Frances and Viky

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herausgegeben von Achim Sommer

Lovis Corinth was one of the most exciting artists to emerge from turn-of-the-century Germany. Together with Max Beckmann and Oskar Kokoschka, he became one of the greatest figurative painters of the early twentieth century. An outsider of astonishing individuality, he has resisted categorization by art historians in terms of Impressionism, Expressionism, and other movements. Corinth began his career in the realist tradition in the 1880's, but he was soon at the vanguard of change. Following a period in Munich when his religious and mythological paintings brought him his first taste of fame, Corinth moved to Berlin in 1901, where he spearheaded the protest against Kaiser Wilhelm II's official policy on art. Towards the latter part of his career, Corinth's work clearly reflects his reactions to his own illness and to World War I. Objects are caught up in a play of broad, energetic brush strokes, the paste-like layers of paint applied in sweeping, parallel movements to produce the characteristic hatching that became his hallmark. These later works - mainly landscapes, portraits and self-portraits - continued to be an inspiration to representatives of later movements. Lovis Corinth provides a comprehensive analysis of the artist still little known outside Europe. The Munich and Berlin years, his sources and inspiration, his subject matter, his painting and drawing are examined by authors from America, Britain, and Germany. The book is beautifully illustrated with numerous colour reproductions of his oil paintings, watercolours, drawings, and graphic works, providing the definitive illustrated reference on the artist.

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David Chappell

"Although primarily written for architects and contracts administrators, the book will also be of use to project managers and employers' agents under WCD 98. Contractors will also find much of interest."--BOOK JACKET.

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ed. and introduced by Nicholas Wadley

Paul Gauguin fled what he called "filthy Europe" in 1891 to what he hoped would be an unspoiled paradise, Tahiti. He painted 66 magnificent can vases during the first two years he spent there and kept notes from which he later wrote Noa Noa—a journal recording his thoughts and impressions of that time. Noa Noa—the most widely known of Gauguin's writings—is reproduced here from a rare early edition (1919), in a lucid translation capturing the artist's unpretentious style. Page after page reveals Gauguin's keen observations of Tahiti and its people, and his passionate struggle to achieve the inner harmony he expressed so profoundly on canvas. Gauguin's prose is as seductive as his paintings, filled with descriptions of warm seas, hidden lagoons, lush green forests, and beautiful Maori women. The journal is captivating reading, offering a compelling autobiographical fragment of the soul of a genius and a rare glimpse of Oceanian culture. The brief periods of happiness Gauguin found among the Tahitians are eloquently expressed in his narrative. We understand the motives that drove him and gain a deeper appreciation of his art. Today the manuscript provides unparalleled insight into Gauguin's thoughts as he strove to achieve spiritual peace, and into the wellsprings of a singular artistic style which changed the course of modern art. This wonderfully affordable edition—enhanced by 24 of Gauguin's South Seas drawings—makes a unique and passionate testament accessible to all art lovers.

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Warren F. Broderick and William Bouck

This book presents in detail the history of earthenware and stoneware potteries that operated in the Capital District and Upper Hudson region of New York State from the seventeenth to the early twentieth centuries. Potteries in Albany, Rensselaer, Saratoga, and Washington countries are covered. The ceramic pieces illustrated here are not only compared to one another, but to ceramics manufactured throughout the Northeast. Special attention is paid to both unusual ceramic forms (differing from the often-seen jugs and crocks) and to Rockingham and other unusual glazes and finishes. In addition, information on the origins of American art pottery in decorative earthenware produced by German immigrant potters in Albany, Sandy Hill, and Fort Edward in the late nineteenth and early twentieth centuries is included.