Agnes Husslein-Arco – författare

The early work of Friedensreich Hundertwasser (1928-2000) had a marked impact on the international art scene of the post-war avantgarde. This publication demonstrates the influence of Japanese art and philosophy on the work of Hundertwasser in the 1950s and early 1960s. It is the first juxtaposition of Hundertwasser's work and Japanese art, revealing a less well-known Hundertwasser, preceding much of his architectural work. Like many European artists in the 1950s who perceived the Far East as a new reference point for a more open concept of art, Hundertwasser sought inspiration from Taoism and Zen Buddhism. He was also fascinated by the Japanese woodcuts of Hiroshige and Hokusai. His early friendship with Akira Kito and also his marriage with his Japanese life partner in 1961 during his sojourn in Japan are further links which fuelled Hundertwasser's interest in Japanese art and culture.

The revolutionary Viennese artists' association Hagenbund had a decisive influence on the art scene between 1900 and 1938, not only at home but also in Central Europe. It united different art movements under its umbrella and introduced a new creative dynamic at a time when the Vienna Secession was slowly losing its impact after 1918. 300 colour illustrations.

For ten whole months, from September 1814 to June 1815, the imperial residential city of Vienna was the centre of Europe. Never before had there been a comparable meeting of sovereigns and their ambassadors: two emperors (Tsar Alexander I, Emperor Francis I[II]), five kings (Frederick I of Württemberg, Frederick VI of Denmark, Frederick William III of Prussia, Frederick August I of Saxony, Maximilian I of Bavaria), also many princes and diplomats from practically all parts of the continent converged upon th e capital for the diplomatic proceedings. The re - ordering of the European continent aimed to secure political stability at last after the Napoleonic Wars. Europe’s borders were redefined, the political balance of power re - established. These diplomatic proc eedings were accompanied by entertainments of all kinds – balls, festivities, sleigh rides and receptions, also theatre performances and musical events, the splendours of which were documented in words and pictures. Vienna blossomed as the centre of social life; the enhanced purchasing power also boosted the economy, brought foreign painters into the imperial capital, and spurred on all genres of art production on the home front. Thus the city became the political, cultural and social nucleus of Europe. Wi th numerous historical photographs, paintings and historical documents the publication will show the impact that this meeting had on the whole European continent and especially on Vienna. Several essays will draw light on the political, the cultural and th e entertainment side of this event of the century.

This volume illustrates the development of art in Central Europe from 1830 – 1860 – a period which begins in the age of Biedermeier but extends well beyond it. It shows by means of a selection of representative works how art at this time developed independently and was not restricted to the historical Biedermeier era. DESCRIPTION “Is that Biedermeier?”, we often ask of pictures which date from the same period but do not look typically Biedermeier. The publication concentrates on these works in particular by showi ng the wide range of painting in the years between 1830 – 1860 through portraits, landscapes and genre pictures. The main focus lies on Austrian painters like Ferdinand Georg Waldmüller, Rudolf von Alt and Friedrich von Amerling, together with artists from N orthern Italy, Hungary, Bohemia and Slovenia including Giuseppe Tominz, József Borsos, Bedřich Havránek and Francesco Hayez. There are also references to the changes in style in furniture production at that time, which also demonstrated a remarkable divers ity.