Rodin

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Rudolf Koella

Mit dem Bild 'Le bain au soir d?été' überwindet Félix Vallotton (1865-1925) den tonigen Realismus seines Frühwerks und bekennt sich zum farbigen Synthetismus der Nabis-Phase. Thematisch schliesst er sich mit der Szene der Badenden an die Tradition an und lässt eine Nähe zu Puvis de Chavannes oder gar zu Lucas Cranach erkennen. Gleichzeitig findet er mit diesem Werk auch die Zugehörigkeit zur eigenen Zeit und darüber hinaus zum unverkennbar eigenen Ausdruck. Das grossformatige Werk, das am Pariser Salon des Indépendants zu sehen war, löste einen Skandal aus. Nicht das Thema selbst erregte Anstoss, sondern die stilistische Formulierung und Zuspitzung der Motive: die karikierenden Frisuren und Gesichtszüge der einzelnen Frauen und ihre ausladenden Körperformen, die aller ästhetischen Ideale entbehrten. In diesen Bildsetzungen glaubte man bewusste Attacken des Künstlers auf die damalige Gesellschaft zu erkennen. Verunsichernd wirkte auch die thematische Rätselhaftigkeit des Werks. Eben diese ikonographische Offenheit, die Vallottons Bildwelt auszeichnet, hält sein Werk bis heute spannend. 0'Le bain au soir d?été' befindet sich heute in der Dauerausstellung des Kunsthaus Zürich.

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Ricardo Resende

In this book, author Resende unveils the provocative works of the multimedia artist Hudinilson Urbano Júnior (b. São Paulo 1957-2013) in performances with xerography, graphite (which he taught, with Julio Barreto, at the Oswald de Andrade Workshops) and acts of urban intervention - Hudinilson participated in one of the first collectives, 3NÓS3, which, among other actions, hooded statues of the city, in allusion to the suffocating climate imposed by the military dictatorship. It also analyzes the production of woodcut, collage and postal art of the artist. Hudinilson Jr. was one of the pioneers of Xerox art in Brazil.

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Instituto Tomie Ohtake, 8 julho - 29 Agosto

Curated by Agnaldo Farias, the exhibition comprises about 50 watercolors -with unique characteristics: large dimensions and the use of black- by the mineiro artist, born in Ouro Preto (MG), in an overview of the recent works of the professor and creator of the Escola de Belas-Artes da Universidade Federal de Minas Gerais (UFMG). José Alberto Nemer is a visual artist and PhD in Fine Arts from Université de Paris VIII who belonged to the generation of so-called mineiro designers (from Minas Gerais), and has established himself a sone of the most important exponets of the Brazilian art scene since the 1970s. "For some years now, the watercolors of José Alberto Nemer portray a confrontation between a constructive orientation and an organic impulse, a strugglehe has been perfecting to the complex resultsof today." --Page 69. Regarding the accompanying sheet There is a series of analogies of paintings and photography gathered here. Each set is composed of three small watercolors and one to three photographs, also made by the artist. No watercolor was inspired by a photo, nor the opposite. It is a playful exercise of one same look, whose records, in two different languages, are now exposed side by side. They evidence the occurrence and formal approximation of what the artist calls residual geometryʺ. Thus it is born in the studio or captured in the landscape of daily life.ʺ Page 64

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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.