and later in his decorations for the Salon de Musique in 1931. At this time, he developed a strong interest in the Wagnerian concept of the Gesamtkunstwerk, or total work of art. Embracing the principles of synesthesia, Kandinsky focused on the relationship between art and music, pushing the boundaries of the medium.Vasily Kandinsky (1866–1944) began painting at the age of 30, after putting aside a highly successful career in law. After studying at the Academy of Fine Arts in Munich, he returned to his native Moscow just after the outbreak of World War I. Uninspired by the prevalent Suprematist and Futurist art there, he returned to Germany in 1921, teaching at the Bauhaus until the school was closed by the Nazis. He then moved to France, where he lived until his death in 1944.

Describes the basic structure, concepts, and application of deterministic and probabilistic seismic hazard analysis from a perspective useful to earth scientists, engineers, and decision-makers dealing with hazard evaluation. Draws on Reiter's long experience with government agencies concerned with

A reappraisal of the Blue Rider group in the context of their legendary almanacFor just a few years at the beginning of the 20th century, Munich was the hot spot of Germany‘s artistic avant-garde. Russian painter Wassily Kandinsky and Franz Marc’s initiative as founding editors of the almanac Der Blaue Reiter (The Blue Rider) was a catalyst for the arts. The journal and the 1911 exhibition of the same name created international waves and heralded the start of the modern era in Germany before the First World War. Today, the names of the movement’s key players Franz Marc, Gabriele Münter, Alexej von Jawlensky and Paul Klee stand for a pivotal chapter in the international history of art, marked by the transition of painting into a vibrant, colorful and transcendental form of abstraction. This volume surveys their accomplishments.The Blaue Reiter was an art movement that lasted from 1911 to 1914 and was fundamental to Expressionism. Founded by Russian emigrants in Munich including Wassily Kandinsky, Alexej von Jawlensky, Marianne von Werefkin, along with native German artists Franz Marc, August Macke and Gabriele Münter, the group's unified goal was to express spiritual truths through art--largely through a spontaneous, intuitive approach to painting, which, for many group members, took the form of abstraction. The group organized touring exhibitions before disbanding around the outbreak of the First World War in 1914.

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History of the German expressionist group Der Blaue Reiter and one of its most famous members, Kandinsky. Includes bright color plates of his work.

A digital copy of "Ross und Reiter" by Xenophon. Download is immediately available upon purchase!