Salvador Dalí, 1904-1989

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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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Sophia Craze

" ... a comprehensive presentation of the artist’s body of flat work, both in print and on this book’s companion website. Beautifully illustrated with more than 150 figures and 100 color plates, this book offers insightful essays by notable art historians who explore Remington’s experiences in Taos, New Mexico, and other parts of the West. The chapters include analyses of Remington’s artistic development from an illustrator to a fine art painter, his search for and understanding of “men with the bark on,” his relationship with the famed illustrator Howard Pyle, and the shared imagery of Remington and Buffalo Bill Cody. A chapter considering Remington’s enduring bond with the horse and its representation in his paintings follows an examination of Remington’s ties to Theodore Roosevelt that reveals how the two men helped move the American conscience toward wildlife preservation. An assessment of the authentication process for evaluating Remington’s works opens the collection: Remington is perhaps the most frequently faked American artist." -- Publisher's website (viewed July 26, 2016)

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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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Oskar Bätschmann and Pascal Griener

Holbein was a hugely ambitious artist, and even during his formative years in Lucerne and Basle undertook to make designs for jewelry, stained glass and woodcuts as well as to paint major altarpieces and portraits. He also carried out several monumental decorative schemes for private houses and civic buildings. This book offers both a remarkable range of extant visual evidence and a rewarding and scholarly account of Holbein's oeuvre in its full historical and artistic contexts. In addition, the authors include a reappraisal of the high reputation in which Holbein was held during the centuries following his death, as illustrated by the opinion expressed by the Elizabethan miniaturist Nicholas Hilliard and the searches undertaken by the French collector Charles Patin, and by the remarks and exertions of the wealthy eighteenth-century dilettante Horace Walpole.